Chapter 5
PART 3
Who came before the Olmec is a question well worthy of contemplation. All the more so when you consider the possibility that the antecedent culture and civilization was perhaps more advanced than the Olmec, not less. That is why there’s a power that comes with knowing the 9 styles of Perspective Stones (a.k.a. portable rock art). What type of power you ask? Well, it’s the power that comes from knowledge. That sounds quaint, sure I know 😊. Nevertheless, I’m certain you’ve heard the old saying that “Knowledge is Power“! It’s an adage that is oftentimes repeated, but that’s because it’s so true. Knowledge is how you are able to read and understand these words 🙂. Knowledge of how to implement a doctor’s orders is reflected in how a nurse crafts ✍️ a patient’s care plan ☤. Knowledge has propelled humanity into the technological age 🛰 📱. And it is knowledge that makes me confident in what I’m presenting to you 👇 the reader 📖.
What type of knowledge am I speaking of? Well, first, there’s the knowledge that the people that made these stones didn’t do so haphazardly, but in an organized, systematic fashion. Such an organized system would have invariably taken years to create. Not only that, but the extensive use of angles, geometric planes, and shadows to create varying images suggests a great understanding of mathmatics, especially geometry. The question becomes if they had mastered geometry, and its many complexities, what couldn’t they do?
Secondly, there is the knowledge that these types of stones were produced by people that were far from “primitive”. Based on how they’re constructed, primitive people could never have made many of these stones . Honestly, have you ever heard of any “primitive” people anywhere in the historical record producing shaped terracotta stones? Neither have I. Furthermore, what “primitive” people would have had the skill to cover that terracotta with an outer layer of stone? I’ve searched many history books and yet to find any mention of primitive people accomplishing such feats. So if primitive people aren’t noted for creating such stones, yet you’ve seen with your own eyes that such stones exist, what does that tell you? For me it says that those responsible for creating these pieces were highly intelligent, greatly skilled, and master crafts people.
Finally, there is the knowledge that comes from understanding why the people, the culture, and the civilization that created these stones did so. Think about what’s been said. If it’s true these stones were not created haphazardly and every aspect of each stone was planned out, there had to be a reason, right? What if I told you that the Aha had such a reason? What if I told you that they did it as a way of both recording and preserving their history, via a narrative or story? Keep in mind, history, at its core, is just the transmission of stories and information. Like all civilizations, the Aha needed a reliable method for transmitting their information, their stories, and their history. These stones, in their various forms, provided them with just that. A simple yet complex vehicle to record and transmit their history. It’s true that many of these stones were made in a highly artistic fashion, however the art aspects are a bi-product of their primary function. Based on what I’ve observed one thing seems to be clear. At some defining point in their collective history, the Aha people saw and experienced something that radically changed their world. It was something that as a people they could never forget. To this end, what they experienced became a focal point in their history. A background upon which they could cast their stories. It was something to reference and link to. As a result, many stones don’t just show faces, people, or animals. Instead, many reflect what happened to them before, during, and after this epic event. What do I mean? The makers of these stones wanted the person that viewed and touched them to understand certain moments in time that shaped their civilization and world. They wanted the viewer to understand what someone else had actually seen, felt, and experienced. They were telling stories of what had happened, in their past, in both a visual and tactile way. Perhaps even in the ancient past they understood the concept of “seeing is believing”. Perhaps this explains why they were so diligent in showing their history. Amazingly, they often did this from the 1st person perspective or point of view (POV). As quirky as that seems, in many ways it makes perfect sense. If each stone represents one or more people, that would mean each stone conveys multiple meanings and stories. You could transmit a great deal of information that way. The Aha knew that and so transmit information they did! In all honesty, when you think about it, it’s one of the most clever, ingenious, and impressive ways ever seen for the transmittal of one’s history. This fact alone adds to the list of reasons why these stones, and the people that made them, are so fascinating.
This is the Power of 9!
