Chapter 5
Part II
Classifying these stones according to their styles was not easy. Nevertheless, once I learned that these repetitive styles existed it took away the notion of randomness in their design. It also helped me to understand many additional facts about these stones. The first was that these stones most often have a myriad of images depicted. The second was that not all faces depicted are human. Many contain faces that we would classify as either humanoid or anthropomorphic (animal + human). And, while there is a clear repition of facial features, both humanoid and anthropomorphic, the variety of faces seen seem to (in most examples) represent distinct individuals. A third thing learned was that although the Aha could easily have created these pieces in a simpler manner they didn’t. The artisans that created these pieces were masters of their craft and they liked to display their skills. They utilized what could best be called “total stone techniques”. That is to say that every aspect of these stones, no matter how miniscule, including shadows, was meticulously planned out. With these techniques they created pieces almost indistinguishable from common rocks. Indistinguishable that is, unless you know the styles.
Now, let’s take a closer look at some of the stones presented in this chapter. Each one contains additional features worth noting. As such, they can be viewed as teaching stones. If you can grasp the basic facts presented now then what’s to come later, with other stones, will no doubt thrill you. It would be wonderful if I could show you every image and micro detail of each stone. However, since each stone has multiple images, time won’t allow for such an exercise. Sorry. π
When this Simple style stone is rotated 90β° counter clockwise the first image that was detailed becomes easier to view. In addition, once rotated a secondary face is better visualized. Like other stones presented, the two images have shared traits. In this example the two images share the same face as well as head. Unlike the first image that employs the Cut-Away style, the second image has facial features formed by a sub-style that utilizes subtle notches. In the second image these subtle notches were used to create the left eye, nose, and mouth. The face is displayed from the right profile and is absent a right eye. Also, each symbol displayed is shared by each person. There is a caveat however. The meaning attached to the symbols varies based on the symbols placement.
I’ve just stated that the meaning of the symbols changed in the Simple style stone above. It is imperative for me to clarify what is meant. In the first image, the white symbol that forms the eye also aids in telling what the person saw. If you notice, just below the white eye, there is a smaller white symbol. Generally, when there are like colors present on a stone, the matching colors correspond to each other. This can be true of symbols or entire faces. In this instance we are told that what was seen by the first person produced a fragment that pierced the person’s face. The irregular shaped symbol (irregular pentagon +) above the eye gives additional information on what was both seen and felt. The mouth is a combination of two symbols (undulating line +) and tells us what was coming into the person’s mouth. In the second image the white symbols and irregular symbol indicates the second person saw and felt the same thing as the first person. Also the symbols tells us why the person is absent a right eye and what caused the damage to the front of their forehead. The meaning attached to the undulating line combination symbol is the same except that it represents something coming out of the back of the second person’s head. To summarize, the symbols that were utilized have varying associated meanings (think placement value) determined by their positioning on the stone.
The third image on this stone can be seen by returning the piece to the original position shown to you. With a slight rotation this third image is best seen. The right eye for this image is formed by the irregularly shaped symbol (irregular pentagon +). The left eye is formed by a barely perceptible, ridged line, rectangular shape. The damaged forehead of the second person becomes the damaged square nose and broad lips for the third person. Like the second image the undulating line represents something coming out of the back of the head. The other symbols have the same meaning attached as explained for the other two images.
Something to know: The Aha frequently used rectangular bars in place of or in conjunction with eye(s). And, like other symbols rectangular bars have specific meaning relating to these stones.
Like the first image, the face of the third image was designed to look upwards. For this, an other stones, the Aha utilized a creative way for this to occur. This piece was made into a sub-style I call “Rockers”. Rocker stones can do just what the name suggests, rock; similar to a rocking chair. The short clip has been added for illustration purposes.
Here are the symbols that were combined on the previous image.
Something To Remember: Symbols can be found anywhere on these stones. They may be carved in, painted on, in the borders of the piece, or reflected in the overall shape of the stone.
