Chapter 12 Chapter 11 Ancient Images Hidden Secrets

The late Professor Arthur Posnansky was a distinguished Germanic Bolivian scholar who devoted his life, almost 50 years, to the study of the ruins of the ancient city of Tihuanaco.In his voluminous book, Tiahuanacu: The Cradle Of American Man, he explains how he used archaeological astronomical calculations to re-date the construction of the Citadel of Tiahuanacu. be identified.The calculation, he explained, is "based entirely on the difference in the obliquity of the ecliptic between the two periods - when the Kara Sasaya Square was built and today -". ① What exactly is "yellow red cross use"?Why did this astronomical phenomenon push the construction date of the Emperor Huanaco Castle to 17,000 years ago?

According to the dictionary definition, it refers to "the angle between the orbit of the Earth and the celestial equator, currently equivalent to approximately 23 degrees 27 minutes". ② In order to clarify this profound and difficult astronomical concept, we might as well imagine the earth as a ship sailing on the vast ocean in the sky.Like all ships of its kind (planets and brigs alike), this earth-ship rocks with the waves that flow beneath it.You may wish to imagine that at this moment you are standing on this swaying boat looking out to sea.When the hull rises with the waves, your vision suddenly opens up; when the hull sinks, your vision shrinks.The process is regular and precise, like a musician beating a metronome, a constant, almost imperceptible rise and fall, constantly changing the angle between you and the horizon.

Now imagine our Earth again.Every elementary school student knows that this beautiful blue planet floating in space tilts its axis away from the vertical line of the earth's orbit around the sun as it rotates each day.Therefore, the Earth's equator, as well as the "celestial equator" (which is merely an imaginary extension of the Earth's equator into the sky), must be at an angle relative to the Earth's orbit around the sun.This angle at any one time is the so-called "yellow-eclipse angle".However, since the Earth is a swaying ship, its tilt changes every so often.In a cycle of 41,000 years, the slope changes by 22. Between 1 degree and 24.5, it is as accurate as a Swiss-made timer.The order in which one angle follows another, and the order of all previous angles (within any one historical period), can be calculated using a few neat equations.These equations are represented by lines on a graph (the first use of which was the International Conference of Ephemerids held in Paris in 1911); from this graph we can precisely match the angles between the yellow and the red and historical dates.

Professor Poshenanski was able to identify the date of construction of Karasasaya Square because, over a long period of time, the cycle of the yellow-red angle gradually changed the orientation of the sunrise and sunset.He calculated in this way that when the Karasasaya Square was built, the intersection angle between the yellow and the red should be 23 degrees, 8 minutes and 48 seconds.This angle was marked on the graph drawn up by the "International Ephemera Symposium", and experts found that the date corresponding to it was 15,000 BC ③. Of course, no orthodox historian or archaeologist is willing to admit that Tihuanaco was founded so early; as we mentioned in Chapter 8 of this book, they would rather believe that the ancient city was founded in 500 AD, Because this estimate is relatively "secure". From 1927 to 1930, several scientists from other fields carefully reviewed Professor Posnanski's "Astronomical and Archaeological Survey".This elite team has surveyed other cultural relics in the Andes.Its members include: Dr. Hans Ludendorff (Dr. Hans luodendorff, then director of the Potsdam Observatory in Germany), Dr. Friedrich Becker of the Vatican Observatory, and two other astronomers - Dr. Arnold Kohlschutter of the University of Bonn and Dr. Rolf Muller of the Potsdam Institute for Astrophysics.

After three years of careful research, the group of scientists concluded that Professor Poshenanski's identification of the date of construction of the Tihuanaco Castle was basically correct.They didn't consider at all how much such a conclusion would have an impact on the orthodox historical circles; they just performed their duties as scientists and made objective inferences based on the astronomical phenomena presented by the buildings of the Emperor Wanaco Castle.One of the most significant discoveries is that the design of Karasasaya Square follows the astronomical phenomena observed by people in ancient times - much earlier than 500 AD.According to this group of scientists, the date (15,000 BC) identified by Professor Potunanski is not too far off the mark.

