Chapter 7
Part 3
With the last stone fresh in your mind, let’s delve deeper into some of the repeating design patterns frequently observed with these stones.
Above is a stone that combines and displays design patterns we’ve seen previously. The angular dimensions of this stone are nearly identical to that of the last piece. Its size, shape, and two slightly squared corners, on the other hand, resembles the three stones that were pictured along side modern domino game pieces (see Chapter 6, Part 3). Pay attention to the subtle differences between sides A and B. Notice that Side A has a brownish-tan color, whereas Side B has a lighter whitish-brown hue. On Side A give attention to the black banding this stone displays. Although it is considerably faded, it still provides us with a clue as to how to view this piece in its proper perspective. Why? Because as stated, black banding (pigmentation) is most often found in relation to facial depictions. So, although a facial image may not be clearly visible now, I’m certain that when this stone was created that was not the case. In fact, when you know what to look for, traces of facial images can still be gleaned from this piece. Before that, let’s look at the measurements of this stone. This stone is 2.0 inches (5.08 cm) long, is 1.0 inch (2.54 cm) wide, is 0.5 inches (1.27 cm) thick and weighs 14.4 grams. Beyond size there is a distinct difference between this and the former stone. Unlike the uniform, offset layers seen with the larger iron-ore piece, this smaller stone is composed of a slightly rough and granular type of terracotta. Below the two stones are pictured side-by-side so that you can visually compare them 👌.
Once visually compared the resemblance in the design of these stones is clear. Coincidence? Highly unlikely, especially when you consider that these two pieces were produced from two very different lithic materials. Question… Could the repeated angular design pattern you see also be based on a standard template design? Maybe, just maybe 🤔. As for the facial depictions that can still be seen on this stone, I’ve provided detailed pictures below.
With a slight shift to the left, a barely distinguishable image comes into view. To locate the face we’ll use a built-in orientation point. Which one? The one that I’m about to reveal 😃. In this example it’s a simple smile. What smile, you ask? Great question. The one that is formed just above the most angular point on this stone. How do I know that this is really a smile? Simple. Just like the nine 9⃣ repeated styles, the repeated shapes, the repeated shadows, and the repeated symbols these stones display, they also feature repeated facial expressions. Among them are happiness 🙂, sadness 😔, excitement 🤩, fear 😱, ambivalence 😏, anger 😡, and shock 🤯. Or simply put, these stones display the full gambit of human emotions. In this example, the smile is depicted in the same broad “U” shape seen on the smiling emoji. Which of course is the same shape our own mouths form we we smile ☺. Interesting, huh? At any rate, this smile gives us the ability to locate this character’s rounded cheeks and elongated head. I’ve diagramed these facial features in the photo on the right. See if you can discern where the eyes 👀 would have been located. In order to do so, all you must do is trust your own eyes. I’m sure you can do it 😀.
I’m about to show you another face that’s present on this stone. It’s design relies almost exclusively on its banding. Since the black banding is key here, there’s a couple of things I’d like for you to look for in its intricate design. We’ll call them “humps and spikes“. And, if you do see any “spikes”, consider whether any remind you of any of the basic language symbols seen on the symbol guide. Remember, symbols have no fixed orientation. They may appear in any direction. Be sure to recheck the last image as well 👍.
This face is visualized by turning the stone on its left side. How do we know that this is really a face we’re seeing. Simple. Because of what we know about the built-in orientation points these stones possess. In this example there are two. The first is the observable contrast in the pigments seen. This gives us a concrete way to find the eyes. The second is the black banding itself.
Which, as has been repeatedly stated, often can be seen in conjunction with facial depictions. With these two facts in mind, we can easily and quickly locate both eyes 👀, the nose, open mouth, chubby or rounded right cheek, and elongated, mostly bald head. As you analyze this piece consider two things. First, if the eyes were sometimes designed to reflect something that was actually seen, what does the shape of these eyes tell us? Second, don’t neglect this stone’s micro detailing. With the intentional use of black banded patterns in mind, consider what can be seen inside the right nostril of this person 🤔. There’s no doubt that you’ll be amazed.
Here I’ve provided you with two additional views of the same stone. On the left the face is seen from a frontal view. From this perspective you can better observe how the black banded patterns form downward 👇 flowing undulating locks of hair. On the right side of the face, the hair is seen partially covering the right eye. This contrast in colors is what makes the easy visualization of this eye possible. On the left side of the face no definitive eye 👁️ can be seen. Either it is intended to be understood that this eye is missing (as seen with many other stones), or like the right eye, perhaps from this perspective it is merely covered by the hair. Something I am certain about is the variant of the mother symbol (Genitrix Symbolum) that is used here. Did you miss it? Well someone hasn’t been paying attention 😔. Look below the left nostril. It’s incorporated into the banding that forms the mouth. For a reference compare it to a variation appearing on the symbol guide. Here the symbol is inverted and has additional spikes.