Let’s take a second look at the Stacked/Layered style stone that was presented. Since most of the faces present on this side of the stone make use of the large divot to form an eye, viewing them is relatively simple. Again, because this piece has so many faces present, I will focus on some that are simplest to view.
A secondary image can be seen when this stone is rotated 90β° clockwise. The rotation of the stone accompanied by a slight change in perspective brings the face easily into view. In the first photo of this stone this image was looking upwards. Now the first image is looking upwards as this face looks right π. The large divot forms the right eye. The left eyelid appears to be damaged. The interior of the left eye contains black pigments or banding. A broad, fleshy nose separates the two eyes and also appears damaged. The bridge of the nose is smooth and extends to the top of the forehead.Β Underneath the nose there is a smooth outer stone layer, with a muted speckled pattern. This section forms part of the mouth and all of the chin. The type of outer stone layering used for this section is similar to that used on the Orc face Biplanar style stone. In this example however the smooth outer stone layer isn’t etched. From this angle the right side of the face and right chubby cheek is visible. It too appears damaged. Only a small sliver of the left cheek can be seen. It also is banded black. The front of the head is bald. The rear of the head sports a hairpiece that separates strands of flowing hair (the undulating lines seen in the first image). The rear borders of the stone form two rounded shapes perhaps representing a double bun hairstyle.
In the previous description it was repeatedly stated that portions of the face appeared damaged. That description was not meant to infer that the stone is damaged. The stone was purposefully created to look just as it does. While no doubt this stone is not 100% intact, most of the “damage” that is seen was actually intended. Overall it was intended to be representative of the damage this person’s face physically sustained. In fact, the use of the smooth outer stone layer on the last piece signifies that this person’s skin (epidermis layer), sustained damage that penetrated to the dermis layer (or down to the “white meat” as the colloquial expression goes π€£). Did you miss a symbol above? It’s formed by the lower border of the nose. The border forms a symbol shown to you; the symbol labeled as Symbol 2.
A 180β° rotation of the stone gives us this somewhat playful clown-like image with its button nose and happy smile. The smooth lighter section seen on the head is what was the chin of the previous image. Also, the tip of the nose has a white outer stone layer applied. The explanation given for the last image remains consistent here. The tip of the nose as well as the top of their head was severely damaged down to the dermis layer. I won’t elaborate on what caused the damage. Based on what I have previously told you about certain colors having meaning, you should have a pretty good idea π. Incidentally, mutiple figures with all or parts of their nose covered in white was repeatedly observed amongst these stones.
When stood upright on the stone’s base this third image is seen looking forward and slightly to the left. The large divot forms the right eye. The left eye is damaged. Below the eyes there is a nose π in a recognizable human shape. The mouth is open and the lips are slightly upturned to the left. From this perspective the face is smooth at the top then gives way to a damaged pattern covering the right cheek. The scalp is bald with the exception of a parted hairstyle found at the rear of the head. In this example the hairstyle isn’t just decorative. As stated in a previous chapter, with the use of outer stone layers the Aha were able to do some truly incredible things. I’ve added details to the hidden image below that I’m sure you missed. π
When I first showed you this stone the divot was slightly filled with water. There was a twofold reason for that. The first was so that you could clearly visualized the Stacked layers. The second was because, in the last chapter, it was stated that most large divots in these stones represent eyes. That statement was true. What was omitted was that most large divots are meant to be filled with water. The primary reason is to give the stone an animated or living appearance. When filled with water the divot formed eye cast reflections just like our own eyes. Divots also allowed the Aha to do some things that were just plain cool π. In this piece the hair (colored section) doubles as a waterfowl (most likely a duck π¦). If the divot were filled with water the duck would symbolically be drinking from the divot. Amazing! So, what message is this stone conveying? The interpretation can be given in two ways. The first is that they (the people portrayed on the stone) looked at a duck π¦ drinking water. A secondary more apt interpretation would be, they looked for the water from which the duck(s) drank. Admittedly that might not seem like such an important message to convey. Yet, from the mindset of the Aha, and the stories they conveyed through these stones, it was of the utmost importance. In fact, while many avian species are represented on these stones, in my research, the duck image (in numerous forms) has been the most repeated. It no doubt played an integral role in the history of the Aha. I believe the imagery portrayed on this stone literally tells us why. Therefore, it’s worth stating again, “they looked for the water from which the duck(s) drank”. The question becomes, why would the mundane act of watching a duck drink from water be worth memorializing on a stone? It would not make any sense unless…π€ Well, that’s a story for later. π
The opposite side of the Stacked style stone is extremely different. It was done in the Complicated Gouged style with just a touch of Cut-Away. As mentioned Complicated style stones can be difficult to view. We will make these images super easy to see thoughπ. This stone is one mind-blowing example in the use of the Gouged style as well as the use of repetitious outer stone layering. Since the Gouged style was predominately used on this side of the stone that will be our focus.