In the ancient prehistoric times, if Emperor Huanaco had really been established and flourished for a while, then who exactly built the city?For what purpose? fish skin man There are two huge statues on Karasasaya Square, one of which is nicknamed "Monk" (EI Fraile), standing in the southwest corner, and the other is enshrined in the center of the east end of the square, which is when I look out from the underground temple The giant I saw. The "monk" carved out of red sandstone has been exposed to the wind and sun, and its face has become very blurred.Standing about 6 feet tall, with large eyes and plump lips, it has the appearance of a hermaphrodite.It holds a knife in its right hand, the blade is curved like a wave, which looks like a dagger used by indigenous Indonesians; in its left hand, it seems to be holding a hardcover book.Like a scabbard, a handle like a knife protrudes from this "book".

From the waist down, the statue appears to be wearing a garment woven from fish scales.In order to enhance this visual effect, the sculptor was ingenious and used strings of highly stylized tiny fish heads to symbolize the individual fish scales.According to Professor Posnanski's interpretation, this fish scale coat represents all fish⑤.Therefore, what the statue "Xiu Daozeng" presents is actually an imaginary and symbolic "mermaid" (a belt tied around the waist of the fish man statue, and several huge crustacean figures are carved on it. This makes We believe even more that "Xiu Dao Hate" is a mermaid. Where did the original sculptor intend to create such a work?

A local legend I've heard may help us unravel the mystery.This myth is very old, and the protagonists are "the lake gods with fish tails, named Chullua and Umantua"⑥.The story of these two gods and the statue of the mermaid remind us, eerily, of Mesopotamian mythology.The latter refers to an amphibious creature.This creature is said to be "intelligent" and visited the ancient country of Sumer in the lower reaches of the Euphrates River in ancient prehistoric times.Their leader was named Oannes (or Uan)⑦.According to Berosus, a scholar in the ancient country of Chaldea in southern Babylon:

The whole body of (Onnis) looks like a fish; under his fish head grows a human head, and above the fish tail grows a pair of human feet.His voice and speech are very clear, almost human; a portrait of him is still preserved... Every day when he descends, he always dives to the bottom of the sea and spends the whole night, because he is an amphibious creature⑧. According to the legend recorded by Belosutu, the most important achievement of Onnis in his life is to bring civilization and enlightenment to mankind: During the day, he does not eat or drink, but always talks with the people, imparting literary and scientific knowledge to them.He taught the people to build houses and temples, helped them make laws, and explained to them the basic principles of geometry.He showed the people how to identify the seeds on the ground and how to pick the fruit from the trees.All in all, he taught the people all the knowledge that would help improve ethics and civilization.His teachings are spread throughout the country and are believed and obeyed by all people...⑨

The images of Onnes I have seen on ancient Babylonian and Assyrian reliefs show figures in fish-scale garments.As worn by Emperor Huanaco's "Xiu Daozeng", Onnis's clothes are mainly decorated with fish scales.Another commonality is that Babylonian statues also hold mysterious artifacts in both hands.If I remember correctly (I checked it later, I did remember correctly), these utensils are not exactly the same as those in the hands of "Xiu Daozeng", but there are some obvious similarities between the two, which makes it hard to understand. Ignore ⑩. Another huge "idol" in Karasasaya Square stands at the east end of the high platform, facing the main entrance of the castle.It is chiseled from a single piece of large gray stone, and it is very imposing, about 9 feet tall.The head of this statue is very large, standing proudly on the broad shoulders; its flat face is expressionless, and only two eyes are open, gazing into the distance.It wears a crown or some sort of headband, and its hair is braided in curls that fall from its shoulders and hang down its waist.