Have you thought about the color symbolism represented by the black banding on the last stone? If not you definitely should. Why? Because it’s color alone symbolically tells us that the message attached to this piece involves either smoke, burning or both. So what’s the message or narrative attached to this piece? Simple. Someone looked up in the sky and saw something that was round, whitish-orange, and with tail trailing behind in the sky. As a result they were exposed to “humps and spikes“. Sound odd? It shouldn’t if you take the banding pattern into account. Why? Because you already know what the “humps” represent. It’s the “humped” or rounded part of the bad air symbol. Typically, whenever the bad air symbol is combined with other symbols, it is this “humped” or curved portion of the symbol that is used. So, substitute “humps” for bad air. Does the message make more sense? We are informed that someone was exposed to bad air and “spikes“. What do the spikes mean? Well, you’re going to have to wait just a minute before I tell you that 😁.
Next we’ll look at a stone that also combines repeated design patterns. This piece is superb not only in craftsmanship, but also in the applications of outer stone layering and black banding. While it’s not completely intact, it’s close. And, what it helps to reinforce is the fact that many of these stones are not naturally occurring. First, the measurements. The piece is 4.5 inches (11.43 cm) long, 3.0 inches (7.62 cm) wide, 2.25 inches (5.75 cm) thick, and weighs 1.222 pounds (545.5 cm). A decent size I would say. Now comes the photos 😃.
In the picture 📸 on the left, what’s immediately noticeable is just how “angular” the front of this stone is. We can also take note of how similar in appearance this section is as compared to the two previous stones. From a basic knowledge of geology we can easily assess that the shape of stone is not “naturally occurring”. But, the angular shape of the front this stone is not the only thing that let’s us know that this stone was intentionally manufactured. Some time ago, I said that when erosion and other types of damage are present, at times, it can be useful in analyzing a stone. That’s the case with this piece. What do I mean? Take note of the small chip seen near the center of the angular section. Because of this small chip, upon closer inspection, we can see what’s at the core of this piece. What is it? A type of course, reddish-purple, terracotta that is frequently seen with these types of stones. Don’t forget, I told you early in our discussion (Chapter 3, Part 1) that many of these stones employ a construction method that includes a terracotta base stone being covered with an outer stone casing. That is precisely what you are seeing now. Stunning, simply stunning 😯! This repeated construction method precludes the possibility that this stone could be… say it with me, “naturally occurring”. That is to say, nature does not produce stones like this.
In the photo on the right we can observe that, like some of the stones shown to you earlier in this chapter, this piece is also Biplanar in style. Also, in the photo on the right, we can better see this stone’s curved, slightly rounded, bottom. As I’ve shown you, this too is a repeated design feature. Here, it may be telling us that this is a “rocker” type stone. Or, it could also represent a rounded or chubby cheek belonging to a face. If I were a betting person, and I’m not, I would say both. Then again, I’ve spent decades studying the many repeating design patterns and features that these stones display ☺️.
From this angle (photo on the left) we can see that this piece also features a pyramidal section. Question… Would it surprise you to know that the pyramidal shape above is another repeated design pattern oftentimes seen with these types of stones? Well, it is. Not only that, but this shape may also be based on another standard template design. How cool 😎 is that?
In the photo on the right I want you to focus in on the primary color of this stone. Why? Because it serves as the skin tone or complexion of the faces you’ll be seeing. Also, take note of the different color pigments that were used. The black is the most dominant, but the contrasting limestone white is equally impressive in how it was gently applied. Something else worth paying attention to is the small circular yellowish-white dot that is seen. What’s the big deal? Well, what you are looking at is a repeated design feature frequently seen on these stones. In most cases, tiny circular dots like the one seen are used to create or represent eyes. These little dots may be found in a variety of colors that sometimes symbolically give context as to what an individual saw. For example, if the circular dot is yellowish-white as seen here, one might conclude that something with the same shape and color was actually seen by someone. Similarly, a circular black dot would represent the same concept, something circular and black that was actually seen 🌑. Do you follow my meaning? If not, let’s try it another way. Let’s say that a small red dot was used to create an eye 👁. The placement of the dot gives it its placement value. Within that context, the small circular red dot is not just the eye, but can also symbolically tells us what someone literally saw; something circular and red 🔴. Got it now? Great!
