Huge drawings on the ground. Nazca desert

Many centuries ago, on the territory of an exotic country in which the main attractions of Peru, the mysterious pyramids and places of worship, were perfectly preserved, there was a highly developed Inca civilization. However, even before its appearance, the great Nazca empire was founded, which appeared in the desert of the same name and existed until the 2nd century AD in the south of the country. The ancient Indians had a deep knowledge of irrigation and land reclamation.

giant drawings

The people who disappeared from the face of the earth gained fame thanks to the mysterious hieroglyphs that aroused the interest of scientists. Opinions were even expressed regarding the extraterrestrial origin of figures and lines that were discovered quite by accident in the 20th century. Nazca geoglyphs are huge drawings drawn on the surface of the earth and not intended for public viewing. Thanks to the arid climate, they are perfectly preserved.

Fanciful and invisible from the ground signs are made in a single manner on a huge scale. At first glance, these patterns are hardly distinguishable and represent an incomprehensible interweaving of all the lines scratched into the ground. The true form of the images can only be observed from above, when the randomness makes sense.

Craving for self-expression

People have always loved to draw and did it on rocks, cave walls, and then on paper. From the earliest period of human existence, they had a craving for self-expression. The oldest images are petroglyphs (symbols on the rocks) and geoglyphs (signs on the ground). Unusual patterns found in the desert are, according to scientists, an unparalleled historical monument, the inscriptions of which are drawn by giant hands. At the ends forming the drawings, they found wooden piles driven into the soil, which played the role of coordinate points at the beginning of work.

The lifeless desert of Nazca, which holds secrets

Surrounded by the Andes and sand hills, the desert is located almost 500 km from the small city of Lima. The coordinates of the Nazca geoglyphs and the mysterious plateau on which they were discovered are 14°41"18.31"S 75°07"23.01"W. The uninhabited space of the earth, shrouded in a veil of mystery, covers an area of ​​​​500 square kilometers. Rare drops of rain that fell on a hot surface immediately evaporated.

The ancient Indians realized that the lifeless desert is an ideal place for burials, and arranged tombs in dry layers that ensure incorruptibility. Archaeologists have discovered more than 200,000 hollow ceramic vessels, decorated with patterns and stylized drawings. It is believed that the finds are twins of small bowls that served as the so-called receptacle of the soul in the grave of the deceased.

Plateau covered with bizarre patterns

Surprise is caused by the surface of the natural zone, covered with an unusual "engraving", slightly reminiscent of a tattoo. The geoglyphs of the Nazca desert are not very deep, but gigantic in size drawings, reaching tens and hundreds of meters. Mysterious lines intersect and overlap each other, uniting into intricate patterns. One of the most mysterious places on our planet looks like a gigantic drawing board.

From the nearest foothills, it is not possible to see giant images dug in the earth's firmament: they look like separate stripes or shapeless strokes. And you can only see them from above. So, a bird resembling a hummingbird has a length of about 50 meters, and a flying condor is more than 120 meters.

Mysterious symbols

In total, about 13 thousand lines and geoglyphs of Nazca, made in the soil of the earth, were found on the plateau. They are grooves of various widths dug into the surface of the desert. Surprisingly, the lines do not change due to uneven terrain, remaining perfectly smooth and continuous. Among the images there are mysterious, but very authentically drawn birds and animals. There are also figures of people, but they are less expressive.

The mysterious symbols, which upon closer examination turn out to be huge scratches on the surface of the desert, were discovered thanks to photographs taken from an airplane in 1930. From a bird's eye view, it can be seen that the mysterious drawings were created by removing the upper rubble, which has darkened with time, from the light lower layer. Black coating is called "desert tan", consisting of a combination of iron and manganese. Exposed light soil has such a shade due to the large amount of lime, which quickly hardens in the fresh air. In addition, the preservation of geoglyphs of the Nazca plateau was facilitated by high temperatures and the absence of winds with precipitation.

Technique for making giant drawings

This is a rather interesting technique: at first, the Indians made a sketch on the ground of the future work, and each line of the image was divided into segments. Then they were transferred to the desert surface with the help of stakes in the form of furrows up to 50 centimeters deep. And if it was necessary to draw a curve, then it was divided into many short arcs. Each resulting drawing was outlined by a continuous line, and the creators of the unique creations included in the UNESCO World Heritage List have never seen them in their entirety. Since 1946, scientists have come to grips with unusual masterpieces.

Another mystery

It is curious that the Nazca geoglyphs in Peru were drawn by hand in two stages: images of animals and birds appeared much earlier than lines and stripes superimposed on complex figures. And it must be admitted that the early phase was more perfect, because the creation of zoomorphic images required a very high skill than a simple cutting of straight lines in the ground.

The difference between very high quality and not very skillfully executed images is quite large, which gave rise to rumors about the creation of symbols at different times (possibly also by other cultures). In addition, scientists even remembered those whom our ancestors called their gods, although official science considers them a fiction, denying the existence of an ancient developed civilization. Numerous artifacts say otherwise, and those who lived several millennia before us possessed the highest technology that surpasses modern capabilities.

Such a discrepancy indicates a difference both in the capabilities of the "artists" and in the technique of execution. If we take into account that any society develops from simple to complex, experiencing ups and downs, then the level of civilization always goes up. However, in this case, the scheme is violated, and advanced technologies are replaced by primitive ones.

Indians imitating drawings

It is believed that the early author of all Nazca geoglyphs (photos are presented in the article) was a highly developed civilization. Precisely verified drawings crossing a complex terrain required huge labor costs and special skills. It is these signs that amaze scientists and tourists with their thoroughness and scope. And the Indian tribes that lived on the plateau simply tried to imitate the remaining patterns. But they didn’t have many opportunities, which is why hacky copies appeared. The facts speak of one thing: the oldest drawings were made either by representatives of another civilization, or with their direct participation.

However, not all researchers agree with this theory. They combine the two stages, making a cautious assumption that the Nazca civilization possessed a special technique of artistic expression.

Has the mystery of the Nazca geoglyphs been solved?

Images, the true purpose of which scientists still cannot understand, are striking in their size. But why did the Indians do such a titanic work? Some researchers believe that this is a giant calendar that accurately shows the change of seasons, and all the drawings are somehow connected with the winter and summer solstices. Perhaps the representatives of the Nazca culture were astronomers who observed celestial bodies. So, for example, a huge image of a spider, according to a scientist at the Chicago Planetarium, is a diagram of the star cluster of the constellation Orion.

Others are sure that the Nazca geoglyphs, which cannot be seen from the ground, have a cult significance: this is how the Indians communicated with their gods. The famous archaeologist J. Reinhard is one of them. He sees in the kilometer lines the roads that led to the place of worship of the deities. And all the figures of animals, insects or birds are the personification of living beings that die without water. And he draws his conclusion: the Indians asked for life-giving moisture - the basis of life. However, most scientists do not support the version, considering it doubtful.

Still others believe that this is a kind of map of the Lake Titicaca region, only its scale is 1:16. However, no one can answer to whom it was intended. And someone sees in bizarre patterns a map of the starry sky transferred to the surface of the desert.

The fourth, who saw the crossed lines, suggested that this was the designation of the runway of ancient spaceships. Scientists examined an ancient spaceport in the plateau formed by mudflow deposits. But why would aliens roaming interstellar space need such primitive visual cues? In addition, there is no evidence of the use of the desert for the takeoff or landing of aircraft. But the supporters of the alien version are not diminishing.

Fifths declare that all images of people, animals and birds are made in memory of the Flood.

The sixth put forward a hypothesis according to which the ancient Nazca Indians mastered aeronautics, which is confirmed by the found ceramic products. They clearly show symbols resembling balloons. That is why all the Nazca geoglyphs are visible only from a great height.

Trident on the Paracas Peninsula (Peru)

To date, there are about 30 hypotheses, each of which tries to explain the strange masterpieces of the Indians. It is impossible not to mention another curious hypothesis. Some archaeologists who saw the image of the giant trident El Candelabro, more than 128 meters long on the slope of the Pisco rock on the Paracas Peninsula, considered that it was in it that the key to the solution was hidden. The gigantic figure is visible only from the sea or air. If you mentally draw a straight line from the middle tooth, it turns out that it is directed towards the Nazca desert (Peru), covered with strange lines. The geoglyph was made several hundred years before the birth of Christ.

Nobody knows who created it and why. Researchers believe that it is a symbol of the mythical Atlantis, which contains important information about our planet.

An ancient irrigation system?

