Chapter 6
Part 3
Being able to recognize the often cleverly concealed depictions of faces, symbols, and other images associated with these stones is all about perspective. We’re not solely talking about angles, lighting, and distance either although all of these things are of equal importance. Stated differently, when looked at from the proper perspective the faces, symbols, and images associated with these types of stones can be relatively easy to recognize. The determining factor in being able to recognize the aforementioned is the perspective, both physical and mental, from which these stones are viewed.
From the mental side of things, one must move beyond the viewpoint that the ancient people of pre-history were incapable of producing lasting and enduring civilizations. I say that fully understanding that “scientific consensus” says otherwise. That’s what we’ve all been taught to believe. It’s no wonder then why it took so many decades for my own mental perspective to change. Mentally I was blinded to the possibility that an advanced civilization could have existed here in the Americas. Like you, via my formal education, I was led to believe that no one inhabited the Americas in the ancient past. That’s what I was taught so that’s what I believed. Even when it became abundantly clear that these stones couldn’t be assigned to any known culture, the idea of an ancient civilization was a foreign concept to me. Because I lacked the proper mental perspective and context to truly understand these stones, I let my schooling interfere with my education 😔.
From a physical perspective one must learn how the Aha people utilized the totality of each stone to trasmit its message. If the ultimate goal was to accurately pass down information and history what better medium than stone? With each stone every image, micro image, color, geometric shape, shadow, and symbol are designed to complement each other. With the addition of intricate outer stone layering the goal of dynamically transmitting history via a narrative was a tangible reality for the Aha. As someone who has spent decades researching these types of stones, I can tell you that once you know what you’re looking for it becomes increasingly easy to know what you are looking at 😁. Do you follow my meaning? Of course you do, you’re smart 🧠. How smart? Well… you are reading 📖 this aren’t you 😉?
During the course of this work I’ve said many times that the symbols and symbolism displayed with these stones is representative of language. That is true. On the symbolism side of things I largely focused on colors and their associated meanings. This was done deliberately. Why? Because understanding the color symbolism connected to these ancient stones can be integral to fully interpreting some written symbols. In fact, the color of a symbol can slightly change that symbols implied meaning. Also, color symbolism and written language symbols often work in tandem with each other, as has been illustrated. That does not imply that the two are dependent upon each other. They are not. Language symbols are just that, language symbols. That said, the combination of color symbolism and actual language symbols was another clever invention of the Aha people. How so? Even without understanding the written language, the viewer of a stone can perhaps glean its context based on color symbolism alone. That is not to say that understanding the basic symbols the Aha used to communicate isn’t important. It is. Why? Because symbols do not have to be written or hand painted on these stones. Symbols can appear anywhere. They can even take on the shape of the stone. Yes, I’ve told you that repeatedly. I’ll continue to do so until you let that fact fully sink in 👌.
The use of certain basic symbols was so widespread that one or more of them can be found in the design of each of these stones. Below is a partial chart with some of the basic symbols you’ve already seen. We will be covering the meaning of these symbols in the remainder of this chapter. That’s right, it’s time we start discussing language!
The chart above contains six 6⃣ basic language symbols used by the Aha people. Symbols that may possibly represent a part of the world’s 🗺 oldest written language 🤯.
I’m so thrilled to be at this point in our discussion. It’s not everyday that a person gets the privilege of introducing an ancient language to the world 🎉. When I first discovered that the Aha people placed language markings on certain stones, to be honest, I wasn’t surprised. For a number of years the possibility that the Aha had some form of written language was foremost in my mind. This consideration was based on a phenomenal stelae stone that had been recovered. On this particular stone there is an image with someone presumably holding a writing instrument. Seeing this, the prevailing thought was that if someone was pictured with a writing tool then they obviously knew how to write. So, I immediately began the efforts of trying to identify what written language might look like amongst the Aha. Of course I had hoped to find some ancient tablet with symbols neatly arranged. Instead what I found was language used within decorative patterns adorning many of these stones. Although this revelation was somewhat shocking, it became increasingly apparent that I was indeed looking at written language. The only logical thing to do was try to decipher it. One of the first things learned was that the language present on these types of stones revolves around a number of base or standard symbols. These symbols were used in their base form, in numerous variations, and in combination with each other.
Taking note of the repeated use of certain geometric shapes, colors, and symbols is a key component to understanding these stones. Once you know what you are looking for it becomes increasingly easy to know what you’re looking at. [Yes, that too is a repeated statement.] Would you like an example of how easy? Certainly you would, so we’ll continue with the next two stunning examples. Below you will find a picture with some very unique stones. These two pieces were found in non-contiguous areas. The distance separating the areas where these two stones were found measures about 100 yards (91.44 meters), roughly the length of a football 🏈 field. Their construction style is more than just similar.
From this perspective the stones are identical in shape, but not in size. For an objective comparison let’s look at the measurements of each stone. We’ll label them Stone A and Stone B with Stone A representing the smaller of the two pieces.
As you can note, each stone has the same length. Also, the uniformity of the other measurements seem to indicate that basic mathematics, to some degree, was employed in their construction.
For each of these stones the smooth curved bottom is a visual clue. In fact, the rounded bottoms make an excellent orientation point. Why? Because this curved bottom design was frequently employed by artisans in their production of “rocker” type stones. It is in fact the easiest way to identify some types of rocker stones. I’ve shown you both known types. The type of stones that rock because of a rounded base and the type that rock due to applied leverage. Both types perform the same basic functions. Also, from this perspective both of these stones are displaying unique faces. Were you able to see them? If not no worries, I’ll show them to you in a bit 😊.
Let’s take a look at these intriguing stones from alternative perspectives.
Let’s take a closer look at these two stones for other similarities.