Are you ready to look at some faces? Well, let’s do it!
This facial image, is perhaps the easiest to recognize. It is an anthropomorphic bird figure facing forward and slightly to the right 👉. In this example, the angular section forms a sharply pointed beak. Atop the beak an extensive black banded pattern begins on the right frontal portion and continues across the top of the beak. From there this pattern extends upwards 👆 between the two eyes 👀. After passing the eyes the banding pattern widens to encompass almost the entirety of the top of the stone, which represents the top of the head. The most posterior section of this piece forms the rear of the head. Here, the exterior border forms two rounded humps similar to the bun hairstyles we’ve seen. In this example the head should be thought of as being adorned by feathers after all that’s what birds are covered with 🤣. The top of this stone is designed to represent not just feathers, but a feathered hairstyle flowing in a backwards pattern. This makes sense when you take into consideration how the top of this stone is textured. Remember, I told you, that many of these stones were designed with a tactile component. They are meant to be touched. That is to say that some of these stones were created to help mimic what the skin, hair, or in this example feathers would have felt like. The top of this stone is surprisingly smooth despite its seemingly rough contours. One may even say that it feels as smooth as a bird’s feathers beneath the fingertips 🙂. The right eye is formed by a triangular Gouged section. The left eye is also triangular in shape, but its triangular shape is created with the aid of the exterior border of the stone. The lower portion of this stone is where the limestone white pigmentation is seen. This white pigmentation begins just below the beak and extends backwards. For this bird-like figure, the white pigments are used to represent white feathers that cover the mouth and the lower right portions of the face, cheek, and jawline. Don’t believe me? Maybe you will when you see this characters full smiling face.
Here the face is seen looking upwards. From this perspective you can begin to see the smiling mouth just below the angular nose.
Using applied leverage we can assess that this is in fact a “rocker” type stone. When the bird-like figure looks (rocks) upwards 👆 you can observe that the limestone white pigments wrap around the lower portion of this stone helping to create a broad smile. Remembering that many of these stones were created so that facial images can look upwards cannot be forgotten when analyzing these stones. Not only is it a built-in orientation point for many stones, but it also suggests a deliberative theme amongst the Aha people. A theme that was repeated over and over again. The question 🙋 becomes why?
Here I would like to take a small deviation to cover a few things. They’re expressly in regards to some things that were just stated. The first is the type of terracotta stone that I told you was at the core of the stone above. I really need for you to see a better example of this type of stone. Why? Because this type of stone wasn’t just used as a core or base stone. As a construction material it seems to have been quite useful.
Above is an Add-To or Put-Together style stone. It showcases the type of terracotta stone at the core of the previous piece. Do you see how seamlessly these two starkly different stone materials were married together? Impressive!
In this picture the face is pictured from the right profile as it faces to the right 👉. I’ve labeled the right eye, upturned nose 👃, and thick protruding lips. As you view this piece, determine if there any repeated design patterns present. Also, think about what the colors of this stone are symbolically telling you. If you understand that then you can comprehend why this face appears to be it damaged 💭.
In this photo the stone has been rotated 180⁰. After doing so a new facial depiction comes into view. The figure faces left 👈 and appears to be human. The eyes, nose, and closed mouth have been diagramed. To put both images into perspective, you should know that the stonework seen represents skin, whereas the exposed terracotta represents the flesh beneath. Can you now form a better picture of what you are seeing? Great! Also, knowing that you can put the deep gouges seen in their proper perspective. They are not the result of erosion as might be presumed. If you notice, for each image the gouged sections are located behind the lips. Why? Because the gouged sections represent the hallowed out interior of their mouths. Do you get it now? We’re being told, based on color symbolism and the construction of the stone, that these faces were exposed to fire that burned significant portions of their faces and heads. Fire that literally burned through their flesh 😲.
Were you able to see any of the faces discussed? If not, no worries. I’m keenly aware of how much skill it sometimes takes to be certain about what you’re looking at. Fortunately, that wasn’t why I showed you the last stone. My primary reason was to show you the type of terracotta used for both it and the stone before it. Also, I wanted you to see the repeated design pattern you were asked to look for. Which one? The circle within a circle pattern of course. You did see it, right? Just in case you missed it, there’s a close-up photo of it below.