A few years ago, archaeologists studying the geoglyphs of the Nazca desert, visible even from space, announced that the spiral lines that ended in funnels were the oldest aqueducts. Thanks to an unusual hydraulic system, water appeared on the plateau, where drought always reigned.

An extensive system of canals distributed life-giving moisture to those territories where it was needed. Through holes in the ground, the wind came in, which helped drive the remaining water away.

The craftsmanship of the ancient Indians

There are other questions regarding mystical patterns. Our contemporaries are surprised how, on rough terrain, the ancient Indians created trenches more than a kilometer long. Even using modern methods of geodetic measurements, it is quite difficult to draw a perfectly flat line on the ground. But the Nazca Indians (or representatives of another civilization) did it very easily, breaking through ditches through ravines or hills. Moreover, the edges of all lines are ideal parallel.

Unusual find

Recently, not far from the desert, in which unique drawings were found, which are traces of an ancient civilization, an international expedition discovered an unusual mummy with three fingers and toes. It is the limbs that look very strange. The sensational find, strewn with white powder, is a bit like a plaster sculpture, inside of which is a skeleton with the remains of organs. Studies have shown that the age of the mummy is more than 6 thousand years, and the powder has embalming properties.

The genome of the individual was unraveled by Russian scientists, who said that it was not a human mutant, but a representative of an extraterrestrial race. According to experts, next to the mummified body were drawings depicting a three-toed creature. His face can also be found on the surface of the desert.

However, not all scientists believed the conclusions of the Russians. Many are still convinced that this is a skillfully made fake, and the find has all the signs of a hoax.

New drawings and riddles without answers

In April of this year, the scientific world was stirred up by the information that new Nazca geoglyphs were discovered with the help of drones. 50 unknown images affected by time cannot be seen with the naked eye. They were discovered not only by aerial photographs, but also by subsequent analysis using the latest technologies. It is curious that most of the half-erased drawings of various sizes are abstract patterns and warriors of the Paracas civilization.

Scientists have stated that some of the discovered symbols were made by the ancestors of the Nazca Indians. Soil erosion prevented the discovery earlier: the collapsing soil of the plateau made the bizarre patterns blurry. Therefore, it was not possible to consider the Nazca geoglyphs from a satellite or from an airplane. And only thanks to high-resolution cameras installed on drones (unmanned aerial vehicles), clear pictures turned out.

Ecological problems

So far, the mystery of the Nazca geoglyphs remains unsolved. The matter is further complicated by the fact that now the plateau has the status of a sacred zone, where archaeological excavations are prohibited. Access to the anomalous territory, resembling a giant easel, on which the ancient "artists" left their messages, is closed.

In addition, an ecological threat looms over the desert: deforestation and environmental pollution are changing its climate. Due to frequent rains, unique creations on earth can sink into oblivion. And posterity will never know the whole truth. Unfortunately, nothing is being done to save them.

Everyone can admire the mysterious patterns of the desert

Travelers going to Peru should remember that the plateau belongs to the UNESCO world cultural heritage, and it is forbidden to visit it without permission. But tourists are adored in Nazca, because they allow the locals to live well in a very inhospitable area. Thanks to the incessant foreign flow, people survive.

However, anyone who wants to admire the mysterious signs can do this without even leaving their home. It is necessary to launch a special program that displays satellite images of the planet. Recall once again the coordinates of the geoglyphs in the Nazca desert - 14 ° 41 "18.31" S 75 ° 07 "23.01" W.

The Nazca Plateau today is a lifeless desert, covered with stones darkened from heat and sun and indented by channels of long-dry water streams; one of the driest places on earth. It is located 450 km south of Lima, the capital of Peru, 40 km from the Pacific coast, at an altitude of approximately 450 m. It rains here on average once every two years and lasts no more than half an hour.

In the twenties, with the beginning of air travel from Lima to Arequipa, strange lines began to be noticed on the plateau. Lots of lines. Straight as an arrow, sometimes stretching to the very horizon, wide and narrow, intersecting and overlapping, combining into unthinkable patterns and flying out from the centers, the lines made the desert look like a giant drawing board:

Since the middle of the last century, a serious study of the lines and cultures that inhabited this region began, but the geoglyphs still kept their secrets; versions began to appear explaining the phenomenon outside the mainstream of academic science, the topic took its rightful place among the unsolved mysteries of ancient civilizations, and now almost everyone knows about the Nazca geoglyphs.

Representatives of official science have repeatedly stated that everything has been unraveled and deciphered, that these are nothing more than traces of religious ceremonies, or, in extreme cases, traces of searches for water sources or the remains of astronomical indicators. But just look at the pictures from an airplane, and preferably from space, as fair doubts and questions arise - what kind of rituals are these that forced Indians two thousand years ago, whose society was at the earliest stages of development, who did not have a written language, who lived in small villages and farmsteads, forced to constantly fight for survival, to draw hundreds of square kilometers of the desert with geometric shapes, many kilometers of straight lines and giant design images that can only be seen from a great height?
Maria Reiche, who has devoted more than 50 years to the study of geoglyphs, notes in her book that, given the enormous amount of work carried out, the creation of lines should have been the central task of the society that inhabited this area at that time ...

Although it is worth noting that in more specialized works, archaeologists do not adhere to such categorical conclusions about the complete solution of the lines, mentioning religious ceremonies only as the most likely version that requires further research.

And I propose to touch this amazing riddle again, but maybe a little more closely, as if from another dimension; to do similar to what P. Kosok did in 1939, when he first specially hired an airplane to fly over the desert.

So, some necessary information.

1927 Official discovery of the lines by the Peruvian archaeologist Toribio Meia Xespe.

1939 Geoglyph research begins by historian Paul Kosok of Long Island University in New York.

1946 - 1998 The study of geoglyphs by the German mathematician and archaeologist Maria Reiche. Arriving for the first time together with Paul Kosok as an interpreter, Maria Reiche continued the research of lines, which became the main work of her life. It is largely thanks to this courageous woman that the lines continue to exist and are available for research.

1960 Start of intensive study of geoglyphs by various expeditions and researchers.

1968 Erich Von Denikin's book "Chariots of the Gods" is published, where the version of the traces of extraterrestrial civilizations is expressed. The beginning of the wide popularity of the Nazca geoglyphs and the tourist boom on the plateau.

1973 Expedition of the English astronomer Gerald Hawkins (author of a monograph on Stonehenge), the results of which showed the inconsistency of the astronomical version proposed by P. Kosak and M. Reich.

1994 Thanks to the efforts of Maria Reiche, the Nazca geoglyphs are included in the UNESCO World Heritage List.

Since 1997, the Nasca Palpa project, led by the Peruvian archaeologist Joni Isla and prof. Markus Reindel of the German Archaeological Institute with the support of the Swiss-Liechtenstein Foundation for Foreign Archaeological Research. The main version based on the results of work since 1997 is the already mentioned ritual actions associated with the cult of water and fertility.

At present, a GIS-geoinformation system (digital 3-dimensional display of geoglyphs combined with archaeological and geological information) is being created with the participation of the Zurich Institute of Geodesy and Photogrammetry.

A little about versions. The two most popular ones have already been mentioned (rituals of the Indians and traces of extraterrestrial civilizations):

To begin with, let's clarify the meaning of the term "geoglyphs" a little. According to Wikipedia, "a geoglyph is a geometric or figured pattern applied to the ground, usually over 4 meters long. There are two ways to create geoglyphs - by removing the top layer of soil around the perimeter of the pattern, or, conversely, pouring rubble where the pattern line should pass. Many geoglyphs are so large that they can only be seen from the air." It is worth adding that the vast majority of geoglyphs are quite unambiguously interpreted drawings or signs, and from ancient times to this day people have applied and apply geoglyphs for certain purposes - religious, ideological, technical, entertainment, advertising. In our time, thanks to technological progress, the application methods have improved significantly, and, ultimately, both the illuminated runway and artificial islands in the United Arab Emirates can be considered modern geoglyphs:

According to the above, the Nazca lines (the number of giant drawings is only a fraction of a percent of the number of lines and geometric figures) are not entirely correct to consider geoglyphs, due to the unknown purpose for which they were applied. After all, it doesn’t occur to anyone to consider geoglyphs, say, agricultural activities or the transport system, which from a great height also look like geometric patterns. But it so happened that in official archeology, and in popular literature, the lines and drawings of Nazca are called geoglyphs. We will not break traditions.

1. LINES

Geoglyphs are found almost along the entire western coast of South America. In this chapter, we will take a closer look at the geoglyphs in the Nazca region, and you will find information about other regions in the appendix.