Stone A upright and viewed from the front displaying the image of an anthropomorphic bird-like figure. In design, the features are quite reminiscence of the mask worn by plague doctors in Europe in the 17th century. Could it be that those mask were inspired by some ancient archetype? Perhaps even in 17th century Europe there remained the arcane belief that anthropomorphic “birdman” figures were somehow connected to knowledge and protection. After all, wasn’t “birdmen” precisely what the doctors were mimicking with their bird-like mask?
A depiction of “Doctor Schnabel” (“Schnabel” is literally German for “Beak”), a plague doctor in Rome. The engraving was first published by Paul Fürst (1608–1666). *Public domain image.
Stone B displaying a similar humanoid bird-like image as Stone A. Notice how the curve in the stone forms an almost identical type of beak. What’s different? Unlike Stone A with it’s elaborate black banded pattern in the middle of the eye, Stone B has an eye formed by white pigments bordered on both sides by decorative black banding. If you remember what’s been said about the color white, then you know that it frequently symbolizes extreme heat or fire. Knowing that, what narrative is this stone attempting to relate 💭? C’mon, this one is easy 😉
Stone A from above displaying the image of a bird-like figure facing right 👉. As always, special attention should be paid to the black banding. In this example it forms the center of a large half-circle shaped eye. The pattern that the banding forms is a combination of at least three language symbols. At its core is the irregular pentagon shape. The symbol for air or to be more specific, air representative of wind is also present. To these two symbols add the color symbolism that black represents and you come to a derived meaning of smoke filled air or burning wind. Since this symbol is located inside of the eye then we know that it carries the placement value of something that was seen. Therefore, the narrative associated with this stone is one in which smoke filled air or burning heat was seen in relation to the “irregular pentagon”. I know that that description is lacking, but it will make sense later. I promise 😁. In this particular picture it is somewhat difficult to visualize the artistry utilized to place this banded symbol on the stone. That’s because the stone as pictured above was photographed while dry and beneath bright lights. As you’ll see shortly, when wet, beneath low lighting, and from an alternate perspective, the banded symbol really pops. Just as important as the banded combination symbol is this stone’s shadow. In this image we can clearly see that the shadow forms the shape of an egg 🥚. Since birds hatch from eggs one might conclude that this is the only meaning being imparted. However, when you consider that the egg shape is common among these stones then perhaps it’s meaning is much deeper. Keep in mind that you were shown a terracotta piece depicting a serpent eating an egg 🤔.
Stone B displaying the image of a small, short-billed, rounded (chubby) cheek songbird facing left 👈. The bird’s sole visible eye is whitish in color and was created by a slight variation in pigmentation on the outer stone casing. This eye rest inside of a large gouged or scooped section on the stone. The borders of the gouged section form the shape of a slightly rounded sideways trapazoid.
If you were able to visualize the songbird then you should have no problem viewing the secondary image that is present.
Seen under low lighting, this person shares the same whitish colored eye as the songbird shown and is facing rightward 👉. Based on the way the face is constructed this person is clearly humanoid versus human. The position of the eye in relation to the large squared nose is odd to say the least however, it’s placement on the side of such a elongated nose is typical. In fact, there are several facial designs amongst these types of stones featuring eyes 👀 located on the side of very large noses. Both bird and person share the same slightly white and black pigmented rounded (chubby) cheek. The songbird’s small beak now appears to form either a pointed occipital bone for this humanoid figure or a simple single bun hairstyle . Also worth mentioning is the small symbol located on the side of the nose in close proximity to the eye.
Based on it’s placement, it most likely is a variation of the pointed white symbol seen on the first rocker style stone presented to you. In that example the small white symbol was representative of an extremely hot fragment or shard that was embedded in the skin. The small white symbol seen here likely represents the same thing; a hot fragment piercing the skin.
Stone A and B from the front and slightly above. From this perspective both stones are displaying faces. See if you can find them before looking at the diagramed view. I’ll show them to you separately later.
Here are the two faces from the curved bottoms of the stones.
How do we know that these are faces? Simple. The face on Stone A was made from a simple contrast in the colors of the outer stone layer.
As for the face on Stone B, it was created via the sub-style using notches. The first “rocker” stone shown to you had a similarly created face.
Next we see both stones from above and side by side. This is the non-rounded top of these stones. Again, notice the almost identical shape of these pieces. Also take note of the prominent arrowhead shaped shadow of Stone B.
Now, would you like to see something that’s totally mind blowing? How about something that’s geometrically round forming something geometrically square ⬛?
I don’t know about you, but prior to these two pieces I’ve never seen anything round or curved project a square shadow. Can you now truly begin to see the genius behind these stones?
Could both of these stones possibly be naturally occurring? Highly unlikely. I will concede the fact that naturally occurring rocks form in many spectacular ways, but this is not one of them 🤣. It was possible to find the second piece because the first had been meticulously studied years before. How many years before? Oh, not too many, only about ten 😲. That’s right, a little over ten years elapsed between finding these two very similar stones. The first stone was so impressive that it was given a prominent place in my collection. What made it so impressive? Simple, it was that piece that convinced me that some stones displayed a rocking motion as a primary function. Finding the second stone a decade later and a football field away was only possible because the first stone had taught me what to look for. It had a recognizable design because of its repeated observable characteristics. Again, say it with me this time…“These stones were not randomly created”. 😃
Stone B from the front and slightly above displaying the image of a woodlands type bird facing leftward 👈. The visible eye seen is the result of a slight contrast in colors on the outer stone layer. Amazingly this contrasting layer becomes intense and almost luminescent under bright lighting. The head of this bird is smooth and slants downward towards a pointed beak. Remember, this is a “rocker” type stone. As such if it were in motion this little birdie would at times be looking upwards. From this perspective Stone B projects a much different shadow than earlier. It’s really worth taking a serious look. You’ll see that symbols really can appear anywhere 🤗.
Note: The Spinning Top shadow seen above is one of several repenting shadow symbol designs projected by Perspective Stones.