The decorative patterns on the body of this statue are also very complicated, making it look like it is covered in tattoos.Like a "monk", it wears a garment woven with fish scales and full of fish symbols under its waist, and it also holds two indistinguishable mysterious artifacts in its hands.However, what it held in its left hand was not a hardcover book, but a scabbard with a forked handle protruding from the scabbard.What the right hand holds looks somewhat like a cylinder, narrow in the middle, wider at the shoulders and base, and narrower at the top.The artifact was apparently composed of several sections or parts, but no one could have guessed what its purpose was. paleontological image After leaving the fish clothing statue, I finally came to the "Sun Gate".It is located in the northwest corner of Karasasaya Square. The gate stands majestically, hewn from a single block of blue-gray stone, about 12.5 feet wide, 10 feet high, and 18 inches thick, with an estimated total weight of 10 tons.At first glance, it reminds us of the Arc de Triomphe in Paris, albeit on a much smaller scale.Standing on the square of the ancient city of Dihuanaco, it is like a gate to the underworld, connecting two worlds invisible to the naked eye.This stone carving project is of high quality, and is recognized by scholars and experts as one of the "America's Archaeological Miracles"⑾.The most mysterious and intriguing feature of the whole door is the so-called "Calendar Frieze" carved on the lintel of the east front. A portrait is carved in the raised part of the middle of this frieze.Most scholars believe that the figure in the image is Viracocha, but here Viracocha is depicted as a "divine king" who has a bad temper and summons fire from heaven to punish humans at any time.Still, the soft, loving side of his personality is on display—we see two lines of tears streaming down his cheeks.However, his face was tense, and his expression was very serious. The crown on his head was as majestic as an emperor, which made people dare not look at him closely. Moreover, he held two lightning bolts in his hand. Joseph Campbell, one of the most famous mythologists of the 20th century, explained the meaning: "The divine grace injected into the universe from the sun gate flow is the same as the energy represented by thunder and lightning, and the latter is powerful enough to destroy Everything, itself will never be destroyed..."⑿ I stand under the Sun Gate, looking at the frieze on the lintel.This graceful and well-proportioned work of art is carved with three rows of eight figures, for a total of twenty-four figures, arranged on either side of the statue of Viracocha raised in the middle of the frieze.Although these graphics are considered to have a calendar function, so far no expert has come up with a reasonable explanation.The only certainty is that these figures have a strange, cold, cartoon-like quality, like a group of robots, with precise and stiff steps, marching like soldiers towards Viracocha, which stands in the center of the gate. .Some of these figures wear bird masks, others have hooked noses, and each holds an instrument in his hand, similar to the thunderbolt in the hand of the great god Viracocha. The bottom of the lintel frieze is engraved with a "fret pattern" pattern: a series of geometric figures representing the stepped pyramid, arranged continuously on the lintel, some upright, some upside down, all of which are said to have a calendar function.In the third column from the right (and, somewhat blurry, the third column from the left), I could make out that the carvings were of an elephant's head, ears, tusks, and trunk.The discovery is surprising because there are no elephants in the Americas.However, I later found evidence that there were indeed elephants in America in prehistoric times.A mammal called Cuvieronius once appeared in South America, especially at the southern tip of the Andes, until it suddenly became extinct around 10,000 BC.This proboscis is similar to today's elephants, with long tusks and a proboscis, and looks exactly like the "elephant" carved on the Sun Gate in the ancient city of Tihuanaco⒀. I took a few steps forward and observed these elephants carefully.Each elephant is composed of the heads of two vultures facing each other (the crested hairs represent the "ears" of the elephant, and the top half of the neck represents the "tusk").An animal created in this way still appears to me an elephant, for I know that the sculptors of Tihuanaco were accustomed to a peculiar and subtle visual trick of representing one object to another. An object for symbolic effect.So the ears you see on the face of a