On the next map, the areas marked in blue are where the lines are clearly readable in Google Earth and have a similar structure; red rectangle - "tourist place", where the density of lines is maximum and most of the drawings are concentrated; the purple area is the area of ​​distribution of lines, considered in most studies, when they say "geoglyphs of Nazca-Palpa" they mean exactly this area. The purple icon in the upper left corner is the well-known geoglyph "Paracas Candelabra":

Red rectangle area:

Purple area:

The geoglyphs themselves are a rather simple thing - stones covered with a dark desert tan (manganese and iron oxides) were removed to the side, thereby exposing a light layer of subsoil, consisting of a mixture of sand, clay and gypsum:

But often geoglyphs have a more complex structure - deepening, an ordered border, stone structures, or simply heaps of stones at the ends of lines, which is why in some works they are called soil structures.

Where the geoglyphs enter the mountains, a lighter layer of rubble was exposed:

In this chapter, we will mainly consider that large part of geoglyphs, which includes lines and geometric shapes.

They are usually classified according to their shape as follows:

Lines and stripes from 15 cm to 10 or more meters wide, which can stretch for many kilometers (1-3 km are quite common, some sources mention 18 or more km). Most of the drawings are drawn with thin lines. The stripes sometimes gradually expand along their entire length:

Truncated and elongated triangles (the most common type of geometric figures on the plateau after lines) of various sizes (from 3 m to more than 1 km) - they are usually called trapezoids:

Large areas of rectangular and irregular shape:

Often the lines and platforms are deepened, according to M. Reiche up to 30 cm or more, the deepenings near the lines often have an arched profile:

This is clearly seen on almost filled trapezoids:

Or in a picture taken by a member of the LAI expedition:

The shoot place:

Lines almost always have well-defined borders - basically it is something like a border, very precisely maintained along the entire length of the line. But also the boundaries can be dumps of stones (for large trapezoids and rectangles, as in Fig. 15) or heaps of stones with varying degrees of order:

We note a feature due to which the Nazca geoglyphs became widely known - straightforwardness. In 1973, J. Hawkins wrote that some many-kilometer straight lines were made at the limit of photogrammetric possibilities. I don’t know how things are now, but you must admit that it’s not bad at all for the Indians. It should be added that often the lines go along the relief, as if not noticing it.

Examples that have become classic:

Airplane view:

The centers are clearly visible on map 6. Map of the centers compiled by Maria Reiche (small dots):

American researcher Anthony Eveny in his book "Between lines" mentions 62 centers in the Nazca Palpa area.

Often the lines are connected to each other and combined into various combinations. It is also noticeable that the work went on in several stages, often lines and shapes overlap each other:

It is worth noting the location of the trapezoids. The bases usually face the river valleys, the narrow part is almost always higher than the base. Although where the elevation difference is small (on flat hilltops or in the desert) this does not work:

A few words need to be said about the age and number of lines. It is generally accepted by official science that the lines were created between 400 BC and 400 BC. e. and 600 AD This is based on fragments of ceramics from different phases of the Nazca culture, which are found in dumps and heaps of stones on the lines, as well as radiocarbon analysis of the remains of wooden poles, which are considered marking. Thermoluminescent dating is also used, which shows similar results. We will touch on this topic further below.

As for the number of lines - Maria Reiche registered about 9,000 of them, at present a figure from 13,000 to 30,000 is mentioned (and this is only on the purple part of the map 5; no one counted similar lines at Ika and Pisco, although they obviously exist there far less). But it must be borne in mind that we see only what the time and cares of Maria Reich left us (now the Nazca plateau is a reserve), who mentioned in her book that before her eyes, areas with interesting lines and spirals are planted under cotton crops. Obviously, most of them were buried by erosion, sands and human activity, and the lines themselves sometimes cover each other in several layers, and their true number may differ by at least an order of magnitude. It makes sense to talk not about the number, but about the density of lines. And here it is worth noting the following.

Given that the climate, as archaeologists point out, was wetter during this period (and Google Earth also shows that the ruins and remains of irrigation facilities go deep into the desert), the maximum density of geoglyphs is observed near river valleys and settlements (Map 7). But you can meet individual lines both in the mountains and far in the desert:

At an altitude of 2000 m, 50 km west of Nazca:

A trapezoid from a group of lines in the desert 25 km from Ica:

And further. When compiling the GIS of some areas of Palpa and Nazca, it was concluded that, in general, all lines were built in places accessible to humans and what is happening on the lines (but not the lines themselves) can be seen from remote observation points. I don’t know about the second, but the first seems to be true for the vast majority of lines (there are inconvenient places, but I haven’t seen impassable ones), especially since Google Earth allows you to rotate the image this way and that (purple area on map 5):

The list of obvious features could go on, but perhaps it's time to move on to the details.

The first thing I would like to start with is a significant amount of work done, to put it mildly, not quite qualitatively:

Most of the pictures were taken within the purple area on map 5, which was the most invaded by tourists and all sorts of experimenters; according to Reiche, there were even military maneuvers here. I tried to avoid clearly modern traces as much as possible, especially since it is not difficult - they are lighter, go over ancient lines and do not have traces of erosion.

A few more notable examples:

The ancients had strange rituals - would it be worth doing such a volume of marking and clearing work that you would then give up halfway through or even at the final part? Interestingly, sometimes on completely finished trapezoids, there are often heaps of stones, as if thrown or forgotten by the builders:

According to archaeologists, work on the construction and reconstruction of lines was carried out constantly. I will add that this is more likely to apply only to certain groups of lines located near Palpa and in the valley of the river Ingenio. There, all kinds of activity did not stop, perhaps even during the time of the Incas, judging by the numerous stone structures around the bases of the trapezoids:

Some of these places are sometimes marked with anthropomorphic and rather primitive images-geoglyphs, reminiscent of ordinary rock paintings (historians attribute them to the style of the Paracas culture, 400-100 BC, the predecessor of the Nazca culture). It is clearly seen that quite a few trampled there (including modern tourists):

I must say that such places are mostly preferred by archaeologists.

Here we come to one extremely interesting detail.

You noticed that I constantly mention heaps and stone structures - they made borders out of them, arbitrarily left on the lines. But there is another type of similar elements, as if included in the design of a significant number of trapezoids. Notice the two elements at the narrow end and one at the wide end:

The detail is important, so more examples:

In this Google image, several trapezoids have similar elements at once:

These elements are not the latest additions - they are present on some unfinished trapezoids, and are also found in all 5 regions indicated on the map. Here are examples from opposite ends - the first from the Pisco region, and two from the mountainous area east of Nazca. Interestingly, on the latter, these elements are also present inside the trapezoid:

Archaeologists have recently become interested in these elements, and here are descriptions of these structures on one of the trapezoids in the Palpa region (1):

Stone platforms with walls of stones bonded with mud mortar, sometimes double (the outer wall was made of the flat sides of the stone, giving splendor), filled with rock, among which there are fragments of ceramics and food remains; there was a raised floor made of rammed clay and stone inlays. It is assumed that wooden beams were laid on top of these structures and used as platforms.

The diagram shows pits between the platforms, where the remains of wooden (willow) poles, presumably massive, were found. Radiocarbon analysis of one of the pillars showed the age of 340-425 AD, a piece of a stick from a stone platform (another trapezoid) - 420-540 AD. e. Also, pits with the remains of pillars were found on the borders of the trapezoids.

Here is a description of a ring structure found near the trapezoid, which, according to archaeologists, is similar to those found at the base of the trapezoid:

According to the method of construction, it is similar to the platforms described above, with the difference that the inner part of the wall was also given splendor. It had the shape of the letter D, a gap was made on the flat side. A flat stone, placed after reconstruction, is visible, but it is noted that there was a second one, and both were used as supports for the stairs to the platform.

In most cases, these elements did not have such a complex structure and were simply heaps or ring structures of stones, and a single element at the base of the trapezoid could not be read at all.

And more examples:

We dwelled on this point in a little more detail, because it is quite obvious that the platforms were built together with the trapezoids. They can be seen very often in Google Earth, and ring structures are very well distinguishable. And it is unlikely that the Indians were specifically looking for trapezoids in order to build platforms on them. Sometimes even the trapezoid is barely guessed, and these elements are clearly visible (for example, in
desert 20 km from Ica):

The large rectangular areas have a slightly different set of elements - two large piles of stones, located one at each edge. Perhaps one of them is shown in the National Geographic documentary "The Nazca Lines. Deciphered":

Well, a sure point in favor of the rituals.