Yes, this is the same circular pattern that I’ve shown you three times before in this chapter. What’s different is the way the this pattern is crafted. Notice that the outer circle is sunken as compared to its center. Although there’s signs of erosion in the sunken portion, the circle within a circle pattern is intact. Now, how can I be sure that this, and the other circular patterns, are one and the same? Simple, they all measure 0.5 cm in width. How’s that for certainty? You should really pay attention to how this particular circle within a circle pattern is formed. Its design lends more credibility to the idea that some type of specialized tool ⚙ was employed to create it. A tool that was used repeatedly. Still don’t think that’s possible? Well, the next time you see this pattern I’m certain it will change your mind. In fact, it’s sure to make you question what types of tools may have been widely, and repeatedly, used by people in the ancient past. That’s a pretty bold statement I know, but you will see and you will be amazed 😮. In addition, consider how the circular pattern was used. For each of the faces shown this pattern was not used to form an eye. It was however, in both examples, located on the side of the head. Its placement value would seem to indicate that either a very specific type of damage created a hole 🕳 in the head. Or, as I’ve theorized, perhaps it is meant to indicate that something was attached to the sides of the cranium of those depicted 🤔. Either explanation is fascinating to consider. Another fascinating thing to consider is the shape of the shadow that is projected inside this circular ⭕ pattern. If it is an intentional shape, and I believe it is, then we are looking at the symbol for fire 🔥. Now why would the artist that made this stone purposely project the fire symbol here? I’ll let you think 💬 about that.
Above is a picture of the opposite side of this stone. As you can see, the outer stone layering covers the vast majority of this side. Visually this stone may appear to be damaged, but it’s not. Its overall appearance simply mimics a fractured stone. Beyond the image that’s been diagrammed there are at least three additional faces depicted on this side of the stone. Below you’ll see the face shown to you from a slightly different perspective.
From this angle you can better see his smiling face and a noticeable split in his head. How certain am I about the description given to you? Very, and there’s some concrete reasons why. First, there’s the design of the split head. It’s a design pattern often replicated, in various ways, with these types of stones. Second, there’s a unique type of banded symbol that can be found on his nose. Third, this particular banded symbol is replicated somewhere else on this stone. It too has been placed on someone’s nose. A nose that is designed quite similar to his squared shaped nose. How did knowing about this symbol assist me in analyzing this stone? Well, by understanding the meaning of this symbol and its placement value, I was informed what was responsible for splitting (causing damage to) both their heads. What does the symbol mean? Keep reading 📖, you’ll soon find out.
SOMETHING NEW 💡: Whenever it’s obvious that all or portions of a terracotta stone is intentionally lacking all or portions of an outer stone casing, they can be classified as “raw”, “partially-raw”, “naked”, or “partially-naked” terracotta pieces.
Let’s return to the stone with the image of the anthropormorphic bird figure. The second thing that needs to be addressed is the extensive black banded pattern. I’ve previously said that banded patterns can be more than just decorative. By recognizing the symbols used to create these patterns we can sometimes find written language incrscriptions. How about we try to do that now? Who knows, perhaps we’ll throw in one or more new symbols for your enjoyment 😁.
This is the black banded pattern shown close-up. I’ve labeled each symbol numerically. The numbers have been placed to conform with the general outline of each symbol.
The first symbol appears to be a variation of the Birdman symbol you’ve been shown. Here the symbol has been combined with a least two additional symbols, bad air and “spikes”. Simply analyze the exterior borders of this symbol, especially the right wing to find the pattern. In addition, pay attention to how this symbol was placed on two separate geometric planes. The second symbol represented is Time ⏳. It overlaps the base of the third symbol. If you look closely at the darkest of the black pigments in the middle of the banding the Time symbol can be easily found. The variation of the Time symbol seen here is one that appears on the symbol guide. What’s so important about this variant? Well, when you look at this symbol you will notice the contrast in colors at its center. Now, imagine that the Time symbol represents an actual hourglass. Understanding the way a hourglass functions, if we were able to plug the center of it, thus preventing the sand inside from flowing, what would we be symbolically doing? That’s right, stopping time! So, instead of this variation simply representing time, from a written language perspective its meaning is “in the time of time stopping”. Or put another way, “in the period when time stopped”. With that said, be sure to analyze the “plug” that has been used to symbolically stop time in this variant. Its details might both surprise and inform you. Who knows, there might even be a clue as to what the Aha people had in mind with the creation of this symbol. In other words, you might gain some insight into what ancient people thought had literally stopped time. The third and largest of the symbols, like the birdman symbol, occupies different geometric planes. It begins on the beak of the anthropormorphic bird, covers the totality of the top of the stone (the head), and has smaller portions along the sides of the stone. There is no way for me to show you the totality of this symbol in one static image. So for now you’ll just have to trust my description regarding the placement of this symbol 👌. Just what is this prominent third symbol? It’s smoke!