The first image to be shown was created via deep gouging of the stone’s surface. The face is humanoid and is looking leftward π. From this left profile we can see an egg-shaped left eye and a damaged right eye. There is a thick brow with a squared prominence at its center. To the right of the prominence is what appears to be a serpentine creature. The mouth and nose of the serpent extend over the top of the damaged right eye. Amazingly the serpent is seen releasing venom! An elephantine (elephant like) nose starts high on the forehead, separates the eyes and descends towards the mouth. Below the nose a broad mouth has lips formed by a small cut-away section. The rounded chin is smooth. The neck is truncated and wide. In design it is similar to how some necks were drawn 19th century silhouette portraits. There is chipping evident on both the chin and the most distal portion of the neck. The chipped portions are most likely naturally occurring damage to the surface of the stone. I say most likely because in many cases stones have purposefully created fractures and missing sections. Whether on purpose or not, the chipped sections of this stone allows us to view the terracotta core stone.
Did you miss the symbols in the image above? I’ll show them to you below π.
Keep in mind we were focused on the use of the Gouged style. Knowing the styles, the symbols, and the symbols placement value is essential. In this example two symbols stand out the most. The first is found in the shape of the right eye itself. This symbol (in several variations) is quite ubiquitous amongst these stones. It was observed so often that I dubbed it the Genitrix Symbolus (Mother Symbol). The second highlighted symbol was created by the use of a more shallow gouging method. The symbols and their placement have multiple meanings. In this instance they tells us what the person saw as well as something that they did. In fact, the larger symbol isn’t a single symbol. It too is a combination of at least two symbols. Wow! π
The second image on this stone is looking rightward π. From this right profile the entire right side of the face is visible as well as the front of the face. With this piece the outer stone layering comprising eyes and the chin have a noticeably darker tan hue and have a smooth polished finish. This signals that the two sections should be viewed together. Like the first image, this secondary image is humanoid vs. human and most likely represents an anthropomorphic primate (ape). In this image the larger previously highlighted symbol seems to represent a type of headpiece worn on the right side of the head. The added symbol that makes this into a combination of symbols is incorporated into the base of the highlighted symbol. This offset symbol is most likely representative of an attachment to the head piece. A braided hairstyle adorns the top of head. The braids start at the hairline and are arranged going backwards π covering the scalp. Of special note is the white pigment (banding) below the left eye. Do you notice that it is only in one small section of the stone? π€ π
For orientation points on this stone I made use of two symbols (both highlighted white) that were placed in plain view. One symbol is painted on the surface of the stone. It’s formed by the white pigments that were seen below the left eye. The second symbol resembles a question mark in its design. Its placement is also below the left eye. The symbol is carved in and helps form the nose; the uppermost curved section. In this example the placement of the symbols was key to visualizing the face. In other words, some symbols are able to direct the viewer where to look in order to see the faces. Additionally, although these two symbols are formed in separate ways, they are in fact another combination of symbols. When these two symbols are used in tandem they are normally connected and form a combination symbol or are arranged side by side as seen above.