Based on our orthodox version, it is logical to assume that there must be some kind of markup. Something similar really exists and is very often used - a thin central line running along the center of the trapezoid and sometimes going far beyond. In some works of archaeologists, it is sometimes called the axial line of the trapezoid. Usually it is tied to the platforms described above.
(begins or passes near-through the platform at the base, and always exits exactly in the middle between the platforms at the narrow end), the trapezoid may not be symmetrical with respect to it (and the platforms, respectively):

This is true for all selected areas of map 5. The trapezoid from Iki is indicative in this respect. 28, the center line of which seems to shoot a line of heaps of stones.

Examples of different types of marking trapezoids and stripes, as well as various types of work on them in the purple area (we called them mattresses and perforated tapes):

The markup in some of the examples shown is no longer a simple delineation of the main axes and contours. Here there are elements, as it were, of scanning the entire area of ​​the future geoglyph.

This is especially noticeable on the markings for large rectangular sites from the "tourist place" near the Ingenio River:

Under the platform:

And here, next to the existing site, another one was marked out:

A similar markup for future sites on the layout of M. Reiche is well read:

Let's take note of the "scanning markup" and move on.

Interestingly, the markers and those who carried out the clearing work sometimes seemed to be unable to coordinate their actions to a sufficient degree:

And an example of two large trapezoids. I wonder if this is how it was intended, or someone messed something up:

Given all of the above, it was hard not to take a closer look at the actions of the markers.

And here we are waiting for some more extremely entertaining details.

To begin with, I will say that it is very significant to compare the behavior of modern transport and ancient markers using a thin line. Traces of cars and motorcycles run unevenly along one direction, and it is difficult to find straight sections of more than a couple of hundred meters. At the same time, the ancient line is always almost straight, often moving inexorably for many kilometers (checked in Google with a ruler), sometimes disappearing, as if breaking away from the ground, and reappearing in the same direction; occasionally can make a slight turn, sharply or not very change direction; and in the end either rests on the center of intersections, or smoothly disappears, dissolving into a trapezoid that crosses lines or with a change in relief.

Often markers seem to rely on heaps of stones located next to the lines, and less often on the lines themselves:

Or this example:

I have already spoken about straightforwardness, but I will note the following.

Some lines and trapezoids, even distorted by relief, become straight from a certain point of view from the air, which has already been noted in some studies. For example. The line, slightly walking in the satellite picture, looks almost straight from the viewpoint, located a little to the side (frame from the documentary "Nazca Lines. Deciphered"):

I am not an expert in the field of geodesy, but, in my opinion, to draw a line on rough terrain along which an inclined plane intersects the relief is a rather difficult task.

Another similar example. Airplane photo on the left, satellite photo on the right. In the center is a fragment of an old photo of Paul Kosok (taken from the lower right corner of the original photo from the book by M. Reiche). We can see that the whole combination of lines and trapezoids seems to be drawn from a point close to the point from which the central picture was taken.

And the next photo is better viewed in good resolution (here - Fig. 63).

First, let's pay attention to the under-cleared area in the center. The ways of working by hand are very clearly presented - there are both large and small heaps, gravel heaps at the borders, an irregular border, not very organized work - they collected it here and there and left. In short, everything that we saw in the section on manual work.

Now let's look at the line that crosses the left side of the photo from top to bottom. A radically different style of work. The ancient aces-builders seem to have decided to imitate the work of a chisel fixed at a certain height. With a jump across the stream. Rectilinear and regular borders, leveled bottom; they didn't even forget to reproduce the subtleties of breaking off the trace of the upper part of the line. There is a possibility that this
water or wind erosion. But there are enough examples of all kinds of environmental influences in photographs - it does not look like either one or the other. Yes, and on the surrounding lines it would be noticeable. Here, rather, a deliberate interruption of the line by about 25 meters. If we add a concave profile of the line, as in old photographs or from a photo in the Palpa region, and tons of rock to be shoveled (the line width is about 4 m), then the picture will be complete. Also indicative are four perpendicular thin parallel lines, clearly applied on top. If you look closely, you can see that the depth of the lines also changes on uneven terrain; it looks like a trace drawn along a ruler with a metal fork over a piece of plasticine.

For myself, I called such lines t-lines (lines made with the help of technology, i.e. taking into account the use of special methods for marking, performing and controlling work). Similar features have already been noted by some researchers. Photos of similar lines are on the site (24) and similar behavior of some lines (interruption of lines and interaction with the relief) is noted in the article (1).

A similar example, where you can also compare the level of work (two "rough" lines are marked with arrows):

What is remarkable. The unfinished rough line (the one in the center) has a thin marking line. But the markings for t-lines have never been seen. As well as unfinished t-lines.

Here are some more examples:

According to the "ritual" version, the lines had to be walked. In one Discovery documentary, they showed the internal compacted structure of the lines, supposedly resulting from intensive walking on them (the compaction of the rock explains the magnetic anomalies recorded on the lines):

And in order to trample on like that, they had to walk a lot. Not just a lot, but a lot. It is only interesting how the ancients determined the routes in Fig. 67 to tread down the lines approximately evenly? And how did you jump 25 meters?

It is a pity that the photos with sufficient resolution cover only the "tourist" part of our map. So from other areas we will be content with maps from Google Earth.

Rough work at the bottom of the picture and the t-line at the top:

And these t-lines stretch in a similar way for about 4 km:

T-lines were able to make turns:

And such a detail. If we return to the t-line, which we discussed the very first, and look at its beginning, we will see a small expansion, resembling a trapezoid, which then develops into a t-line and, very smoothly changing width and abruptly changing direction four times, crosses itself , and dissolves into a large rectangle (the unfinished platform is obviously of a later origin):

Sometimes there was some kind of failure in the work of the markers (curves with stones at the end of the strips):

There are also large trapezoids, similar to the work of markers. For example. A well-made trapezoid with borders-borders, as it were, grows by pushing the borders out of the dent line of the marker:

Another interesting example. A fairly large trapezoid (in the picture, about two-thirds of the entire length), made as if by pushing the cutting edges of the "cutter", and in the narrow part one of the edges ceases to touch the surface:

There are enough oddities like this. The whole area of ​​our map under discussion seems to be mostly the work of those same markers, well mixed with rough, unskilled work. Archaeologist Heylen Silverman once compared the plateau to a scribbled blackboard at the end of a busy school day. Very well marked. But I would add something about the joint activities of the preschool group and graduate students.

There are attempts to make the lines by hand in our time available to the ancient Naskans by means:

The ancients did something similar, and perhaps in precisely these ways:

But in my opinion, t-lines resemble something else. They are more like a trace of a spatula, with which they imitated the Nazca drawings in one of the documentaries:

And here is a comparison of t-lines and a trace of a stack on plasticine:

Something like this. Only a spatula or a stack they had a little more ...

And the last. A note about markers. There is such a recently opened religious center of the ancient Naskans - Cahuachi. It is believed that it is directly related to the construction of lines. And if we compare, on the same scale, this same Cahuachi with a section of the desert lined a kilometer away, the question arises - if the Nascan surveyors themselves painted the desert, then they invited Cahuachi to mark out
guest workers from backward hill tribes?

It is impossible to draw a clear line between unskilled work and t-lines and draw any conclusions using only photographs of a "tourist" area and Google earth maps. It is necessary to look and study on the spot. And since the chapter is devoted to material that claims to be factual, I will refrain from commenting on such sophisticated rituals; and therefore we end the discussion of t-lines and proceed to the final part of the chapter.

Line combinations

The fact that lines form certain groups and combinations has been noted by many researchers. For example, prof. M. Reindel called them functional units. A few clarifications. Combinations are understood not as a simple superimposition of lines on each other, but as if unification into one whole through common boundaries or obvious interaction with each other. And in order to try to understand the logic of creating combinations, I propose to start by systematizing the set of elements that the builders used. And, as we can see, there is not much diversity here:

There are only four elements. Trapezoids, rectangles, lines and spirals. There are also drawings, but a whole chapter is devoted to them; here we will consider them a kind of spirals.

Let's start from the end.

Spirals. This is a fairly common element, there are about a hundred of them and they are almost always included in line combinations. There are very different ones - perfect and not quite, square and intricate, but always double:

The next element is lines. Basically, these are our familiar t-lines.

Rectangles - they were also mentioned. Let's just note two things. First. There are relatively few of them and they always try to be oriented perpendicular to the trapezoids and gravitate towards their narrow part, sometimes as if crossing them out (Map 6). Second. In the valley of the Nazca River there is a significant number of large broken rectangles, as if superimposed on the beds of dried up rivers. On the drawings, they are indicated mainly in yellow:

The boundary of such a site is clearly visible in Fig. 69 (bottom).