Are you surprised by the meaning of this symbol? Did you think that smoke could only be expressed symbolically with color? Now why would you think that? On the symbol guide weren’t you shown that fire has a distinct language symbol? Well, the same applies to smoke. That said, remember that color symbolism and written language symbols can be used in tandem, but they don’t have to be. It just so happens that on this stone both methods of communicating the language term for smoke were used.
Going back to the birdman symbol, did you see the hints of red pigments along the border of the right wing? Speaking of the right wing, did you find the micro banded pattern of “humps” and “spikes” that can be clearly seen? Were there any “spikes” located elsewhere in the symbol? Would you like to know what these “spikes” represent? Of course you do. Well, since you have been incredibly patient, I’ll tell you.
From a symbolic perspective, the multiple spiked patterns I’ve been calling your attention to represent fragments of Genitrix Symbolum. When you consider that the mother symbol has a tri-pronged spiked section, you can understand where this symbol would have originated. You can also begin to understand the narrative associated with this stone. Before we get to that narrative, let’s take a brief look at one of the ways this stone’s inscription can be read.
Keep the box example in mind as this stone is rotated. Focus on the black banded pattern. In sequence you are seeing symbols 1, 2, and 3 with the latter being most prominent. Do you remember how, when using a box for an example, I showed you various ways symbols could be placed on a stone? Does that example make more sense now that you’re eyes 👀 can see exactly what I meant? Do you see the importance of knowing that sometimes stones have to be rotated in order to be read? As stated, such a practice seems odd to us, but to the Aha people it seems to have made perfect sense. Also, after looking at this video, ask yourself a question. Beyond the first Time symbol that you’ve alreay seen, was there an additional Time⌛ symbol present? 💭
Now that we understand how to read the symbols on this stone, what story or narrative does it impart. Recounting the narrative in a brief context would be something akin to, “In the time of the birdman, fragments, bad air, and black smoke”. Or when we consider the variations in the symbols, their placement value (parts being located between the eyes of the bird-like figure), and the first person perspective in which the story is told, we get something a little more creative. Something like, “In the era of smoke, when the air had turned bad, I beheld the birdman. As I looked up into the sky, I saw him. His wings were damaged. The bad air and sharp fragments of the powerful Genitrix Symbolum did him great harm. This I beheld in the period when time stopped”. Don’t you just love a good story? I know I do 🙂. Did you notice how this stone conveys a narrative very similar to the one seen on the last rocker stone. Remember, its inscription included a story of a birdman figure with wings that were damaged. Hmm 🤔. With that said, my dearest reader, keep this little tale in mind as we analyze much more than this stone’s inscription.
Here I’m going to do something that I haven’t done before. I’m going to show you the same exact picture four times. Why? Because in each of them something different will be highlighted. What? The basic design details used to create the two faces you’ll soon be seeing. I’m confident that if I can show you “the parts” you’ll have no problem seeing “the whole”. Got it? Great! Let’s do it!
1. Stone is shown from the opposite side laying flat. From this perspective two humanoid figures can be seen. The checkmarks ✅ you see indicate the complexion or skin tone of the two individuals.
2. Arrows ↖ point to their eyes 👀. Her eye is “The Dot”. His eye 👁 is a small contrasting black banded symbol.
3. The large black banding pattern represents hair. For her, the hair is seen flowing downward over her forehead. It’s seen in either a natural configuration or perhaps a lock or braided hairstyle. For him, the banded pattern represents a beard. Its placement puts it on the left side of his face. It begins at the level of the temple in a narrow band then widens to encompass the lower facial area. Scissors ✂ have been placed to delineate this pattern.
4. As you’ve just witnessed, while colors frequently have a symbolic meaning when appearing on these stones, that is not always the case. Another example of this is the opaque white banded pattern that is seen on this stone. Here the pigments have been used to represent an article of clothing, specifically a shawl made of silk, linen, or some other type of textile. Music notes 🎵 have been placed over its general outline. The darker off-white pigments represent a secondary article of clothing. In this example, the the pigments have been used to replicate a hood similar to those seen on robes, cloaks, or other garments. X’s have been placed around its basic outline. Okay, now that you know what to look for, you will know exactly what you’re looking at when we take a more comprehensive look at these two faces. 👍
I would like to thank you, the reader, for taking the time out of your schedule to read this. It continues to be a great honor and privilege to present this work to you. Above is only a portion of some truly incredible things I’ll be showing you in the remainder of this chapter. Yes, there’s still a lot more to come. 😊