Just to be clear, Yes!, I did just say that some stones exhibit a repeating shadow pattern. These repeating shadows are meant to be an extension of the stones total design. In fact, in some cases, the shadow is used as an essential part of relaying the narrative the stone tells. Hmm, just think… vastly different stones sharing the same kinds of shadows. That seems rather intentional to me 🤔.
In case you were thinking that the shadow of Stone B was accidentally created, here’s another view of this piece that presents an equally impressive shadow. You saw this symbol earlier in this chapter. Do you remember where?
Stone B again. With a slight rotation and change in perspective we can see another type of bird-like creature facing left 👈. The large gouged section of the stone serves as the placement area of a large black eye. The frontal portion of its beak is rounded and appears to be beaten in and damaged. This is intentional. Via a ridged line running almost the length of the stone, the lower beak is formed. The forehead is flat and the backside of the head is rounded.
Incredibly that’s not the only image on display from this vantage point. There is another little birdie facing right 👉. It’s been diagramed below.
Did you notice the shadow being projected? It’s the same shape as the shadow that was projected earlier by Stone B. What’s the big deal? Well, when you previously saw this shadow the stone was standing on its curved base. Now, this stone is laying flat! What does this symbol mean? I’ll be happy to show you.
As you can see, although the construction and design of some stones seem to have been created based on standard templates or designs, each stone’s specifications can make them appear vastly different overall. The last two stone are just one example of probable template design. In my research many stones seemingly made based on a variety of templates have been recovered. Also, while the two appear nearly identical from one perspective, remember it only took a change in perspective for that to visually change. As a result of a simple change in angles, multiple images were seen on each stone. Fabulous!
We’re not done!
Remember, the last time you were shown both stones side by side I diagramed two faces for you. This is the face from Stone A seen dry. An above view allows the viewer to view the biplanar face. Below the stone is shown wet.
Didn’t I tell you that this exquisite combination symbol popped! Here you can view it in all its black, banded glory. And, as if the banded symbol wasn’t enough, just check out the fire 🔥 symbol formed by the shadow. That’s right, these near doppelgangers even share a repeating shadow shape. WOW 😲!
Did you happen to pay attention to the border of Stone A? If you did, what did you think of the section highlighted in red below?
What if I informed you that this was a design style that was repeated with many of these stones? Want to see an example of what I mean?
On the left is Stone A without the highlight. To the right is a piece that I showed you in chapter 4.
How about one more?
You haven’t been shown this piece yet. It’s being shown now only in a comparative fashion. Notice it has an identically shaped border. As you ponder what you have just seen, keep in mind that a coincidence is two. I’m just saying 😂.
Stone B from a twelve-o’clock-high perspective. The picture on the left displays the image of what can only be described as a type of prehistoric bird, facing forward and slightly to the left 👈. Its beak is triangular 📐 and has a “flat-iron” appearance. The white and black pigments form it’s face and within this area a pair of eyes can be found, the right eye is whole and the left eye is partial. The top of the head is smooth and curved. This avian’s face isn’t diagrammed because, although it was spectacularly created, it’s not our focus. What I need you to see is this stone’s borders. On the right is an exact outline of this piece. Never let it out of your mind that Symbols Can Occur Anywhere! Remember this one 🙂.
You were shown multiple sides of Stone A and Stone B. Can you guess which piece was the “rocker” stone from the beginning of the chapter?
Over the last four decades I have seen thousands upon thousands of these types of stones. That’s no hyperbole. In that time a scintillating theory has emerged that’s worth sharing. I believe that some of these stones, like the examples shown, were created based on standardized templates. These templates or basic formats may have been utilized to create a consistency in stone forms. Perhaps this partly accounts for why similarly designed stones are frequently found thousands of miles (km) apart. If true, these standard templates not only provided model forms, but carried with them the possibility of specialization between stones that were fashioned similarly. As an analogy, imagine some stones being like a delectable baked dessert 🍮 treat that I call Peanut Butter 🥜 Pucks. When their made the same standard template is utilized to create their circular form; a cupcake🧁 pan like the one below.
Because a standard template is always used to create these simple treats, the PB 🥜 Pucks always have a consistent repeating uniform shape. However, there are times when I like to test my skills as a culinary artist. At those times I’ll add a little something extra to my basic PB Puck design. The dough is still placed in a standard template (cupcake pan), but prior to baking other ingredients are added to specialize each treat. The Pucks still retain a repeating uniform shape, but, when viewed from different angles or perspectives you might not notice. In fact, you might not even be cognizant that a standard form existed. Due to the visual differences between each PB 🥜 Puck you might not recognize that they all came from the same mold or standard template. 👌
Does the theory of standard template designs make sense to you now? I hope so 🙂. Now ask yourself, if standardized templates were used, who was responsible for that standardization? In other words, who made the decision to create stones based on specific models? Just another something to make you say… hmm🤔.
Right now you might be saying to yourself, that it’s impossible for a single individual to know all of the things I’ve told you about these stones. That’s where you’d be wrong because I do and much, much, more. It bares repeating, when you know what you are looking for, you know what you’re looking at. And, since I know what I’m looking at, let me present you with a lovely group of stones that you are unlikely to forget. They are sublime in their simple form. What makes them so special? Well, they’re about to add to my theory of standardized templates and basic designs.
As seen in the photo above, these three rectangular shaped stones are roughly the size of standard domino game pieces. No, I’m not implying that these, and similar stones, were used as a part of some ancient game. My belief is that they were created to display faces and images just like other stones. However, because of their construction materials, these stones have been susceptible to a higher degree of erosion. That doesn’t mean that these stones are absent visual imagery. If you have an eye for attention to details, you might be successful in glimpsing a face or two 😄.
When placed side by side, what stands out most is that only two of these stones have four corners. Stone C, although absent four corners, does have one squared side. Years ago it would have incorrectly been assumed, by me, that Stone C was the victim of breakage or damage. Then again, years ago I didn’t know the context in which to view these stones. 🧐
The similarities in these stones can be seen again when viewed from the opposite side. What’s of note is that all of these stones have a lip or elevated prominence. In each example the prominence was created by a section of the stone being cut away.