And the last element is a trapezoid. Along with lines, the most common element on the plateau. A few details:

1 - Location relative to stone structures and types of borders. As already noted, very often stone structures are poorly readable, or they do not exist at all. There is also some functionality of trapezoids. I don't want to militarize the description, but the analogy with small arms comes to mind. The trapezoid, as it were, has a muzzle (narrow) and breech, each of which interacts quite standardly with other lines.

For myself, I divided all combinations of lines into two types - collapsed and expanded. The trapezoid is the main element in all combinations. Curled (group 2 in the diagram) is when the line emerges from the narrow end of the trapezoid at an angle of about 90 degrees (or less). This combination is usually compact, the thin line often returning to the base of the trapezoid, sometimes with a spiral or pattern.

Reversed (group 3) - the outgoing line almost does not change direction. The simplest expanded one is a trapezoid with a thin line, as if shooting from a narrow part and stretching for a considerable distance.

A couple more important details before we move on to the examples. In folded combinations, there are no stone structures on the trapezoid, and the base (wide part) sometimes has a series of lines:

It can be seen that the last row in the last example was laid out by caring restorers. Snapshot of the last example from the ground:

In deployed ones, on the contrary, very often there are stone structures, and the base has an additional trapezoid or trapezoids of a much smaller size, joining (in series or in parallel) to the place of a single platform (possibly taking it outside the main one):

For the first time, a folded combination of lines was described by Maria Reiche. She called her "whip":

From the narrow end of the trapezoid at an acute angle in the direction of the base there is a line that, as if scanning the surrounding space (in this case, the features of the relief) in a zigzag, turns into a spiral in the immediate vicinity of the base. Here is the twisted combination. We substitute different variations of these elements and get a very common combination in the Nazca Palpa region.
An example with another zigzag option:

More examples:

Examples of larger and more complex folded combinations in characteristic interaction with a rectangular pad:

On the map, multi-colored asterisks show well-read folded combinations in the Palpa-Nasca area:

A very interesting example of a group of folded combinations is shown in the book by M. Reiche:

To a huge folded combination, to the narrow part of the trapezoid, a micro-combination is attached, as it were, having all the attributes of an ordinary folded combination. A more detailed photo shows: white arrows - breaks of the zigzag, black - the mini-combination itself (the large spiral near the base of the trapezoid is not shown by M. Reiche):

Examples of folded combinations with pictures:

Here you can note the order in which combinations are created. The question is not completely clear, but many examples show that the scanning lines seem to see the parent trapezoid and take it into account with their trajectory. On a combination with a monkey - a sawtooth zigzag, as it were, fits between the existing lines; much more difficult from the point of view of the artist would be to draw him first. Yes, and the dynamics of the process - first a trapezoid with a garden of various details, then a thinning t-line, turning into a spiral or pattern, and then disappearing altogether - in my opinion, is more logical.

Introducing the folded combination champion. The length of only the visible continuous and very high-quality part (a combination of lines near Cahuachi) is more than 6 km .:

And here you can see the scale of what is happening - Fig. 81 (drawing by A. Tatukov).

Let's move on to expanded combinations.

There is no such relatively clear construction algorithm here, except for the fact that these combinations cover a significant area. You can even say that these are rather different ways of interaction of lines and groups of lines with each other. See examples:

Trapezoid 1, which, in turn, has a small "ignition" trapezoid, rests with a narrow part on a hill, on which, as it were, an "explosion" occurs, or a connection of lines coming from the narrow ends of other trapezoids (2, 3).
Remote trapezoids seem to be connected to each other. But there is also a serial connection (4). Moreover, sometimes the connecting center line can change the width and direction. Purple indicates unskilled work.

Another example. Interaction of an axial line with a length of about 9 km and 3 trapezoids:

1 - upper trapezoid, 2 - middle, 3 - lower. You can see how the axial one reacts to trapezoids, changing direction:

Next example. For greater clarity, it would be better to consider it in detail in Google Earth. But I'll try to explain.

Trapezoid 1, very roughly made, to which trapezoid 2 “shoots” at the narrow part, is connected to the base of trapezoid 3 (Fig. 103), which in turn “shoots” with a well-made line into a small hill. Here is such a trapezology.

In general, such shooting at distant low hills (it also happens at distant mountain peaks) is quite a common thing. According to archaeologists, about 7% of the lines are aimed at hills. For example, trapezoids and their axes in the desert near Ika:

And the last example. Combining a common border using rectangular pads of two large collapsed combinations:

It can be seen how the trapezoid, which shoots in a straight line, is deliberately ignored.

Here is a brief summary of all that I would like to say about combinations.

It is clear that the list of such compounds can be continued and developed for a very long time. At the same time, in my opinion, it would be wrong to think that the plateau is one big mega-combination. But the conscious and intentional association of some geoglyphs into groups according to certain characteristics and the existence of something like a common strategic plan for the entire plateau is beyond doubt. It is worth noting that all the deployed combinations mentioned occupy an area of ​​​​several square kilometers each, and you cannot build such a thing in a day or two. And if you take into account all these t-lines, correct boundaries and platforms, kilotons of stones and rocks, and the fact that the work was carried out according to the same schemes throughout the entire area of ​​\u200b\u200bthe mentioned region (map 5 - more than 7 thousand square kilometers), over a long period of time and sometimes in very unfavorable conditions, unpleasant questions arise. It is difficult to judge to what extent a society of culture
The Nazca was able to do this, but the fact that this required very specific knowledge, maps, tools, serious organization of work and large human resources is obvious.

2. DRAWINGS

Phew, with the lines, it seems, finished. For those who did not fall asleep from boredom, I promise - it will be much more fun. Well, there are birds, little animals, all sorts of spicy details ... Otherwise, all the sand is stones, stones are sand ...

Well, let's start.

Nazca drawings. The smallest, but the most famous part of the activities of the ancients on the plateau. To begin with, a little explanation of what kind of drawings will be discussed below.

According to archaeologists, man appeared in these places (the Nazca-Palpa region) quite a long time ago - several millennia before the formation of the Nazca and Paracas cultures. And all this time, people left various images that have been preserved in the form of petroglyphs, drawings on ceramics, textiles and well-marked geoglyphs on the slopes of mountains and hills. It is not in my competence to delve into all sorts of chronological and iconographic subtleties, especially since there are enough works on this topic now. We'll just look at what these people drew; and not even what, but how. And as it turned out, everything is quite natural. In Fig.106, the upper group is the earliest and most primitive petroglyphs (rock paintings); lower - images on ceramics and textiles of the Nazca - Paracas cultures. The middle row is geoglyphs. There is a lot of such creativity in this region. The sombrero-like detail on the head is actually a headpiece (usually gold Fig. 107), as I understand it, some kind of insignia used in these parts and is very common in many images.
All such geoglyphs are located on slopes, are clearly visible from the ground, made in the same way (clearing stones from sites and using heaps of stones as details) and quite in the style of the lower and upper rows. In general, there are enough similar activities around the world (1st column of Fig. 4).

We will be interested in other drawings, as we will see below, in many ways different from those described above in style and method of creation; which, in fact, are known as Nazca drawings.

There are just over 30 of them. There are no anthropomorphic images among them (primitive geoglyphs, described above, in the vast majority depict people). The sizes of the drawings are from 15 to 400(!) meters. Drawn (Maria Reiche mentions the term "scratched") with one line (usually a thin marking line), which often does not close, i.e. the drawing has, as it were, an entrance-exit; sometimes included in a combination of lines; most of the drawings are visible only from a considerable height:

Most of them are located just in the "tourist" place, near the river Ingenio. The appointment and evaluation of these drawings are controversial even among representatives of official science. Maria Reiche, for example, admired the refinement and harmony of the drawings, and the participants in the modern Nazca project
Palpa" under the guidance of Prof. Markus Reindel believe that the drawings were not conceived as images at all, but were created only as directions for ritual processions. There is no clarity, as usual.

I suggest not to be loaded with introductory information, but immediately delve into the topic.

In many sources, especially official ones, the issue of drawings belonging to the Nazca culture is a settled issue. For the sake of fairness, it should be noted that in sources with an alternative focus, this topic is generally silent. Official historians usually refer to a comparative analysis of the drawings in the desert and the iconography of the Nazca culture, made by William Isbel back in 1978. Unfortunately, I didn’t find the work, I had to climb myself, since it’s not 78 now.
Drawings and photos of ceramics and textiles of the Nazca and Paracas cultures are now enough. I have mostly used the excellent collection of drawings made by Dr. C. Klados, available on the FAMSI website (25). And here's what turned out. Here is the case when it is better to look than to speak.

