...........NASCA...........NASCAStretching across the Nazca plains - like a giant map or blueprint left by ancient astronauts, lie the famous Nazca Lines of Peru.
The Nazca Lines are an engima. No one know who had built them or indeed why. Since their discovery, the Nazca Lines have inspired fantastic explanations from ancient gods, a landing strip for returning aliens, a celestial calendar, used for rituals probably related to astronomy, to confirm the ayllus or clans who made up the population and to determine through ritual their economic functions held up by reciprocity and redistribution or, a map of underground water supplies.
There are also huge geoglyphs in Egypt, Malta, United States (Mississippi and California), Chile, Bolivia and in other countries. But the Nazca geoglyphs, because of their numbers, characteristics, dimensions and cultural continuity as they were made and remade through out the whole prehispanic period, form the most impressive as well as enigmatic archeological group.
The Nazca Lines are located in the Pampa region of Peru, the desolate plain of the Peruvian coast which comprises the Pampas of San Jose (Jumana), Socos, El Ingenio and others in the province of Nasca, which is 400 Km. South of Lima, covers an area of approximately 450 km2, of sandy desert as well as the slopes of the contours of the Andes. They cover nearly 400 square miles of desert. Etched in the surface of the desert pampa sand about 300 hundred figures made of straight lines, geometric shapes most clearly visible from the air. They were supposedly built by an ancient civilization called the Nazca.
The Nazca plain is virtually unique for its ability to preserve the markings upon it, due to the combination of the climate (one of the driest on Earth, with only twenty minutes of rainfall per year) and the flat, stony ground which minimises the effect of the wind at ground level. With no dust or sand to cover the plain, and little rain or wind to erode it, lines drawn here tend to stay drawn. These factors, combined with the existence of a lighter-coloured subsoil beneath the desert crust, provide a vast writing pad that is ideally suited to the artist who wants to leave his mark for eternity.
The pebbles which cover the surface of the desert contain ferrous oxide. The exposure of centuries has given them a dark patina. When the gravel is removed, they contrast with the color underneath. In this way the lines were drawn as furrows of a lighter color, even though in some cases they became prints. In other cases, the stones defining the lines and drawings form small lateral humps of different sizes. Some drawings, especially the early ones, were made by removing the stones and gravel from their contours and in this way the figures stood out in high relief.
The concentration and juxtaposition of the lines and drawings leave no doubt that they required intensive long-term labor as is demonstrated by the stylistic continuity of the designs, which clearly correspond to the different stages of cultural changes.
There appear to be two kinds of designs: the first are figures of various beings and things and the others form geometric lines.
The former consists of figures of animals, plants, objects, such as anthropomorphic figures of colossal proportions made with well-defined lines.
There are also drawings of flowers and plants, as well as representations of deformed animals and other strange figures.
An example of this is the drawing of a weird being with two enormous hands, one normal and the other with only four fingers. Also represented are drawings of man-made objects such as yarn, looms and "tupus" (ornamental clasps). All these figures have well-defined entrances which could be used as paths or to allow people to line together along the conformations of the drawings.
The anthropomorphic figures are relatively few and are situated on the slopes.
The most well-known being The Astronaut at 32m length an E.T., discovered by Eduardo Herran in 1982.
Others are The Man with a Hat and The Executioner and they also appear to be the most primitive. These figures are very similar to the small petroglyphs found in the rocky areas of the region.
In terms of the lines, many kilometers long, they crisscross sectors of the pampas in all directions. Many of the lines form geometric figures: angles, triangles, bunches, spirals, rectangles, wavy lines, etc. Other lines form concentric circles converging with or emanating from a promontory. Other prints have formed "roads" like geometric planes and appear to have been occupied by large groups of the population.
Many lines are random and seem to have no pattern to them. They are seen over the scattered seemingly at random over the desolate plain, crossing and intersecting for no apparent reason.
The Nazca Lines were first spotted when commercial airlines began flying across the Peruvian desert in the 1920's. Passengers reported seeing 'primitive landing strips' on the ground below. Today people sometimes fly in hot air balloons to view the splendors of the Nazca Lines, their eneries awakening something within their souls.
1. Killer Whale
2. Wing
3. Baby Condor
4. Bird
5. Animal
6. Spiral
7. Lizard
8. Tree
9. Hands
10. Spiral
11. Spider
12. Flower
13. Dog
14. Astronaut
15. Triangle
16. Whale
17. Trapazoids
18. Star
19. Pelican
20. Bird
21. Trapazoid
22. Hummingbird
23. Trapezoid
24. Monkey
25. Llama
26. Trapezoids
THEORIES ABOUT THE NAZCA LINES
Maria Reiche - Astronomical Calendar - She was the most famous Nazca Researcher. Lines should show in direction of the rising of important stars and planetary events like sun solstices. Formations like the spider and the monkey could show star constellations like Orion and Ursa Mayor.
The big problem of all astronomical theories is the unknowing of the age. The direction of stars is changing within centuries because the phenomena of precession of the equinoxes.
