The Nascan figures - pure symbology

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Some of the Nascan figures are Greek (the so called Spider, for instance, which is really a locus). Some are Chinese, and some are Egyptian. It is not that their nature is hidden- it is that we are plagued by an orthodox set that is motivated by greed. That greed manifests itself in an insistence that modern man represents the height of achievement.

The ways of Ancient cultures reaches us in the form of legend and myth which we are far too readily inclined to dismiss as simple mystic elements of the past. But theirs is the foundation upon which ours developed, and in their world the locus depicts the live-giving, death-dealing powers of the Great Mother. On the Nascan plateau (The Pampa Jumana-Colorada) the locus is shown as if it had been pulled up by the roots and thrown to the ground - symbolizing that man has lost sight of his origins

When we re-plant it, we recognize the characteristics of the locus (a member of the rhizome family of plants). A rhizome grows from a seed bulb and propagates by means of underground root stems. The three central fingers signify that the plant (the lotus) bears buds, flowers and seeds all at the same time.
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/James
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/The point of investigation is not to expand on what we know - it is to seek out what we don't know - and then give it reason and purpose! The Nascan figures give us excellent opportunity to experience that! Notice, for instance, the Nascan figure of the monkey: that it has four fingers on one hand and five on the other. We're to learn that the monkey is a cynocephalus monkey or flying lemur, and that it represents the Egyptian god Thoth.

Our authority is the Ancient Egyptian Pyramid Texts; our guide is Count Goblet d' Alviella's The Migration of Symbols; our methodology will compare text to figure.

(§. 1472-1477 from the Pyramid Texts)

Quote :

How lovely to see, how pleasing to behold! Says Isis, when you ascend to the sky, your power upon you, your terror about you, your magic at your feet; you are helped by Atum just as he used to do, the gods who are in the sky are brought to you, the gods who are on the earth assemble for you, they place their hands under you, they make a ladder for you that you may ascend on it to the sky...!

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/James (from my book The Gods, Gemini, and the Great Pyramid)

Extract from my book The Gods, Gemini, and the Great Pyramid

Quote :

The author gratefully acknowledges the assistance provided by the "Asociación Maria Reiche," Nasca, Peru, in providing the photographs of the figures on the Nascan Plateau that are used herein. Without the photographic detail it may not have been possible to have solved the question of their origin!

The Ennead is the Egyptian equivalent to the Greek and Roman Pantheons. There were two Enneads (ennead means nine). A nine member and a ten member (or Great Ennead). It was in this Great Ennead that we find the origin of the Father and Son.

The above illustration shows Thoth's hands - five fingers on one hand, and four on the other. Five male (Atum, Shu, Geb, Osiris & Seth) and four female (Tefenet, Nut, Isis, and Nephthys) -- the nine members of the Egyptian Ennead

NOTE: All the Egyptian gods (big G and little g) were introduced in the Ancient Egyptian Pyramid Texts those 4000 lines of hieroglyphics (original and undisturbed) on the walls of the pyramids of Saqqara

James (Extract from my book The Gods, Gemini, and the Great Pyramid)

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(Extract from my book The Gods, Gemini, and the Great Pyramid)

In the modern setting the figures on the Nascan Plateau are without meaning or direction. They are from a time past and have no links to the modern age. They were constructed on a stage of pantomime by a people so deeply religious that their lives embraced the very consciousness of Creation. For that is the story of the Plateau. It is the story of the creation of life as they knew it ... told in a language that was never spoken and never written.

One can tell from the cartoonish look of the figures that they were a fun loving people who had a deep appreciation for life and love, who probably had few possessions or needs for them. I suspect that they were communal in their habits with no need to communicate through the vocal cords because they spoke from the heart in a form of telepathy that was highly instinctive. But their story of the creation, their unspeaking Gods wrought in pantomime, plead to those with voice in Egypt!

The figures on the plateau and the hieroglyphics from the pyramids of Egypt are so different in form that they appear to be the individualistic religious expressions of two separate societies. Except that both exhort to an order of awareness of man's origins and to an awareness of the sciences of the world and the course of nature that they bespeak of common ancestry.

James
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(Excerpt from The Gods, Gemini, and the Great Pyramid)

The story of the Plateau is one of wonderment and telepathy.

The figures are so large, and the terrain is so flat and strewn with boulders and rocky projections that it is impossible to see from one end of a figure to the other. Some of the lines are five miles long and are straighter than a taught string. It is an unusual feat to accomplish without instruments, but the task is the heart and fiber of telepathy.

It is not one of hit and miss. It is a single story of creation spread about on thousands of square feet of desert and visible, in this modern age, only from the air. It is a relic of the past lost even to the later inhabitants of the area. It was too large to be seen, and is too old to be appreciated.

There is something else, The ghostly figure was sculpted on a rocky projection with its back at about 60 degrees relative to the ground. It was erect, and its feet - not shoe-like - but more like testicles. The lines that make up the contours of its body are like veins - and it is pregnant. The right arm is raised as if to acknowledge a higher Being, and to demonstrate the physical capacity to accomplish the act of creation! It is Atum Re.
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James
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