These are the symbols discussed on this side of the stone. Their meanings will be provided later in a separate chapter dedicated to language. π
There is a third face on this side of the stone that I would like to point out. The face is small and cleverly concealed. From its position atop the two shared faces it is pictured looking upwards π. The face has been rotated 90β° here for easier visualization. When viewed from this right lateral profile you can see a rounded chin, an inwardly sunken mouth, pointed nose, and eyes created by black pigments (banding) on the outer stone casing. The forehead appears to display a headpiece created by the squared prominence on the elephantine nose of the first image.
How certain am I about the last description given? Very, and here’s why. The faces on this piece are consistent to a category I call Titan stones. The imagery on such stones typically consists of three principle images. Titan stones always have one face (human/humanoid) facing one direction, one face (primate/anthropomorphic primate) facing the opposite direction, and one face (usually human) atop the the shared heads. That is a pretty specific description, huh? That’s because I’ve observed this specific imagery repeatedly with stones in this category. There are other definable traits found with Titan stones, but this basic description suffices for now.
The opposite side of the Biplanar stone is a site to behold. With the use of the Complicated style this piece has a lot to show.
When viewed from directly above the image that is seen is that of an anthropomorphic figure boasting a human face and a fish body. The face is easily discernible from this left profile with its pointed triangular shaped nose. The triangular shaped left eye has been filled with a type of quartz (Put-Together style). Like other stones, the other eye is damaged or missing. Below the nose an open mouth is displayed. It too has been filled with quartz. Both the left pectoral fin and tail fin are visible. The dorsal fin atop the human face also doubles as hair that goes upward then flows rightward over the head. The left side of the scalp is shaved bald. A single braid from the hair, formed by subtle variations in the outer stone layering, runs across the front of the forehead.
Believe It: Quartz of varying colors was often added to the eyes of these stones? As such quartz can be an excellent orientation point when viewing these pieces. If you analyzed the Orc face Multiplanar style stone, from earlier in the chapter, you no doubt would have noticed similar quartz in the left eye. The use of quartz was more than decorative. It was used to symbolically mimic something embedded in the eyes. As stated, there is nothing random about these stones. π
With a change in perspective an anthropomorphic bird, in the midst of flight, comes into view. The figure appears to be in a diving motion with its upturned tailed and outstretched wings. Its human face exhibits a beak-like nose separating two triangular eyes. The eyes are formed by the quartz filled eye and mouth of the previous image. Also, with a minimal change in the direction of the lighting a happy smile is produced via shadow. A close-up of the quartz filled eye is also provided.
This side of the stone provides us with several additional images. For the sake of brevity I’ll focus on just two more. Additionally, for these next two images, no rotation of the stone is required.
The first image is humanoid and faces left π. Its appearance is similar to that of an Ogre. Concealed within the shadows the circular left eye is surrounded by a rectangular bar. There is a large, rounded, button shaped nose connected to a wide misshapen nasal bone. In addition both an upper and lower cheek can be seen; each one chubby and rounded. The border of the upper cheek is formed by an undulating line that gives way to three sharp, skillfully created, triangular shaped teeth. Rising upwards the forehead is rectangular, squared, flat, and partially covered with white pigments (paint). This Ogre image appears to be wearing an ornate headpiece. The headpiece is comprised of crested feathers that are arranged in a descending pattern, from the crown of the head to its most distal portion.
The second image is of a large bird’s head and face. The right eye seen is the same as the Ogre’s left eye. The left eye of the bird was formed by subtle variations in the outer stone layers. It’s beak is large and wide with its lower border formed by a series of undulating lines. The upper portion of the beak is smooth with a squared elevated crest at the top and center. For optimal visualization color has been added to the entire image.
Thanks for reading π. More incredible information is coming soon. Next post, Chapter 5 Part 3.