Everything I’ve told you sounds incredible doesn’t it? That’s because it is incredible. More than that, it’s all true. I didn’t believe it to be possible myself initially. Just like you, I was taught that people living in Prehistoric times didn’t have language, culture, and civilization. Knowing that these stones have 9 distinct styles let’s me know with certainty that the Aha had all three. Speaking of three, here are three questions to consider. How do you pass on information if not through language? What would you call the desire to pass on that information if not culture and civilization? What do you call the repetitive use of symbols, in specific ways, to mean specific things, if not written language? Throughout the entire world, written language has always been a hallmark of civilizations. It is true of the Egyptians, the Sumerians, and the Aha. 🤔 🤫
My dearest reader, I need you to remember something essential as we move forward. While knowing the styles of these stones is important, it’s not the only thing that’s important. You have to consider the color, construction (what’s it made of), the geometric shape, outer stone layering, type of banding, the patterns, patinas, pigmentation, the symbols, symbolism, the themes, and motifs associated with each stone. Without a doubt that is a lot to consider, but consider it you must. For me, that’s been the difference between “thinking” 💭 I’m seeing an image versus “knowing” what that image is. There’s a mountain 🏔 of difference between the two.
Although I’ve told you a lot and showed you a lot, there is so much Ieft to share. Knowledge that has taken me decades to accumulate. So, since I know it, I’ll continue to show it! 😉 With that said, let’s delve deeply into one last piece. I don’t want to close this chapter without showing you exactly what decades of knowledge and research can yield.
Below is the Multiplanar style stone that was shown earlier in this chapter. I stated that it resembled a mythological Orc with incised lines, on the outer stone layering, representing teeth. For the change of perspective a simple 180⁰ rotation of the stone was performed.
Remarkably the image that is now seen is that of a humanoid bird-like creature facing rightward 👉. The forehead is slanted with its shape resembling a duck’s bill. A duck’s bill, hmph, imagine that. I’m just saying 😂, but let’s continue. In this example, both the first image that was shown (Orc) and this second image share the same eyes, but in reverse. As you can see, just above the circular right eye is added quartz. Do you remember what I said the added quartz represents? The upper and lower portions of the beak can be found by following the ridged lines below the right eye and and frontal borders of the stone. The top, rear, and bottom of the stone has been textured to represent tufts of feathers (hair) encircling the face. Subtle black pigments adorn select portions of the right side of the head and face only. Do you remember what I said the color black often represents? Also, as was seen with the previous stone, the lighter shade outer stone layering seen symbolizes physical damage to the skin. For this anthropomorphic bird-like figure, the incised lines are now meant to represent severe abrasions that reached deeply to the facial bones.
Still didn’t see the face that was just detailed? Just for you there’s a colorized image below. 😉 👌
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- Something To Know:
- Most symbols have basic (standard) forms as well as many variations.
- Variations based on the basic (standard) form of a symbol allowed for a method of combining symbols.
- Color symbolism is/can be equivalent to an actual hand painted, written, or carved symbol.
Earlier in the chapter it was pointed out that the symbols or language connected with these stones can appear anywhere and in a variety of ways. This stone is no exception. Its combination symbol is “hidden” in plain sight. Do you want to know where it is and what it means? Of course you do 😂. Now let’s decipher the message or story presented with this stone.
Highlighted in black, the first part of the symbol, or base symbol, is formed by following the ridged lines surrounding or overlapping the circular right eye. What does the shape remind you of?
Next is the reddish-orange quartz highlighted in yellow. We’ve covered the meaning of added quartz already. In case you’ve forgotten, the addition is not just decorative. Symbolically it represents something actually in the eye. What I now want you to consider is the color of the added quartz. Taking into account Its reddish-orange hue, its color symbolizes what? Say it with me, …fire 🔥. 🤭
Viewed in combination, the surrounding or overlapping base symbol, the added quartz, its color, and other symbols convey several messages to the viewer. Amongst these is what was seen, what was felt, and what inflicted damage to the overall face of the humanoid bird figure. More specifically, the color symbolism and choice of material used (quartz) tells us that whatever damaged the face was hard, fiery, and had the ability to be piercing. It was akin to hot shards of glass hitting the face and eyes. It was something that didn’t just burn, but had the power to disfigure flesh. That’s not all! Incredibly this piece, like many others, via the use of symbols and symbolism, imparts a chronological (time) reference. Where is this reference? You’ve seen it already. It’s what I called the base symbol.
Did you notice how it resembled a harshly carved hourglass ⌛? If you didn’t you should have because it is the symbol for time. Or rather it is a variation from the basic (standard) time symbol. In this example it has been combined with other symbols, to express multiple chronological references. Such time references are usually, but not always, presented in the form of a period of time, as opposed to a specific year. A linguistic expression would be akin to saying “in the Time of”, “in the Period of”, or “in the Era of”. Got it? Great!