Fish and Monkey:

Hummingbird and Frigate:

Another hummingbird with a flower and a parrot (as the depicted character is usually called), which, perhaps, is not a parrot at all:

Well, the remaining birds: condor and harpies:

The fact, as they say, is obvious.

It is obvious that the drawings on textiles and ceramics of the Nazca and Paracas cultures and images in the desert sometimes coincide in detail. By the way, there was also a plant depicted on the plateau:

This manioc, or yucca, has been one of the staple foods in Peru since antiquity. And not only in Peru, but throughout the tropical zone of our planet. Like our potatoes. To taste too.

At the same time, it is worth noting that there are drawings on the plateau that have no analogues in the Nazca and Paracas cultures, but more on that later.

Well, let's see how the Indians created these wonderful images of theirs. There are no questions regarding the first group (primitive geoglyphs). The Indians were quite capable of doing this, given that there is always the opportunity to admire the creation from the outside, and, in which case, correct it. But with the second (drawings in the desert), some questions arise.

There is such an American researcher Joe Nickell, a member of the society of skeptics. And once he decided to reproduce one of the Nazca drawings - a 130-meter condor - in a field in Kentucky, USA. Joe and five of his assistants were armed with ropes, pegs and a cross of boards, allowing them to draw a perpendicular. All these "devices" could well have been among the inhabitants of the plateau.

The "Indians" team set to work on the morning of August 7, 1982 and completed it 9 hours later, including a lunch break. During this time, they marked 165 points and connected them together. Instead of digging, the testers covered the contours of the figure with lime. Photographs were taken from an aircraft flying at an altitude of 300 m.

“It was a success,” Nickell recalled. “The result was so accurate and accurate that we could easily recreate a much more symmetrical drawing in this way. It seems that the Nazca people marked out far fewer dots than we did, or used a rougher method, measuring distance, for example, with steps, and not with a rope" (11).

Yes, indeed, it turned out very similar. But then we agreed to take a closer look. I propose to compare the modern condor with the creation of the ancients in more detail:

It looks like Mr. Nickell (his condor on the left) got a little excited about judging his own work. A remake is walking. In yellow, I marked roundings and axes, which the ancients undoubtedly took into account in their work, and Nickell did it, as it turned out. And the proportions, slightly swollen because of this, give the drawing on the left some "clumsiness", which is absent in the ancient image.

And here comes the next question. To reproduce the condor, Nickell appears to have used a photograph as a sketch. When the image is enlarged and transferred to the surface of the earth, errors will inevitably occur, the magnitude of which depends on the method of transfer. These errors will be expressed, respectively, in all sorts of "clumsies" that we observed in Nickell (which, by the way, are present on some modern geoglyphs from the middle column of Fig. 4). And a question. And what sketches and methods of transfer did the ancients use to get almost perfect images?

It can be seen that the image, in this case the spider, is deliberately devoid of full symmetry, but not in the direction of an uncontrollable loss of proportions due to the imperfection of the transfer, as in Nickell's, but in the direction of giving liveliness to the drawing, the comfort of perception (which greatly complicates the transfer process). One gets the impression that the ancients had no problems at all with the quality of the transfer. It should be added that Nickell fulfilled his promise to create a more accurate image, and drew the same spider (frames from the National Geigraphic documentary "Is it Real? Ancient Astronauts"):

But you and I see that he drew his own spider, very similar to the Nascan and the same size, but simpler and symmetrical (for some reason, the photo from the plane could not be found anywhere), devoid of all the subtleties that are visible in the previous photos and which so admired Maria Reiche.

Let's put aside the often discussed question about the method of transferring and enlarging the drawings, and try to look at the sketches, without which the ancient artists could hardly have done.

And then it turned out that there are practically no better drawings that Maria Reiche made by hand in the middle of the last century. All that is there is either a stylization, without taking into account details, or a deliberate distortion of the drawings, showing, according to the artists, the primitive level of the Indians of that time. Well, I had to sit down and try to do it myself. But the case turned out to be so exciting that I could not tear myself away until I had drawn all the available images. Looking ahead, I will say that there were a couple of pleasant surprises. But before inviting you in
gallery of "Nasca" graphics, I would like to note the following.

At first, I did not quite understand what made Maria Reiche so carefully search for a mathematical description of the drawings:

And this is what she wrote in her book: “The length and direction of each segment were carefully measured and recorded. Approximate measurements would not be enough to reproduce such perfect outlines that we see with aerial photography: a deviation of just a few inches would distort the proportions of the picture. Photographs taken in this way help to imagine how hard it was for the ancient craftsmen.The ancient Peruvians must have possessed equipment that even we do not have and which, combined with ancient knowledge, was carefully hidden from the conquerors, as the only treasure that cannot be kidnap" (2).

I fully understood this when I started drawing. It was no longer about sketches, but about getting close enough to what is on the plateau. Any minimal shift in proportions almost always resulted in "clumsiness", similar to what we saw with Nickell, and immediately lost the lightness and harmony of the image.

A little about the process. There is enough photographic material for all the drawings, if some detail was missing, you can always find the right picture from a different angle. Sometimes there were problems with perspective, but this was solved either with the help of existing drawings, or with a snapshot from Google Earth. This is how the working moment looks when drawing the "snake" (in this case, 5 photos were used):

And then, at one fine moment, I suddenly discovered that with a certain skill in working with Bezier curves (developed in the 60s for automotive design and which became one of the main tools for computer graphics), the program sometimes drew contours quite similarly. At first it was noticeable on the fillets of the legs of the spider, when without my participation these fillets became almost identical to the original ones. Further, with the correct positions of the nodes and when they were combined into a curve, the line sometimes almost exactly repeated the contour of the picture. And the fewer nodes, but the more optimal their position and settings, the more similarity with the original.

In general, a spider is practically one Bezier curve (more correctly, a Bezier spline, a sequential connection of Bezier curves), without circles and straight lines. With further work, a feeling arose that grew into confidence that this unique "Nascan" design is a combination of Bezier curves and straight lines. There were almost no regular circles or arcs:

Is it not Bezier curves that Maria Reiche, a mathematician by training, tried to describe by making numerous measurements of radii?

But I was truly inspired by the skill of the ancients when drawing large drawings, where there were almost ideal curves of huge sizes. Let me remind you once again that the purpose of the drawings was an attempt to look at the sketch, at what the ancients had before drawing on the plateau. I tried to minimize my own creativity, resorting to painting damaged places only where the logic of the ancients was obvious (for example, the tail of a condor, a falling out and clearly modern rounding on the body of a spider). It is clear that there is some idealization, improvement of the drawings, but one should also not forget that the originals are gigantic, more than once restored images in the desert, which are at least 1500 years old.

Let's start with a spider and a dog without technical details:

Fish and bird frigate:

A little more about the monkey. This drawing has the most uneven outline. First, I drew it the way it looks in the pictures:

But then it became clear that with all the accuracy of observing the proportions, the artist's hand seemed to be trembling a little, which is also noticeable on straight lines belonging to the same combination. I do not know what it is connected with, perhaps with a very uneven terrain in this place; but if the line on the sketch is made a little thicker, then all these irregularities will be hidden inside this thicker line. And the monkey acquires a standard geometry for all drawings. He attached spider monkeys, the prototype of which, according to many researchers, is depicted among the ancients. Not to mention the balance and
the accuracy of the proportions in the figure:

Further. I think the trinity of a lizard, a tree and "nine fingers" does not need to be introduced. I would like to pay attention to the paws of a lizard - the ancient artist very accurately noticed the anatomical feature of lizards - as if turned inside out, compared to a human hand:

Iguana and hummingbird:

Darter, Pelican and Harpy:

A rhinoceros dog and another hummingbird. Pay attention to the elegance of the lines:

Condor and Parrot:

The parrot has an unusual line. The fact is that this drawing has always been embarrassing due to its unfinished nature, unusual for Nasca images. Unfortunately, it is very badly damaged, but in some pictures this curve is visible (Fig. 131), which is, as it were, a continuation of the drawing and balancing it. It would be extremely interesting to look at the whole drawing, but, unfortunately, I can not help. I draw your attention to the virtuosic execution of the curves on the contours of these rather large images (people are visible in the photo of the condor). The pitiful attempt of modern "experimenters" to add an extra feather to the condor is clearly visible.