Let’s take a look at the details of each stone.
Notice how each stone has the same length. Although all the measurements are not the same, it is apparent that at a bare minimum basic mathematics was utilized in their design.
Turned sideways, these stones generally appear the same. Here I need to once again stress the importance of looking at the total stone. What do I mean? Did you pay attention to the borders of each stone? If so, did you notice that the borders form the same type of shape?
Here’s the view from the opposite side. Notice anything different? What’s that you said? Stone C has a differently shaped border. How perceptive of you. Yes, Stone C’s borders are noticeably different now, but somehow strikingly familiar. Oh, that’s right, the borders of this stone form the second symbol on the guide. Where else have you seen it? Chapter 4 perhaps? It was labeled symbol 2 at the time.
Would you like to know what it means? Thought so. The meaning of this symbol is “bad air”. It’s the second symbol from our symbol guide.
Beyond that general meaning, this symbol specifically means smoked filled air with contaminates or other caustic substances. Even more specifically, bad air that was caused by smoke filled with contaminates, or other caustic substances, that were taken into the body via the mouth or nose. Whew! That’s a mouthful 🤣. How’s that for a language symbol 😁? Did you like the detailed explanation? Like other symbols the “bad air” symbol can appear anywhere on these stones, however it is most often seen in the areas of the mouth or nose. And yes, this symbol makes for a great orientation point, especially since it is frequently found in the borders of a stone. When found along the border it often takes the form of variations 2-4 shown above.
In analyzing these stones, there’s nothing in their design that suggests a utilitarian use. Their seemingly standard shape and size might easily lead to the assumption that they were used as some sort of weights for a scale ⚖. In my opinion, the probability of that being the case is low. Especially when you take into account that two of these stones appear to be purple hematite. The third appears to be an admixture of terracotta and smaller stone pieces. If these were a type of weights, we would expect, at a minimum, for each stone to be composed of the same lithic material.
Based on commonly accepted views about the Prehistoric era the people that made these stones never existed. Nevertheless, these stones are real and found throughout the Americas and beyond. Current scientific thought does not and can not account for these types of stones. Nevertheless, I will continue to boldly assert that many of these stones are not naturally occurring rocks. They were hand created by someone. Whoever that was, they undoubtedly possessed knowledge of advanced stone crafting techniques. These stones depict a great deal more than human and humanoid faces. They depict more than just mythological creatures. Some of these stones quite amazingly often have representations of long extinct animals like dinosaurs 🦕. I am not alone in this assertion either. Many people in the Americas, and around the planet 🌏, that collect these types of stones, have been astounded when confronted with the image of a dinosaur portrayed in connection to one of these stones. Like these untold thousands of people across the globe I was dumbfounded the first time I recognized the depiction of a dinosaur. Fortunately I kept an open mind, but more importantly I trusted my own eyes. Since that first stone I have seen many, many, many examples of dinosaurs being depicted. What’s odd is that ancient people supposedly had zero knowledge of animals like dinosaurs. These beast are presumed to have been extinct long before humans became… well, humans 🤔. That being the case you have to ask yourself, “How could Prehistoric people depict animals they had never seen nor had any contact with”? It’s one thing when “mythological” creatures like dragons, goblins, fairies 🧚♂️, etc. are being depicted. I would argue that it’s something completely different when there are depictions of dinosaurs or other animals thought to have been extinct for millions of years. We are told that the former (mythological creatures) are simply a creation of mankind’s imagination. The latter (dinosaurs) on the other hand represent proven scientific fact. I can’t account for why so many depictions of dinosaurs and other megafauna exist in relation to these stones. Still, because these depictions do exist, in later chapters I’ll be showing you other stones with some remarkable images. Sounds incredible right? Well, like everything else regarding this research, it has taken a large amount of repetition for me to be convinced. It will no doubt be the same with you. That said, I’m certain you will agree that the depiction of one type of dinosaur might well be chalked up to coincidence. On the other hand, the depiction of multiple types of dinosaurs might convey a meaning quite different 💭.
In this and preceding chapters we’ve been able to lay a solid foundation for correctly analyzing these stones. During that time you learned that many stones exhibit observable repeating patterns in construction, styles, colors, symbols and motifs. Take for example the “rocker” type stone from the beginning of this chapter. You know, the stone I asked you to view on your own. Were you able to find any faces or images? I’m certain you did, especially if you used the information you’ve been given. Did you make use of some of the built-in orientation points I described? If you did wonderful! You get two gold stars ⭐ ⭐. Yes, you’re just that special 😁.
Having a basic knowledge of some of the repeating patterns these stones possess also aids in the visualization of the images they contain. For example, previously you learned why rocker type stones were made to rock. You learned that the rocking motion of these types of stones serves a dual purpose; animating a stone, making it appear living and allowing faces to look upwards, a prime orientation point. Because you were made aware of these facts, you knew exactly what to look for. That’s precisely how it should be.
The first picture of the rocker stone presented was taken from the perspective of the right 👉 profile. From this angle there are several faces present. Most of these faces share two distinct characteristics; brownish-tan skin color and the black banding used to form the mouth or teeth. Below you’ll be presented with diagramed views of these faces as we discuss them in detail.
This rightward 👉 looking face exhibits brownish-tan color for its upper and lower parts. There are subtle black pigments painted in the shape of a square ◾ forming the right eye. No left eye is visible. The wide, crested forehead is slanted downwards and connects to a broad squared nose. At the distal (lower) portion of the nose additional subtle black pigmentation can be seen. For this face the subtle black pigments represent smoke. The interior of the mouth is represented by a wide panel containing dark black banding. Here the dark black banding or pigments have been used to mimic clinched teeth.