Was that too much? I hope not because a lot more is coming. Now let’s continue. 👍
This piece is all the more phenomenal when the intricate gouging and exquisite micro detailing are taken into account. The area alluded to comprises the lower interior of the symbol. Here something truly remarkable is seen.
Direct your attention to just below the circular right eye. Can you see the shape of a trapazoid or truncated pyramid? Good. Now, take note of all the subtle black pigments found in this portion of the symbol. Can you see how these dark pigments seemingly envelop the trapazoid or truncated pyramid shape?
Knowing that the color black is often associated with smoke are you now able to form a mental picture? Not yet? No worries, were not done 😉.
Keep in mind, I told you that the artisans that made these stones utilized “Total Stone Techniques”. Every aspect of these stones was planned out. As a result these stones can convey their meaning not just in faces or symbols, but also in visual scenes. So let’s consider all of the pieces presented regarding this stone. First, there’s the base symbol that tells us there’s a time reference. Next there’s the added quartz with its placement (value) within the base symbol, above the eye. Third, is the color of the added quartz. Fourth is the trapezoid or truncated pyramid shape. Needless to say, this geometric shape has its own specific symbolic meaning. A meaning that we’ll cover later. Lastly, the black pigments and their placement value (representing smoke). Yes, that’s a lot to take into consideration. However, when you put all the pieces together a clear message and image emerges.
Here are just a few linguistic phrases based on what’s seen:
- 1. Time symbol [variant/combination] + reddish-orange quartz = “In the time of seeing flames 🔥”, “In the Era of [seeing] fire”, or “In the period when shards of “fire” got into the eye”.
- 2. Time symbol + black pigments = “In the Time of smoke” or “In the Era of [seeing] smoke”.
- 3. Time symbol + black pigments + trapezoid shape= “In the Era when the “trapazoid” was covered by smoke”, “in the Time of the “trapazoid” being consumed by smoke”.
I’m fully aware of how odd the last phrase may seem. However once we get to the chapter covering language and the meaning of the trapazoid is revealed it will make perfect sense. For now I would like to showcase one last symbol. It is one of the first symbols ever shown to you. It is the Genitrix Symbolus in one of its many variations. Believe it or not, you’ve been looking at it the entire time. Where is it?
The front portion consist of the circular prominence, or hump, that forms the right eye. The remainder of the symbol can be found by following the ridged line borders that form the top of the base symbol.
How do I know this? Because I know that symbols have variations. Not just variations in how the symbols look, but variations in how they are formed. This is true with all symbols, the mother symbol being no exception. Honestly, Genitrix Symbolus was not the first repetitively used symbol that I recognized. Still, of all the symbols deciphered, it has proven to be the most important. In my many years of research, I’ve learned that, as a symbol, it is usually associated with the eyes. Also the symbol typically carries a two-fold placement value or meaning. One tells us that the mother symbol was something that was seen. The other is to show us the damage that it, Genitrix Symbolus, caused. Now do you get the picture 🖼 ? Just in case you still don’t a rudimentary digital sketch is provided below.
If you can understand the small sketch above then you’ll know why the mother symbol was so important to the Aha. It literally symbolized a defining point in their history. It alluded to a time of smoke, to an era of fire, and to a period of destruction. It was the time ⏳ of the great Genitrix Symbolus. A time that came Before the Olmec.
This ends chapter 5. I truly hope that you’ve learned something new 😊. Remember, never let anything stop your pursuit of the truth. After all, truth is like the sun ☀ and nothing can stop the sun or the truth from shining! Bonus content has been added below. As always THANK YOU for reading 📖 and please share. ✌🏻 Next post is chapter 6.
Bonus Content
Do you recall that I said that the forehead of the bird-like figure resembled a duck’s bill? Now why do you think that was said? Well, let me show you.
As you can see, it is all about the perspective in which you view things. Knowing what to look for certainly helps. Once you learn that certain types of faces, patterns, or in this case animals, are featured repetitively on these stones then you know precisely what it is your eyes are seeing. The duck 🦆 image seen is serving several purposes. First, it It is symbolically giving yet another time reference. Second, the duck is shown taking something into its bill. Third, and perhaps most importantly, the duck can be viewed as a headress for the humanoid bird-like figure. Interesting, don’t you think 🤔.