And here we have come to some climax of our opening day. There is a very interesting image on the plateau, or rather, a group of drawings, spread over more than 10 hectares. It is perfectly visible in Google Earth, in many photographs, but very few are mentioned. We look:

The size of a large pelican is 280 by 400 meters. Photos from the plane and the working moment of drawing:

And again, a perfectly executed (if viewed from Google) curve with a length of more than 300 meters. Unusual image, isn't it? It smells of something alien, slightly inhuman ...

Be sure to talk about all the oddities of this, and other images later, but now we will continue.

Other drawings of a slightly different nature:

There are images, sometimes quite complex, with characteristic rounding and requiring markings to maintain proportions, but at the same time devoid of visible meaning. Something like signing a newly acquired pen:

The "peacock" pattern is interesting in its conjugation of the right wing with the line (although, perhaps, this is the work of restorers). And admire how skillfully the ancient creators inscribed this drawing into the relief:

And to make our review of drawings complete, a few words about undrawn images. Recently, Japanese researchers have found more drawings. One of them is in the following picture:

Located in the south of the plateau, near the Nazca River. It is not clear what is depicted, but the handwriting in the form of graceful regular curves, drawn along the rugged relief with t-lines about one and a half meters wide (judging by the tracks of cars), is clearly visible.

I have already mentioned the trampled area near Palpa, where the lines are adjacent to primitive geoglyphs. There is also a small, very interesting drawing (marked with a slanted arrow), depicting a creature with a large number of fingers or tentacles, mentioned in the studies, but, unfortunately, not entirely distinguishable in the pictures:

A few more drawings, maybe not of such high quality, but made in a style different from primitive geoglyphs:

The next drawing is unusual in that it is applied with a thick (about 3 m) t-line. It can be seen that the bird, but the details are destroyed by the trapezoid:

And in conclusion of the review, a diagram where some drawings are collected approximately on the same scale:

Many researchers paid attention to the asymmetry of some drawings, which, logically, should be symmetrical (spider, condor, etc.). There were even suggestions that these distortions were caused by relief, and there were attempts to straighten these drawings. And indeed, with all the scrupulousness of the ancients to details and proportions, it is somehow not logical to draw the paws of a condor of obviously different sizes (Fig. 131).
Please note that the paws are not copies of each other, but are two completely different patterns, including ten precisely made fillets. It is difficult to assume that the work was carried out by two teams speaking different languages ​​and using different drawings. It is quite obvious that the ancients intentionally moved away from symmetry, especially since there are absolutely symmetrical
images (more on them later). And so, during the drawings, I noticed one amazing thing. The ancients, it turns out, drew projections of three-dimensional images. We look:

The condor is drawn in two planes intersecting at a slight angle. Pelican, it seems, in two perpendicular. Our spider has a very interesting 3-d look (1 - original image, 2 - straightened, taking into account the planes in the figure). And this is noticeable in some other figures. For example, a hummingbird, whose wing size shows that it is flying above us, a dog that turned its back to us, a lizard and "nine fingers", with different sizes of palms (Fig. 144). And look how ingeniously the three-dimensional volume is laid in the tree:

It's like it's made from a sheet of paper or foil, I just straightened one branch.

It would be strange if no one before me noticed such obvious things. Indeed, I found one work by Brazilian researchers (4). But there, by means of rather intricate transformations, a certain three-dimensional corporeality of the drawings was substantiated:

I agree with the spider, but not quite with the rest. And I decided to make my own three-dimensional version of some drawing. Here, for example, looks like "nine fingers" from plasticine:

I had to be smart with the paws, the ancients portrayed them slightly exaggerated, and no creature walks on tiptoe. But on the whole, it turned out right away, I didn’t even have to think of anything - everything is in the drawing (a specific joint, the convexity of the body, the position of the “ears”). Interestingly, the figure initially turned out to be balanced (standing on its feet). The question automatically arose, what kind of animal is this, in fact? AND
in general, where did the ancients draw plots for their wonderful exercises on the plateau?

And here we are, as usual, waiting for a few more entertaining details.

Let's turn to our favorite - the spider. In the works of various researchers, this spider is identified as belonging to the order Ricinulei. The entry-exit lines seemed to some researchers to be a sexual organ, and the spider of this particular order of arachnids has a sexual organ on its paw. In fact, the delusion does not come from here. Let's take a break from the spider for a moment, look at the next drawing and I
I will ask the reader to answer the question - what are the monkey and the dog doing?

I don’t know what it seemed to the dear reader, but all my respondents answered that the little animals were doing their natural necessities. Moreover, the ancients clearly showed the sex of the dog, and the genitals are usually depicted in a different configuration. And, it seems, the same story with the spider - the spider, however, does not straighten anything, it just has an entrance-exit on its paw. And if you look closely, it turns out that this is not a spider at all, but something more like an ant:

And certainly not Ricinulei. As someone joked on the "ant" forum - this is a spider ant. Indeed, the spider has a cephalothorax, and here the ancients clearly distinguished the head and body with eight legs characteristic of an ant (an ant has six legs and a pair of whiskers). And interestingly, the Indians themselves did not understand what was painted in the desert. Here are the images on the ceramics:

They knew and drew spiders (on the right), and on the left, it seems, our spider ant is depicted, only the artist did not coordinate with the number of legs - there are 16 of them on ceramics. I don’t know what this really means, but if you stand in the middle of a forty-meter drawing, in in principle, you can understand what is depicted on the ground, but the rounding at the ends of the paws can be overlooked. But one thing is for sure - there is no such creature on our planet.

We go further. Questions are raised by three drawings. The first is the "nine fingers" shown above. The second is a rhinoceros dog. A small Nazca image, about 50 meters, for some reason unloved and rarely mentioned by researchers:

Unfortunately, I have no thoughts about what it is, and therefore let's move on to the remaining image.

Big pelican.

The only drawing that, due to its size and ideal lines, looks exactly the same on the drawing as in the desert (and on the sketches of the ancients, respectively). Calling this image a pelican is not entirely correct. A long beak and something that looks like a goiter does not mean a pelican. The ancients did not indicate the main detail that makes a bird a bird - wings. In general, this image is non-functional from all sides. You can't walk on it - it's not closed. Yes, and how to get on the eye - jump again? It is inconvenient to view from the air due to the specificity of the details. It also doesn't fit well with lines. But, nevertheless, there is no doubt that this object was created intentionally - it looks harmonious, the ideal curve balances the trident (apparently transverse), the beak is balanced by diverging straight lines behind. I could not understand why this drawing left a feeling of something very unusual. And everything is very simple. Small and subtle details are spaced a considerable distance, and in order to understand what is in front of us, we must look from one small detail to another. If, however, move away a considerable distance in order to cover the entire drawing, then all this smallness seems to merge and the meaning of the image is lost. It seems that this drawing was created for perception by a creature with a different size of the "yellow" spot - the zone of greatest visual acuity in the retina. So if any drawing claims to be unearthly graphics, then our pelican is the first candidate.

The topic, as you noticed, is slippery, you can fantasize as much as you like, and I initially doubted whether to raise it at all or not. But the Nazca plateau is an interesting place, you never know where a hare will jump from. And the topic of strange images had to be raised, because quite unexpectedly an unknown drawing was discovered. At least I couldn't find anything about it online.

The drawing, however, is not entirely unknown. On site (24), this drawing is considered lost due to damage and its fragment is given. But in my database I found at least four pictures where the lost details are readable. The drawing is really very badly damaged, but the location of the remaining details, fortunately, makes it possible to assume with a high degree of probability what the original image looked like. Yes
and experience in drawings did not hurt.

So, premiere. Especially for readers of "Some Observations". A new inhabitant of the Nazca plateau. Meet:

The drawing is very unusual, about 60 meters long, a bit not in the standard style, but definitely ancient - as if scratched on the surface and covered with lines. All details are readable, with the exception of the lower middle fin, part of the contour and the remaining internal drawing. It can be seen that the drawing has been erased in more recent times. But, most likely not intentionally, they simply collected gravel.

And again the question arises - is this the fantasy of ancient artists, or did they spot a similar fish with a similar arrangement of fins somewhere on vacation on the Pacific coast? It is very reminiscent of the relic coelacanth coelacanth discovered not so long ago. Unless, of course, coelacanths swam in schools at that time off the coast of South America.

Let's put aside for a while the strangeness in the drawings and consider one more, although not extremely numerous, but no less interesting group of images. I would call it correct geometric symbols.

Estrella:

Grid and ring of squares:

The image from Google Earth shows another started, and larger ring of squares:

Another picture, I call it "estrella 2":

All images were made in similar ways - points and lines significant for the ancients are marked with stones, and light areas cleared of stones play an auxiliary role:

As you can see, in the ring of squares and on "estrella"-2, all significant centers are also lined with stones.