human statue could be made of bird wings.Likewise, an elaborate crown might be composed of several intertwined heads of fish and vultures; a sculptor might use a bird's neck and head to represent a figure's eyebrows, and an animal's head to represent a slipper front end, and so on.For this reason, the elephant composed of vulture heads on the Puerta del Sol is not simply a visual illusion, but a very creative synthesis technique that perfectly matches the overall artistic style of the lintel frieze. Among the stylized group of animal images carved on the Puerta del Sol, I also found other extinct creatures.According to my research, one of these creatures has been identified by experts as "T0xodon" (T0xodon)⒁.It is a three-toed amphibian mammal about 9 feet long and 5 feet tall at the shoulder, resembling a squat cross between a rhinoceros and a hippopotamus.Like the "Cuvianae" mammals, saber-toothed animals were active in South America at the end of the Pliocene (about 1.6 million years ago) and remained active until the end of the Pleistocene (about 12,000 years ago). Extinct ⒂. This shows that the date of the founding of Dihuanaco identified by experts based on astronomical and archaeological data - the end of the Pluvial Era - is very likely to be correct; in this way, the view of the orthodox historians - the ancient city of Dihuanaco is only 1,500 years old ——you have to face more severe challenges, because the craftsmen at that time obviously carved the saber-toothed beast diagram on the Sun Gate based on the real thing.It is worth mentioning that there are no less than forty-six heads of saber-toothed beasts carved on the horizontal frieze of the Sun Gate.The image of this ugly animal does not only appear at the Puerta del Sol; on the contrary, it can be seen everywhere on the pottery fragments unearthed from the ancient city of Tihuanaco.Even more noteworthy are several carvings that present the majesty of this ancient creature in full, three-dimensional form.In addition, the paleontological figures found in Tihuanaco also include an extinct four-legged beast (Shilidoterium) that is active during the day, and a scientific name "Macrauche nia", which is slightly larger than today's horses, ancient mammals with distinct three-toed feet⒃. These images show that the ancient city of Tihuanaco deserves to be called a picture book recording ancient rare animals; these animals, although extinct, like the legendary giant bird (do do), are preserved forever in stone. in art. However, the work of the Tiwanaco sculptor came to a sudden stop one day; since then, the castle has been plunged into darkness.This tragic day is also recorded in stone - the "Sun Gate", a masterpiece of human art, has not been fully completed after all.The unfinished image on the frieze shows that a catastrophe struck one day and forced the sculptor, who was "putting the finishing touches on his work," to "hastily throw down his chisel and take flight," as Professor Posnanski puts it.⒄ . Notes: ① "Tihuanaco", Vol. 2, p. 89. ② "Collins English Dictionary", 1015 pages. Collins English Dictionary, London, 1982, p.1015. ③ "Tihuanaco", Volume 2, pages 90-91. ④ Ibid., page 91. ⑤ Ibid., Vol. 1, p. 119. ⑥ Ibid., Vol. 2, p. 138. ⑦ "Mesopotamian Mythology" compiled by Stephanie Dairy, page 326. Stephanie Dalley, trans. and ed. Myths from Mesopotamia, Oxford University Press, 1990, p. 326． ⑧Records of Belosutu, collected and sorted by Alexander P0lyhistor, published in Appendix II of Robert Temple's Mystery of Sirius, pages 250-251. Robert K． G． Temple, The Sirius Mystery, Destiny Books, Rochster, Vermont, 1987, pp. 250～sl. ⑨ Same as above. ⑩ Blake and Green, "Gods, Demons, and Symbols of Ancient Mesopotamia", pp. 46 and 82-83. Jeremy Black and Anthony Green, Gods, Demons and Symnbds of Anciet Mespotamia, British Museum Press, 1982, pp. 46, 82~3. ⑾ "Peru Ancient Civilization", 92 pages.The data about "Sungate" are all based on this book. ⑿Joseph Campbell, "The Hero with a Thousand Faces", p. 146. Joseph Campbell, The Hero With a Thousand Faces, Paladin Books, London, 1988, p. 146． ⒀ "Quaternary Extinct Species: An Ecological Revolution in Prehistory", edited by Martin and Klein, p. 85. Paul S． Martin and Richard G． Klein, eds, Quaternary Extinctions: A Prehistoric Reuolution, University of Arizona Press, 1984, p. 85． ⒁ "Dihua Naco's Calendar", 47 pages.Professor Posonanski's works also often refer to "sword-toothed beasts". ⒂ "Big Prize Encyclopedia", 1991 edition, Volume 9, page 516.See also Quaternary Extinct Species, pp. 64-65. ⒃ "Dihuanaco", Volume 1, pp. 137-139; "Extinct Species of the Quaternary Period", pp. 64-65. ⒄ "Tihuanaco", Volume 2, Page 4