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MYSTERIES OF THE ANDES: TIWANAKU AND THE NAZCA LINES - ARTICLE 2 OF 4



Quite a few Internet pages are dedicated to the Nazca Lines of Peru, and everywhere you see the same conclusion: the Nazca Lines are a great mystery or enigma. It makes me wonder if the people on this planet are lacking common sense, or else an aversion to any possibility of aliens is keeping them from seeing the obvious.

Simple observation of what you see on the desert floor in Peru is enough to determine why those lines were made. Dozens of figures of animals and the like, so large that they can only be viewed intact from the sky, were clearly made for a creature in the sky who was intelligent enough to be attracted and entertained by those drawings. Dozens of arrow-head type pointers provide directional guidance, so this creature was not only in the sky but also flying through the air. Lines that run straight for kilometers, up and down hills rather than around them, were clearly made to be followed by a creature who could fly higher than the hills.

Nazca Lines Geoglyph: Lines and hooks for entertainment

The purpose and motivation behind the Nazca Lines is not a mystery. Only a minimal understanding of the workings of the human mind is required to determine that the Nazca Lines were made to attract, entertain, and guide a creature who could fly, who had eyes, and who was intelligent. Whether or not such a creature really existed, or was merely imagined by the people of Nazca, is another issue. And if such a creature existed, whether or not it was an alien is still another issue. Meanwhile, why they made those lines is no enigma at all.

The central contention of this website is that the Nazca Lines were made, specifically, to be viewed by the sky god of Tiwanaku, that is, Tiwanaku made the geoglyphs. Tiwanaku was a city in the Bolivian highlands about six hundred kilometers to the southeast of the Nazca. During the seventh century, Tiwanaku pushed its empire into Peru. It got at least as far north as Paracas, where they made a geoglyph of the sky god's tail, and perhaps even further north since some Aymara place names are still extant in central Peru.

On the preceding page, we correlated the artwork of Tiwanaku with the Nazca geoglyphs and also with artwork found on Nazca pottery. Here we will look at additional correlations.

SPIRALS

Tiwanaku Engraving: Descent Spiral carved into stone

There are reputed to be some one hundred drawings of spirals on the Nazca plain, of which the most memorable is perhaps the monkey's tail. Similar spiral drawings are also found in Tiwanaku. It seems likely that the ancient astronaut descended from the sky in a spiral motion.

FOUR FIGURED HANDS

The four fingers are significant. The city of Tiwanaku existed for perhaps some two thousand years prior to the arrival of the sky god and the statues from those earlier epochs all reflect five clearly defined fingers. Four fingers only pertain to the sky god. The artists of Tiwanaku used the surface of those ancient statues to make sky-god engravings, so they may have merged sky-god contact with old beliefs.

Nazca Lines Geoglyph: Comparing human and alien fingers

Tiwanaku drawings of their sky god always depict it as having only four fingers. In Nazca, the blob geoglyph depicts one hand with four fingers and one hand with five fingers, likely symbolizing a bond of friendship between the ancient astronaut and the humans. Hands of four and five fingers, respectively, also appear in the monkey geoglyph.

THE VOICE AMPLIFIER

The Nazca pottery drawing displays a type of loudspeaker attached to the sky god's hand-held instrument, likely symbolizing its communicative capabilities. Sound is likewise amplified in Tiwanaku drawings.

Tiwanaku Drawing: Anthromorphic Sky God with Voice Amplifier

There is more of interest in this drawing than the voice amplifier. Head symbols for fish, bird, puma, and human are all easy to identify but I have doubts about what the concentric circles represent. Possibly serpents or some sea creature. Other possibilities include oxygenation bubbles inside the helmet, patterns on the alien's face or skin, the pods from which the toes emerge, instrument buttons or component, ears or listening device, and milling stones. The museum on the Tiwanaku site has a "milling stone" with some intriguing engravings on it.