Reiche led a determined effort to discredit theories of extraterrestrial visitors. The strategy of this attack has been to argue that the Nazca Indians constructed the Lines relatively recently - some time between 300 BC and AD 800.
In support of this possibility, some scientists have put forward ingenious ideas on how the geoglyphs could theoretically have been designed from the ground. The more important evidence, however, is that which attempts to link the Lines definitively to the Nazcan culture. Here, neither of the two key pieces of evidence survive close scrutiny.
The first piece of evidence is a series of radiocarbon dates, based on ceramic and wood remains which were left at the Lines by the Nazcan people. It is claimed that this proves that the Nazcans constructed the Lines. On the contrary, the dating of these materials tells us only that the Nazcans lived in the area of the Nazca Lines. Since the Lines themselves cannot be radiocarbon dated, the possibility remains that they already existed when the Nazcan culture emerged.
The second piece of evidence is the alleged resemblance of the Nazca geoglyphs to certain features found on Nazcan pottery. This is an important issue because it potentially offers proof that the Nazcans had either designed the images or at least viewed them from the air.
Maria Reiche, the German mathematician and archaeologist most famous for her research into the enigmatic figures of Nazca, died in 1998 at the age of 95. She is buried in the arid valley she loved so well.
Professor Gerald Hawkins and his group went to Nazca to prove the astronomical Theory of Maria Reiche but was unsuccessful. In 1968, a study by the National Geographic Society determined that, while some of the Nazca lines did point to the positions of the Sun, Moon and certain stars two thousand years ago, it was no more than could be expected by mere chance. In 1973, Dr Gerald Hawkins studied 186 lines with a computer programme and found that only 20 per cent had any astronomical orientation - again no more than by pure chance.
In 1982, Anthony Aveni obtained similar results.
Georg Petersen - 1980 - pointed out that Reiche's theory did not explain the different lengths and widths of the lines. More recently, Johan Reinhard has noted that the surrounding mountains provided a ready-made and much more effective mechanism for the Nazcans to use as a solar calendar; the lines would thus have been quite superfluous to them. In addition to this avalanche of scientific opinion, we should also note that Reiche, like von Daniken, has failed to explain the significance of the animal geoglyphs.
Simone Waisbard - Astronomical Calendar - The drawing of Nazca are a giant astronomical calendar. Further the Nazca-line-system was used to measure the precipitation value. Figures, especially seabirds, have a connection to the meteorological prophecy system of the Nazca-Culture. Her ideas for the trapezoid formations: places for holy animals before sacrifice them, or field claims connected with filter galleries, observatories or places for ritual ceremonies of the different clans.
Erich von Däniken - Long time ago visitors from other stars visited the Earth. They landed at Nazca. During the landing stones was blown away by the power of rocket propulsion. By approaching more the power was increasing and the cleaned band broader. In this way the first trapezes emerged. Later the Aliens disappeared and left confused people. Like in the modern cargo cults they tried to call the Gods back by drawing lines, figures and trapezes. He discovered the GGF/Mandala/Zodiac and the mirror - Formation and compares them with modern VASIS or PAPI-Signs.
Alan F. Alford - Negroid Slaves - the Nazca-Lines was made by Negroid Slaves of the Tihuanaco Culture. After a revolution the Negroid population destroyed some figure, this is the explanation for overdrawn zigzag-formations. Later this people went in northern direction and founded Chavin and the Olmec culture.
Robert Bast - A memory of the Deluge - The animal, plant and human-shaped figures are lying together on the ground. So it could be a memorial place of the big flood. Many cultures of our world know deluge-myths, you can find a couple of them at his Side.
Gilbert de Jong - A Nazcan Zodiac was himself in Nazca and measured the GGF by GPS. He obtained a length of the square side of about 54,7 Meter. In the formation he recognized a Zodiac.
Nazca Figurine depicting Solar Eclipse
It all comes back to the Sun - Eye (Ra) -
Light at a time of transition of consciousness
Robin Edgar -the Nazca-Figures were inspired by, and intended to be seen by, the (so-called) Eye of God that is manifested during total solar eclipses. An extraordinary series of solar eclipses coincided with the construction of the Nasca lines. Some Lines are aligned with the winter solstice, a less spectacular but more regular, death and rebirth of the Sun God.
Nazca
Lines and the Eye in the Sky Eclipse
Michael Coe - Ceremonial Places - believes the Nazca Lines are sacred paths to walk by specific rites. But primary the lines was a offering for elders,heaven- and mountain-deities who spent water for fields.
Siegfried Waxmann recognized a culture atlas of the human history in the Nazca-line-system.
Archaeologist Frederico Kauffmann-Doig - the Nazca Lines are magic lines which origin from the cat cult in Chavin de Huantar.
Georg A. von Breunig believes the Nazca Lines were used for sprinting to honor especial gods or ritual competitions. This theory was supported by the professor Hoimar von Ditfurth.
Markus Reindel - Dowsing - The Nazca-Figures are markers for subterranean waterflow. Trapezoides show the broadness of the waterstream, zigzaglines show where they end, lines show into direction of the puquitos. Reindel sympatizes with Johnsons Theory, additionally he explain the nature of the figures by rod-dowsing (to find the subterranean water) and shamanstic flights (to overview the figures).