Why are the teeth blackened and clinched? I’m glad you asked 😅. The teeth are clinched in order to contain what’s inside of the person’s mouth. Also, what’s inside the mouth is the reason the teeth have been turned black. So, dear reader, since we know that the color black symbolically represents smoke or burning, what can we deduce has happened to the teeth? If you said that they (the teeth) have been covered by smoke or burned give yourself a pat on the back because you’re 100% correct. That is exactly what we are symbolically seeing; teeth that are smoke covered or burned. Now, if that interpretation is correct, and it is, we should be able to ascertain the source of heat. Agreed? That said, did you happen to notice the mixture of whitish and reddish-orange pigments separating the black teeth? If so great because it too is telling us something. We are symbolically being told that something hot and fiery is inside of the mouth. How hot and fiery? Hot enough to rend flesh from bone thus exposing the blackened teeth. It was hot enough to send smoke streaming from both the eye and nose, hence the subtle black pigments. Hot enough even to blacken the teeth and create cracks between them. In fact, the heat was so intense that the back of the mouth (oropharynx) turned partiality white. That tidbit is important because as previously stated the color white is often symbolic of extremely hot fire or heat.
We’re not done yet!
This face shares almost all of the characteristics of the first image. They share the same blackened teeth, squared nose, and crested forehead. The major difference is the eye placement and eye design. As opposed to a painted black square for an eye, the right eye was created with a small triangular shaped cut-away (highlighted in red). As we’ve discussed, a stone doesn’t have to be moved or rotated to facilitate a change in the faces that are displayed.
Now let’s look at face number three.
In order to focus on this face, the original photo was tightly cropped. Like many images associated with these stones, this face was done with superb micro detailing. The face is rounded and appears almost childlike or playful with its happy smile. The round button nose has a bifurcation and is somewhat lighter than the face. Both eyes are present above the nose. The right eye is a simple black dot, but the left eye is something special because of the symbol that is displayed. Above the eyes the stone tapers into a triangular point. No, it’s not the shape of our little friend’s head, but instead a pointed hat being worn. What type of face is being depicted here? Would it surprise you to know that it is an anthropomorphic pig 🐽 person? In what seems like forever ago, I told you that these stones are replete with humanoid depictions. Well, the humanoid pig is one that shows up repeatedly. One would think that the idea of an anthropomorphic pig creature would have been strange amongst ancient people. Then again, perhaps it was no stranger than the oral history, myth, or fairytale that modern humans tell of three little pigs building houses 🏘. Houses in which they sought to protect themselves from from an upright walking and talking “big bad wolf” 🐺. As has been said, all myths and fairytales started somewhere 🤔. Oh, and what was the symbol used for the left eye? It was the Mother Symbol, Genitrix Symbolus in its standard form.
Although I’ve hinted at the meaning of this symbol, I’m not ready to cover its full meaning. Still, it’s important to view the “Mother” symbol, with some of its variations. The key to recognizing this symbol are the three spikes or points that always adorn the top. For the left eye of our micro-pig person the standard form of the symbol was used. Can you recall the first time you saw this symbol? It was back in chapter 1. I made sure you couldn’t miss it. Have a look at it below with all of the information you now have at your disposal.
This is the firebird from early in this work. Looks a lot different now that you know what you’re looking at, huh? Is your mental perspective beginning to change? Oh, how I hope so 😊. Let’s continue.
This image was partially colorized to enhance its details. What is it? Smilodon fatalis, or in the vernacular a sabretooth tooth tiger (big cat). From the left 👈 facing profile this big cat is distinguishable because of its large knife-like tooth. The white tooth is streaked with black pigments representative of smoke or burning. Just like two of the previous images, this sabretooth cat has something hot and fiery in its mouth. The left eye is formed by the same black square that was the right eye for the first image. The right eye is formed by darker pigments applied to the outer stone layering. Above the tooth the big cat’s nose is shaped like an hourglass ⏳. Yes, it was intentional and it’s another smartly placed Time symbol adorning this piece. The furry mane of the sabretooth rises high on its head draping backwards and down the left side. Like the other examples, the dark black banding represents the exposed teeth that have been covered by smoke or burned.
Which of these faces were you able to pick out on your own? Even if it was just one, that’s fantastic! If it was two or more then you are well on your way to accurately interpreting these stones from antiquity 😁. Now, ask yourself my dear reader, “How were we both able to pick out some of the same faces?” Really, how was that possible? Was it all the information you were provided in chapters 1-5? Or, are you just a natural? Either way, the fact that both of us can see one or more images in common bespeaks volumes. Before looking at this stone from an alternate perspective, there is one more image well worthy of your attention.
In case you didn’t take note, this stone was constructed with the use of multiple styles, including Biplanar, Gouged, and Cut-Away in its design. The use of these styles gave the artist the ability to make this stone Complicated. What do I mean? If you recall, I told you that one of the characteristics of Complicated style stones is that they sometimes have full body representations. Well, let’s take a look at one such representation below.
Something To Know: Often when stones have a full body representation the legs are depicted without individual definition. When this is the case the combined lower extremities terminate in a smooth, curved or rounded point. To be clear, this is not the only way legs are depicted. It’s just one method.
