Chapter 6
Part 2
When fully understood these stones are more phenomenal than can be imagined. The meticulous planning that went into each piece is nothing short than awe inspiring. Take for example the last piece that was presented to you. With simple changes in lighting and perspective, the viewer is left with only one conclusion. Whoever made this piece was a master of lithic art. You don’t have to take my word for it either. In just a minute I’ll show you just what is meant 👍.
Back in chapter 4 you were shown pieces that were similar to the bone white terracotta stone just shown. However, the whiteness of the stones is not the only observable characteristic they share. One of the things held in common is added black and reddish-orange colors applied to the surface of the stones. By now you are fully aware of what both colors symbolically represent. As such there is no need to expound upon their meaning. What we will do is take a look at the way the pigments were applied. If you were to compare this stone with the globular shaped stone from chapter 4 (part 2) you would find the application of the pigments is almost identical. In addition, there was a black oval found on the globular shaped stone. I told you then that it must have held a special significance amongst the Aha. I’m beyond certain that is the case because it is one of the most repeated symbols connected to these stones. Don’t believe me? You should since you’re about to see it yet again.
From this perspective the black oval shape is being used to create the right eye for the face you are viewing. As you can see, the left eye is noticeably absent beneath the thick prominent brow line. A wide fleshy nose separates the two eyes and the tip of the nose appears to be missing. The open mouth is formed by a small subtle gouge. This is the same side of the stone that contains the suspected “Cherokee moon-eyed” character. The stone was simply placed on its side in order to locate this face. Impressive!
Here we have another view of the same piece. From this perspective the black oval shape doesn’t represent an eye, but instead it is a nose. Or rather the remnants of a nose that has been burned off. As you know, it has been asserted that the color black often represents smoke? That is 100% true, but symbolically that’s not the only associated meaning. Depending on how it’s used and where it is used the color black can also symbolize something that has been burned. That is the case here. Also, did you notice the skeletal look of the face itself? That’s because this face is meant to be viewed as a skull 💀 absent flesh. As for the eyes, the left one is missing. The right eye is formed by the same symbol from the reverse side of the stone. Also, the mouth is formed by the same subtle gouge that was seen in the last view of this stone.
Below you will find another skeletal face utilizing the black symbol for an eye. As you have been told, many of these faces have a humanoid versus human appearance.
The last view I’m going to show you regarding this stone presents us with
a bird-like figure similar to a vulture or other type of raptor.
In this example the right eye is formed by the same black symbol seen in the last image. The left eye is missing. Separating the eyes is a large beak that slopes downward and terminates below the right eye. Not so subtle reddish-orange and black pigments cover the entirety of the beak and extend to the head. From this perspective the border lines of the stone, those that comprise the beak and head, form another variation of the time symbol. Utilizing it and the combined colors we are presented with the same message seen in the last chapter. Shall I repeat it for you? Time symbol (variation) + black pigments + reddish-orange pigments= “In the time of smoke and fire 🔥”. Although this chronological reference is not the only repeated phrase associated with these stones, it is one of the more frequently used. It is not always expressed via color symbolism mixed with formed symbols either. Sometimes this particular time reference is made by combining each of the written symbols for time, smoke, and fire.
In case you’re still having difficulty viewing the last image a colorized version has been added below.
Learning how to read and interpret these stones can seem like a difficult and arduous process, but in reality it’s not. Granted it took me decades to figure out, but once I did I was shocked that it had taken so long. Oftentimes the simplest things can seem really complicated. That said, all that is required to accurately interpret these stones is a basic understanding of the 9 styles they were created in, the symbols, the symbolism, and their placement values. Now let’s take a look at our Wil-o’-the-Wisp or Fairy stone.
Here’s a question… Have you started to seriously consider the geometric shapes regarding these stones? If not, you may want to and you’re about to see why. You still might not believe it, but everything you’ve been presented with is relevant to your overall understanding of these stones. No, I haven’t told you how and why it’s all connected, but trust me it is. For example, do you remember the irregular pentagon shape that I harped on repeatedly? Well, if you seriously analyzed the Fairy 🧚♂️ stone you should have seen it. If you missed it I’ll show you below.
Something else that may have escaped your attention is the location of the Wil-o’-the-Wisp. Unlike the many faces shown to you, this Sprite figure is actually inside of something. More specifically, it is inside of someone. What do I mean? Let me show you.
Now that I’ve diagramed the larger of the two faces it should be easy for you to view. In case you’re wondering, the placement of the fairy 🧚♂️ inside the mouth of another figure isn’t that unusual. It is another repeating motif associated with these stones. What does it mean? Precisely what it looks like, one figure being eaten by another. No, it’s not representative of some type of cannibalistic practice. Nor is it intended to be ritualistic. Far from it. We’ll get into the reason why one character would be consuming another character later. For now what you should know is that whenever this scene is present on a stone it usually involves a fire entity being contained or trapped in the mouth of another character. Until you are presented with the story I uncovered while researching these stones, you’ll have to take my word on what was just said 👌 😉.
The figure you were just shown is not the only one that can be seen with a Wil-o’-the-Wisp in its mouth. With a simple rotation of the stone the scene plays out again.
As you can observe the larger face has changed. What hasn’t changed is the meaning attached to this stone. Clearly a fire 🔥 elemental figure is being consumed by someone. If this were the only stone with such imagery it would be considered an aberration. However, since this is a scene frequently repeated amongst these stones it is necessary to show you. Also, this face seemingly has exaggerated features like the overly large nose, but that is quite typical with these stones. I’ll say it again, humanoid versus human depictions are not the exception, but the norm as it relates to these pieces.
Something else that is normal when viewing these stones is the depiction of very unusual animals. What do I mean by unusual? Take a look at the next image and you’ll know exactly what I mean. 😵
For this image no description is really necessary. If you know anything about paleontology then you know exactly what this animal is. The question is, how was the artisan that created this piece capable of such a depiction? Surely animals such as this didn’t exist when this stone was made. Or were they 🤔 💭? As for the black pigments, now as opposed to representing an entity they represent burns to the face of this majestic creature. Yes, it truly is mind blowing 🤯 when you consider the totality of everything you’ve just seen. That said, you should take a closer look at this piece because there are other faces hidden in plain sight 😊.
Thanks for reading 📖. If you have enjoyed the information presented here please consider sharing. Next post, Chapter 6 Part 3.