Hermann E. Bossi - The Nazca-Code - based on a formation called the GGF, Mandala or Zodiac that was discovered by Erich von Däniken 1995. This formation include a plenty of different combination possibilities and include information about the Star HD 42807 at different times and it's planet. Other formations like the monkey seems to be of this code too. The same code is to find in other places like Stonehenge, Avebury and Borobudur, but also by Crop Circles.
The Code of Carl Munck: The Ancient Geomatria of Numbers - - The Nazca Line ground markings locate themselves on The Code Matrix system. -
Nazca Lines and Archaeocryptography
The ancient sites around the world are very precisely positioned on a global coordinate system in relation to the position of the Great Pyramid at Giza. The positions of the sites are given in the geometry of their construction. A very ancient system of numbers was used in the system, which we will call Gematria.
Gematrian numbers are found in ancient myths and religions,
including the Bible. Gematrian numbers were used in systems of weights and measures
by ancient peoples, including the Greeks, the Egyptians, the Persians, the Babylonians
and the Romans.
The Code system uses mathematical constants, such as pi and the radian. The
system also uses conventions that are still in use, such as the 360 degree circle,
60 minute degree, 60 second minute, the base-ten numbering system, the 12-inch
foot, and the 5280-foot mile.
The ancient Mayans used Gematrian numbers in their very accurate timekeeping.
The Nazca Line ground markings "locate themselves" on The Code Matrix System.
Professor Helmut Tributsch - Fata Morgana -important cult places like Stonehenge, the Pyramids and naturally Nazca were built on places where often the Fata Morgana - Phenomena occurs. In this way People could see the Fata Morgana of the Nazca-Lines.
Jiri Mruzek - The Seal of Atlantis Complete complex solution of the monkey's figure. It involves geometrical code, which speaks of specific aspects of analytical geometry. This code coincides with the code of prehistorical La Marche, France.
John D. Miller - 177 Feet - analyzes different buildings worldwide. So he found in ancient buildings and old cathedrals often the value of 177 feet. His theories are based on several holy numbers and units, so he believes that there is a deeper importance within.
Thomas Wick - A plan of a Cathedral - private researcher of ancient mysteries. When he saw the figure of the GGF, he recognized the ground principals of a cathedral.
Professor Henri Stierlin - loom - the Nazca-Indians used the line-system as loom. In the paracas-culture was made textiles witch was made of one string. But the Indians hadn't wheels and looms, so they organized hundreds of men who held the string. Their position was defined by the lines.
Dr. Zoltan Zelko - Map - Hungarian mathematician who analyzed the Nazca-line-system and compared with other ancient places in Peru. Nazca could be a map of a 100 x 800 kilometer including region around the Titicaca-Lake.
Prof. Helaine Siverman - Clan Signs - the figures are clan signs of different Indian clans in the region of Nazca.
Prof. Dr. Aldon Mason - Signs for Gods - The main interest of Mason are the tombs and the deformation of skulls of the Nazca-Culture. Nazca Lines are Signs for Gods in the Sky.
William H. Isbell - Provision of Work - the kings of Nazca ordered the drawing of the Nazca-lines to control the population. When they did work they couldn't make children at the same time. Why this? Isbell has the idea the Nazca-Indians wasn't able to store field fruits, so in good years the population were increasing to strong.
Albrecht Kottmann divided the figures into different parts and analyzed them in a geometrical way. So he divided a bird of 286 Meter length into 22 Parts. He found that the head takes two parts, the neck five parts, the body three parts and the other twelve parts for the beak.The proportion between the beak and the rest is 6:5. He believes the geometric signs are a picture writing system with giant and small letters.
Ley Lines - Paul Devereux
From Ellie - The Nazca Lines are another stone marker in the geological blueprint of our reality. As one quests for answers to the hidden mysteries of our creation - one must look above and below to determine the past, present and future.
There is something to said be said for each of the theoires above, for in truth each has a certain degree of validity. Finding answers once again becomes a game in which all roads lead back to the 'Eye' - the creational source of all things. In Egypt it was the Eye of Ra - The Eye of God.
I have always believed that all of creation is part of a geometric blueprint that repeats in cycles of time created by the same consciousness. Stone markers are placed in power points around the planet - as they are places humans are drawn to explore. The markers link together - and to the universal game board - based on creational geometry.
The clues are all universal - the flower of life - gods from the skies - spirals of consciousness - humans - animals - candles=sacred flame - birds=ascension back to the heavens. The archetypes - metaphors and symbols are all the same as those found in the myths and legends of our little experience called 3D.
The more one studies the more one realizes that one soul played the roles of all of the gods - left all of the markers - all of which speak of time when the eye - eclipse - light will appear in the heavens once again. It will appear 'out of the blue' - midnight blue.
At this time - humanity will remove its consciousness from the 3D grid of and spiral through the 'stargate' of higher light. That time is almost here. we sense it, feel it, know it to be true or else we would not be here questing for answers.