In this example there is a male figure shown standing in a hunched over or bent position. The head is squared at the top and on each side there are outward projections representing hair. The left eye is formed by a small dark rectangular bar. No right eye is present. The nose is formed by a ridged line that starts at the forehead and slopes downward towards the mouth. Pay special attention to this ridged line nose. Its design is more important than you think. A small gouge has been used to create this mouth and it is surrounded by subtle black pigments. For this image the subtle pigments represent facial hair; a small beard. The remainder of the body is disproportionate to the head. This is normal when a full body is being represented. Often when whole bodies are depicted they are done in a Chibi art style; an oversized head attached to a small body. The torso of the body is comprised of the hourglass ⏳ shape that served as the nose for the sabretooth tiger. The partially white tooth is now forming the legs for this hunched over character. The dark black banding that represented teeth for the large facial representations are now symbolically burning inside of the stomach (belly) of the hunched over figure. His right arm and hand, formed by a fiery “crack” in the teeth, can be seen reaching down into this area as he symbolically holds the fiery, blackened contents in place. How do I know it’s an arm? Simple, in this example the reddish-orange “crack” is a variation of the “grab or hold” symbol seen in on our symbol guide. You also saw this symbol prominently displayed in chapter 4 (part 1), although you didn’t know it. It was painted atop the fourth stone shown in that chapter. You can now look back and understand part of the message presented with that piece. Alright, keep in mind that although this figure is seen bent over, when this stone actively rocks he symbolically stands and looks to the sky with Time In Hand 🖐, or The Hand 🖐 of Time.
Now let’s look at this same piece from the second angle or perspective that was provided. We’ll start with the largest of the distinct faces.
Looking leftward 👈 it’s easy to view a large backwards sloping head. The left eye, with its contrast in color, serves as an easily discernible orientation point. It is formed by whitish pigments applied atop a small section of the dark black banded pattern. As you can see, from this perspective the person depicted has a broad mouth. It comprises the entirety of the dark black banding. The way this image is seen now is only possible because of the Biplanar style in which it was done. The banding has been utilized to create a mouth with exposed clinched teeth, in the exact same way as earlier images of this stone. Again, for this piece the brownish-tan color is representative of this person’s skin tone. The nose is large, fleshy, and divided by a ridged line. Curves found along the border of the nose as well as subtle notches and a slight depression on the left side help complete the nasal design. The same black banded pattern that forms the mouth extends to the lower portion of the nose and also forms the black outline of the left eye. When this stone is actively rocking this is the primary face on this side that looks upwards 👆. Like the other example, the blackness of the teeth symbolizes that they are burned or covered by smoke. Additionally, from this perspective a total of three “cracks” can be seen in between the teeth. However, if you look carefully at this third fracture you will notice that the color is not the same as the previous two cracks. As opposed to a mixture of white and reddish-orange colors, the pigments used for this fracture are overwhelmingly reddish-white. Also, upon closer scrutiny you will notice that this particular crack has more to it than initially meets the eye. With thorough inspection you will find that it was designed in the shape of a small head. This miniature head is cone-shaped and flattened at the top. Within the micro detailing can be found a pair of eyes, a beak-like nose, and a mouth that is open. As for the color of the head itself, the color symbolism is two-fold. Symbolically some shades of red often represent flesh without skin. We’ve repeatedly expounded upon what the color white frequently symbolizes.
Let’s now turn our attention to the full body representation that is displayed. In design it is similar to the previously shown full body representation.
The forward looking face is the product of micro detailing that was done to the large, fleshy nose of the previous image shown. The ridged line defines the right border of this micro detailed face. A right eye in the shape of rectangular bar can be seen. A left eye in the shape of an open circle is visible as well. Precise little notches were used to create a slightly pointed noise. Of particular note is the underside of the nose. The shape is that of an undulating line. Below the nose a second undulating line has been used. This one is horizontal and forms a slightly frowning mouth. The image that is seen now is female. In addition to her face, which is banded below her mouth, the profile of her neck and right shoulder is seen. The hair has a wavy pattern both at the top and rear of the head. Via a ridged line the remainder of the hair is seen flowing rightwards ☛ from behind her head. As you can see, dark black banding is directly over this part of her hair. So too is the whitish pigment that formed the eye for the last figure. Question? What are we symbolically being told? If you said that her hair is shown burning intensely you’d be correct 👏. She shares the same right arm and hand as her counterpart from the other side of this stone. Just like him she is holding Time in her hand. Also, since the curved lower portion of this stone represents her stomach, she too has fire in her belly. Or rather, she is shown holding some type of fiery 🔥 elemental figures inside of her.
Be sure to look for this symbol precisely where I told you on the stone above; beneath the nose and forming the mouth.
In the last description I once again pointed out an rectangular shaped eye. Since I’m apparently just giving you BONUS symbols beyond the six shown on the symbol guide 🤭, here’s one more. Trust me, you’ll need this one later 😉. Besides, mentally it is perhaps the easiest symbol to comprehend.
Did you pick out either of the last two faces? If you did I’m super proud of you! To be sure, there are other faces that are being displayed from this perspective, but for now, I want to share something with you. It concerns the dark black banded pattern adorning this stone. In the beginning of this chapter I told you that this banding represents an inscription. It does. That said, it’s time we turn our attention to reading what it says. 👍
When stretched out horizontally this is what the inscription looks like. We’ll go over the symbols from left to right as we cover their meaning. Before that, we need to cover an important detail involving applied on symbols.
One of the most curious aspects of painted on symbols can be their placement. As opposed to appearing on one section of the stone, symbols can wrap around the piece. To make sure that I’m being clear and that we are on the same page, let’s look at the examples below.
Alright, pretend this box is a stone. Using symbols and letters we’re going to write a simple message on it that is easily understood. We’re going to make use of common symbols for eye 👁 and love ♥. We will add to it the capital letter U and an exclamation point ❗. First, let’s look at Example 1. It demonstrates how most of us would affix these message on our imagined stone’s surface.
You will agree, in this format most people could recognize the message quickly. But, what if speed of recognition was not a consideration? What if the principle consideration was making sure the message was transmitted? The Aha people had a story to tell and so they told it, over and over again. It was their history, their stories, their understanding of their past, and they recorded it in some mind blowing ways! With these stones as a canvass, language and history were merged with art.
In Example 2 you can see one ways the Aha may have placed the same message on our imagined stone. Notice how some symbols are displayed more prominently.
Nowadays, the idea of having to rotate something in order to read it seems odd. All the more so if what’s being said is important. Nevertheless, that’s precisely how symbols on these stones are frequently arranged. The piece we’re about to cover is such a great example because the symbols encompass various sides of the stone as seen in Examples 3 and 4.