Based on information provided by Pedro Sarmiento de Gamboa (conchas de la mar), I now believe that the concentric circles represent shellfish. You have to image an open clam where the inner circle would be the living animal and the outer circle would be the outer edge of the shell. The shells in turn are representative of the hard outer surface of the astronaut's helmet and spacesuit. See the page on alien evolution for more information.

THE INTELLIGENT FISH

In the Tiwanaku drawing where the sky god is holding condor-pointed instruments, you may have noticed the image of a human head hanging down from each one of his arms. And in the Tiwanaku drawing where the sky god is about to liftoff into the sky, you may have noticed that his helmet is surrounded with human head images. Like the fish heads and the bird heads, human heads are symbolic. Human heads symbolize intelligence. This was one intelligent fish, a very intelligent fish.

Nazca Lines Geoglyph: Fish with human head attached

The concept of intelligent fish was not unique to Tiwanaku. Here you see a Nazca geoglyph (photographs available on Google Images, search for nazca lines fish; for Tiwanaku, several eroding images can be seen on YouTube). Notice a human head attached to the head of a fish. For sure, this is an ordinary fish and not a evolutionary advanced fish like the Tiwanaku alien, but still we are looking at a concept that undoubtedly originated in Tiwanaku.

THE FLYING FISH

Tiwanaku Drawing: The flying fish

Establishing a connection between Nazca and the Tiwanaku alien is not alone sufficient to explain the geoglyphs. It is still necessary to show that this creature could fly.

It seems that the world's archaeologists have joined the global conspiracy against Nazca by proclaiming the geoglyphs to be a mystery. It's a real shame that no honest and intelligent people have been inspired to become archaeologists. It's a worthwhile field. So, what's the mystery? The region is full of drawings of a flying fish. The key word there is 'flying.' How hard is it to figure out that, if the thing can fly, it would be able to view the geoglyphs from the sky?

Needless to ask: Why in the world would they make the geoglyphs if the creature was incapable of flying overhead to view their drawings?

FLIGHT INSTRUMENTS

Tiwanaku Drawing: Sky God Flight Instruments

On the preceding page, we discussed a Tiwanaku drawing that depicted their sky god with his arms raised up, holding in his hands instruments that had suddenly contracted and split apart, possibly creating an anti-gravitational field around the sky god as evidenced by the tail, lighter than the body, seen rising first. Indeed, the central pod of the tail is depicted up above the astronaut helmet. Also noteworthy are the puma-head symbols, which may indicate that the instruments made an audible roaring sound upon liftoff.

Tiwanaku Drawing: Anthromorphic Sky God with Wings

Other Tiwanaku drawings confirm that they believed the sky god's power of flight rested in those hand-held instruments. One drawing places bird heads on each end of the instrument,

Tiwanaku Drawing: Sky God Fight Instrument with Birdhead

and another drawing encloses a bird head inside the instrument. Bird heads are the symbol of flight.

The concentric circles near the bottom may again be a shellfish, symbolizing that the instrument had a hard surface.

It's a bird, it's a plane, it's Superman! That is how the Tiwanaku alien flew about, freelance style, just like Superman. It is only because of human inability to imagine any technology more advanced than ours that most people believe ancient astronauts needed to use landing craft.

GOD OF SKY AND SEA

In northern Chile, the Atacama Giant faces the sea and has his hands raised, to welcome the sky god as he emerges from the sea and takes into flight over land. In Nazca, the Astronaut Geoglyph faces the sea and has his hand raised, to welcome the sky god as he emerges from the sea and takes into flight over land. Evidently, because of the aquatic nature of the sky god, the people of Tiwanaku believed he lived in the sea, so they made the geoglyphs in coastal regions to attract his attention and direct him back to Tiwanaku.

ALIEN INTERVENTION

Ancient astronaut archaeology is only one component of the ancient astronaut theory. Simultaneously with the construction of the Nazca Lines in Peru, other mysterious events were occurring on the other side of the world. For a brief introduction to that theme, see the article Muhammad and the Angel of Light.


A Spanish version of this webpage is available at Los Punteros de Nazca.





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