What you’re looking at is the first symbol in the inscription. Its placement begins on Plane 1 and is completed on Plane 2. Plane 1 is partially covered in whitish pigments bordered at the top and bottom by subtle black pigmentation. The black pigments are a being used to form the extended jaws and teeth for the first symbol; the baby dragon or fire 🔥 serpent. The main body of the baby dragon symbol is located on Plane 2. Are you starting to understand the Biplanar style? With white pigments being seen between the upper and lower jaws, what are we symbolically being told about the fire serpent? If you said it was consuming something extremely hot, then you my friend have just earned your third gold star 🌟. See how easy that was to comprehend? But this little serpent isn’t just consuming something hot, if you look carefully you will see half of a small rounded face in its mouth. A right eye and the beginnings of a slight grin are visible.
Does this symbol seem familiar to you? It should because you’ve seen it prominently displayed twice before. It was shown to you in chapter 3. Then it was in the form of a “Pac-Man” shaped serpent stone. The hand placed pigments, in the interior of the mouth, were indicative of colors that symbolically represent fire 🔥. This is the same type of serpent, but in symbol form.
That little box demonstration makes sense now, huh? 🤗 Well, you’re welcome 🤣.
When the “Pac-Man” shaped serpent stone was shown to you in chapter 2 it was said that it perhaps represented a baby dragon 🐲. In symbol form I’m certain it’s meaning is just that. However there is a caveat. When the words “baby dragon” are used here I both do and don’t mean what you may think. On the do side, yes I believe that this symbol most likely does represent a baby dragon in the way those words are generally meant. On the don’t side, I believe this symbol in all likelihood represents a much broader range of serpents, not just dragons. Serpents, that for reasons known only to the Aha people were associated with the ability to produce or consume fire.
I said that you’ve seen this symbol prominently displayed twice before. Can you remember the second time? It was when we looked at the large terracotta stone with the egg 🥚 eating serpent from chapter 3. That’s right, that serpent was another variation of this symbol. See, I told you that symbols can appear… say it with me… anywhere 🤭 on these stones. Are you starting to fully understand just what anywhere means? Good.
So, to clarify, the meanings attached to the first symbol are as follows:
1. (the) Serpent
2. (the) Baby Serpent
3. (the) Fire Serpent
4. (the) Baby Fire Serpent
5. (the) Baby Dragon
Did you notice what’s missing from the list? The term serpent has been used almost exclusively, but snake 🐍 has been omitted. That is because although snakes are considered serpents they are not usually associated with fire. At least in the context of producing or consuming fire. The Aha symbol for a snake is totally different and bares no resemblance to this symbol. As such the difference in meaning cannot be confused.
Time is the second symbol in our inscription. As stated, here it is seen in a more standard form.
The time symbol may appear in this standard form or the upper part of the symbol can be replaced by other symbols. When the Time symbol is formed in this manner the base of the symbol is understood to mean “In the time of” with the added top symbol completing the time reference. As such, numbers III and IV on the chart aren’t really variations, but instead are examples of combination symbols involving Time.
The way that the Time symbol appears on this stone, placed atop colors that symbolically represent fire, gives us a time reference that we’ve encountered before. Another time reference is derived by the joining of symbols I and II at their base. If you look closely at the bottom of the fire serpent and time symbols you’ll notice their connection point. Since you now know the meaning of these two symbols can you tell me what this portion of the inscription says? It’s simple. Remember, time is verbally expressed by saying “in the time of” “in the era of” or “in the period of”. Now add that to any of the five meanings given for the first symbol. We’re going to read these two symbols together from right to left. First as a simple sentence. Ready? “In the time of the baby dragon”. Now, look at number III on the chart above. This combined symbol provides the same meaning. Because of the color symbolism present on this stone we could have also said, “In the period of the serpent eating hot fire”. Also, thanks to the color symbolism employed behind the Time symbol we can construct a nice little compound sentence. “In the time of fire and in the era of the fire serpent consuming intense heat”. My preferred way of reading these symbols is in story form. Something like, “It was the time of fires. Nothing was spared from the flames. Out of desperation even the youngest fire serpents were used to eat the intense flames…”. Now that you can partially read symbols, what is the meaning of the second combination symbol (IV)? “In the Time or Era” of what? You got this 😉 🙂.
Since we read the first two symbols from right to left we’ll do the same for the next two. So let’s skip the third symbol for a moment and cover the fourth symbol.
When you look at this symbol, what if anything comes to mind? Yes, you were shown a similar variation of this symbol when we focused on the borders of this very piece. How’s that for repetition? 😉
The fourth symbol on this stone looks like an arrowhead. And arrowheads derived their names because they are used as the tips for arrows 🏹. Now, using your “way back machine”, tell me what I said the arrow ⬆️ shape has often symbolically represented in cultures around the world. If you said flying then you’ve just earned your another gold star ⭐. I’m so proud of you 🙂! The same was true for the arrow symbol used by the Aha. A wonderful thing about this arrowhead symbol is that it just may assist you in better understanding the third symbol. How so? Ask yourself one little question. Exactly what we’re arrows and arrowheads used for? We’ll let that question marinate in your mind for now 😁.
Let’s cover some of the meanings of the arrow symbol. We could sum it up by saying anything flight related, but here’s a short list:
1. (to) fly
2. (did) fly
3. flying
4. flew
Question? When we looked at the first two symbols did you pay attention to what was used to separate them? It was one of the “cracks” in the dark black banding. The separation of symbols III and IV was performed in the same manner.
The third symbol is by far the largest and most unique symbol on this stone. We’ll begin by examining the head.
From this close-up view we are presented with what appears to be the head of a humanoid bird figure. We can see a curved pointed beak, rounded chin, and a series of humps on the back of the head representing hair or feathers.
Below the head and chin is a small neck that sits atop wings that are perhaps in a state of repose or preflight. Keep in mind, it was said that this third symbol is by far the largest symbol on this stone. Now, you’re about to see something truly extraordinary. Pay attention!
The artists that ingeniously created this piece, designed it so that third symbol behaves like a verb in a sentence, showing action. How so? By visually combining all of the four banded symbols, the birdman’s original form now displays outstretched wings. Wings that are now seen in-flight. When this stone is actively rocking, the viewer is symbolically treated to the image of the “birdman” flapping it’s wings as it attacks. Attacks what you ask? Great question. Let’s return to the head of this birdman character for answers.
Did you notice that this birdman character is seen with the tip of its beak inserted into a slightly curved black mass? A black mass that has white at its core 🤔. So, what is the birdman figure shown to be attacking? Before answering that, the question arises, what did you really see when looking at how the beak was inserted into the black mass? Did you see only the physical image or were you able to understand the concurrent symbolism? What do I mean? Simple. Ask yourself, “What is the black mass that is seen”?
If you follow the borders, commencing from where the beak and black mass meet, you will no doubt recognize the “bad air” symbol. Here it is seen upside-down from how it appears on the symbol guide. At the center of the bad air symbol you can see what? The color white which frequently represents intense heat or fire. You got the picture now? Is your mind starting to understand how to connect the dots? One thing that might have aided you in the visualization of the bad air symbol is knowing that symbols have no set direction. Whether created upside-down or right-side up, vertical or horizontal the meaning attached is the same. So, knowing that, can you now tell me what this birdman character is seen doing? That’s right! It is seen symbolically attacking and consuming “bad air” that is hiding intense heat or fire 🔥 at its core. How do we know that to be the case? Remember the three “cracks” in the teeth of the larger figures? Well, now they are representing burning inside the wings of our birdman figure. Pretty amazing, huh?
We’re almost done! 👌
Since, like the first two symbols, the last two are physically attached, we’ll read them together. Again, we’ll be reading from right to left. So, you have the arrowhead symbol with it’s connection to flight and flying. Then you have the “birdman” symbol that is seen involved in action. A simple sentence would be, “The bird person breathed in bad air while flying”. A compound sentence might go like this, “The bird person while flying breathed in bad air and intense heat”. In narrative form it might go something like this, “While in the air, the birdman did the unthinkable; consume the foul black smoke and intense flames. Unable to contain the extreme level of heat in its body it’s wings were set ablaze”.
Now, we will incorporate everything seen with this stone to derive a comprehensive message. Here goes…
“During the time of smoke and fire, nothing was spared from the burning flames. Out of desperation even the youngest fire serpents were called upon to consume the intense heat. Those with wings took to the air in hopes of heading off the impending danger. While aloft in the air one particularly heroic birdman did something unthinkable. He consumed the contaminated bad air replete with all its acrid black smoke. In a selfless act of love he sought out and then swallowed the most intense flames. The heat was so powerful that it could not be contained. In the process of this courageous act, the birdman’s wings were set ablaze. The fire serpents and birdman were not alone in their courageous endeavors. All those that were able also consumed the flames. They grabbed ahold of the fire and placed it deep within in their bellies. These were the selfless acts of those whose only goal was to give the people, their people, more time.
While this is quite the narrative, you might still have one lingering question. How do we know that the Birdman figure is attacking the “bad air” as opposed to just consuming it? Well, it comes down to understanding symbols and their placement values. What do I mean? Do you recall that just a little bit ago I asked you what arrows and arrowheads were used for? If you are a student of history then you know that since time immemorial the bow and arrow were one of the principle means of either defending against or attacking ones enemy. Do you follow? Okay, knowing that and knowing that the arrowhead symbol, like the arrow symbol, is connected to flight, then all you need do is connect the two meanings. You have fly or flying, plus attacking. Or in a more modern context, an aerial attack. This interpretation was possible because of the placement value given to each of the symbols. If the arrowhead symbol was absent from the top of the right wing the narrative being told would be very different. Are you starting to understand placement value now? Great! My dearest reader, if you’re like me, sometimes when you hear a good story, you’re curious about its origin. Where did it come from and who told it. Well, apparently the same curiosity was around in the time of the Aha people. Take the narrative that you just read for example, where’d it come from? I could tell you, but it’s much more fun to just show you 😜.
What are you looking at? Earlier, it was said that many of the narratives connected with these stones are told from the first person perspective. Well, fortunately for us, when it comes to this particular stone, we are shown just who presented us with such a heroic tale. The image above is of humanoid bird-like figure. This vulture like character is the “Birdman” figure that was referenced in the inscription. Here he is pictured at an advanced state of age with his bald head and sunken eyes. Although his beak shows the signs of having been cracked and damaged, like this stone, he was a survivor.
Finally, did you notice how uniform the dark black banding comprising the inscription is? From the looks of it, the artist that placed them on this piece must have had and incredibly steady hand. Either that or some really unbelievable tools. Seriously, if we are really talking about an advanced civilization, would we not expect them to have an Advanced way of manufacture these stones? Based on some truly phenomenal things I’ve seen, the question was, “Did the Aha have the use of machines?”. Absent finding the remnants of such machines or advanced tools perhaps we will never know. Then again, one never knows what evidence might still be out there 🤫. Evidence leftover since a time Before the Olmec.
This concludes chapter 6. I hope you were educated and entertained. Thank you for taking the time out of your beautiful existence to read this work. Because of your dedication to seek the truth. I am more determined and motivated than ever to complete the task that has been assigned. All of you reading these words are truly the wind beneath my wings. The truth isn’t just “out there”, it’s here, right before your eyes 👀. Much 💙 to you, wherever you are around the 🌎. Thanks again and please share and bookmark. Next post, Chapter 7. ✌️
Bonus content will be added to this post. It will definitely be a must read. I’m talking about a real doozie! 😲