The drawings of the Nazca desert are simply amazing! Their lines stretch from horizon to horizon, occasionally converge, intersect; it involuntarily gives the impression that this is the runway of ancient aircraft. Here you can clearly distinguish flying birds, spiders, monkeys, fish, lizards...
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"Many centuries before the Incas, on the southern coast of Peru, a historical monument was created that has no equal in the world and is intended for posterity. In terms of size and accuracy of execution, it is not inferior to the Egyptian pyramids. But if we look there, raising our heads, at monumental three-dimensional structures simple geometric form, here, on the contrary, one has to look from a great height at wide expanses covered with mysterious hieroglyphs, as if drawn on the plain by a giant hand. With these words, the book of the explorer of the Nazca desert, Maria Reiche, begins. "Mystery of the Desert" Mathematician and astronomer Maria Reiche specially moved from Germany to Peru to study the mysterious drawings. Perhaps she is the main researcher and keeper of the desert plateau, where, thanks to her efforts, a protected area was created. Reiche was the first to draw up maps and plans of all lines, sites and drawings.

Extremely impressive are giant drawings scattered between abstract figures and spirals, the size of which reaches tens, and sometimes hundreds of meters. Birds are the largest of all animals. Fantastic and quite authentically drawn, in total 18 birds are depicted in the desert. But there are also completely mysterious animals, such as, for example, a dog-like creature with thin legs and a long tail. Images of people are also found, although they are drawn less expressively. Among the images of people there is a bird-man with the head of an owl, the size of this drawing is more than 30 meters. And the size of the so-called "big lizard" is 110 meters!

The area of ​​the desert is approximately 500 square kilometers. The surface of the soil here is amazing in that it is covered with a kind of engraving, reminiscent of a tattoo. This "tattoo" on the surface of the desert is not deep, but huge in size lines and figures. There are 13,000 lines, more than 100 spirals, over 700 geometric platforms (trapezoids and triangles) and 788 figures depicting animals and birds. This "engraving" of the earth stretches about 100 kilometers deep in a winding ribbon, the width of which is from 8 to 15 kilometers. These drawings were discovered thanks to photographs taken from an airplane. From a bird's eye view, it can be seen that the figures were created by removing brown stones from the light sandy subsoil, covered with a thin black layer of the so-called "desert tan", which is formed by manganese and iron oxide.

The figures and lines are perfectly preserved due to the arid climate of the area. A wooden stake found in the desert, driven into the ground, was carefully examined and radiocarbon dated, which showed that the tree had been felled in 526 AD. Official science believes that all these figures were created by one of the Indian cultures of the pre-Inca period, which existed in the south of Peru and which flourished in 300-900 years. AD the technique of making the lines of these huge "drawings" is very simple. As soon as you remove the top layer of dark rubble that has darkened with time from the lighter bottom layer, a contrasting stripe appears. The ancient Indians first made a sketch of the future drawing 2 by 2 meters in size on the ground. Such sketches have been preserved not far from some figures. In the sketch, each straight line was divided into its constituent segments. Then, on an enlarged scale, the segments were transferred to the surface with the help of stakes and a wooden rope. Curved lines were much more difficult, but the ancients coped with this too, breaking each curve into many short arcs. It must be said that each drawing is outlined by only one continuous line. And perhaps the greatest mystery of the Nazca drawings is that their creators have never seen and could not see them in their entirety.

The question is quite natural: for whom did the ancient Indians do such a titanic work? Paul Kosok, a researcher of these drawings, estimates that it took more than 100,000 years of working days to create the Nazca complex by hand. Even if this working day lasted 12 hours. Paul Kosok suggested that these lines and drawings are nothing more than a giant calendar that accurately shows the change of seasons. Maria Reiche tested Kosok's hypothesis and gathered irrefutable evidence that the drawings are related to the summer and winter solstices. The beak of a fantastic bird, with a neck length of 100 meters, is located at the point of sunrise during the winter solstice.

Some scientists put forward a version that the drawings had an exclusively cult significance, but such a version is rather doubtful, because a religious building must certainly affect people, and huge drawings on the ground are not perceived at all. The Hungarian cartographer Zoltan Zelke believes that the Nazca objects are just a 1:16 map of the Titicaca region. Exploring the desert for several years, he found a lot of evidence for the complete confirmation of his hypothesis. In that case, who was this super-giant card intended for? The mystery of the Nazca drawings remains unsolved to the end.

VEDIC SECRETS OF THE NASCA DESERT

The first incomprehensible lines on Nazca were discovered in 1927 by the Peruvian archaeologist Mejia Xesspe, when he accidentally glanced from a steep mountainside onto a plateau. By 1940, he had discovered several more incredible ancient signs and published the first sensational article. On June 22, 1941 (the day the Great Patriotic War began!!!), the American historian Paul Kosok lifted a light plane into the air and discovered a giant stylized bird with a wingspan of more than 200 meters, and next to it something resembling a runway. Then he discovered a giant spider, a monkey with a strangely curled tail, a whale, and finally, on a gentle mountain slope, a 30-meter figure of a man, with his hand raised in greeting. Thus, perhaps the most mysterious “picture book in the history of mankind” was discovered.
Over the next sixty years, Nazca was fairly well studied. The number of discovered drawings has long exceeded several hundred, and the vast majority of them are various geometric shapes. At the same time, some lines reach a length of up to 23 kilometers.
And today, the solution to the mystery has not become closer. What versions and hypotheses have not been put forward during this time! They tried to present the drawings as some kind of giant ancient calendar, but no mathematical justification was ever presented to the scientific world.
One of the hypotheses defined the drawings as some kind of designation of the zones of influence of the Indian clans. But the plateau has never been inhabited, and who could deal with these "ger-
bami clans, when they are only visible from a bird's eye view?
There is a version that the Nazca images are nothing more than an alien airfield. There are no words, a number of stripes indeed incredibly resemble modern runways, but where is at least some evidence of alien interference? Others argue that the Nazca are signals from an alien mind.
Recently, voices have begun to be heard that Nazca is generally the brainchild of someone's falsification. But then, over the course of decades, a whole army of falsifiers had to work hard to make the most gigantic fake in the history of mankind. How could they keep the secret in this case, and why, in the end, were they so disfigured?
The most conservative part of scientists insists that all the variety of drawings and figures was dedicated to a certain god of water: “probably! represented a kind of sacrifice to the ancestors or the gods of the sky and mountains, who sent people the water so necessary for irrigating the fields. But why was it necessary to turn to the god of water in such a remote place, where there was never any permanent residence, no agriculture, no cultivated fields? From the rain shed on Nazca, there was no particular benefit for the ancient Peruvians.
It is believed that ancient Indian athletes once ran along the giant ancient lines, that is, some ancient South American Olympiads were held on Nazca. Let's say that athletes could run in straight lines, but how could they run in spirals and in a pattern, for example, monkeys?
There were publications that huge trapezoidal areas were created for the sake of some mass ceremonies, during which sacrifices were made to the gods and mass festivities were carried out. But then why didn't the archaeologists who searched all the neighborhoods find a single confirmation of this artifact? In addition, some of the giant trapeziums are located on mountain peaks, where it is not so easy for a professional climber to climb.
There is even a completely absurd version that all the gigantic work was done solely for the purpose of a kind of occupational therapy, in order to at least something to occupy the idle ancient Peruvians ... They say that all Nazca images are nothing more than a giant loom of the ancient Peruvians, who they laid out their threads along the lines, since in the pre-Columbian era, the Americans did not know the wheel and did not have a spinning wheel ... It was even argued that the Nazca drawings were a huge encrypted map of the world. Alas, so far no one has undertaken to decipher it.
The most cautious part of historians defines the drawings and lines of Nazca as some kind of "paths that had a sacred meaning, along which ritual processions were made." But then again, who could see these trails from the ground?
Until now, scientists have not come to an opinion how the Nazca drawings were created, because the production of images of such a huge scale is of great technical difficulty even today. Only the technology of direct creation of stripes has been more or less accurately established. It was quite simple: the surface layer of stones was removed from the ground, under which the ground had a lighter color. However, the creators of the drawings had to first create sketches of future giant images on a small scale and only then transfer them to the area. How at the same time they managed to maintain the accuracy and correctness of all the lines is a mystery! To do this, at a minimum, they had to have at hand the entire arsenal of modern geodetic equipment, not to mention the most perfect mathematical knowledge. By the way, today's experimenters were only able to repeat the creation of straight lines, but they were powerless before ideal circles and spirals... Except
This, the images were created not only on flat areas of the earth. They were applied on very steep slopes and even on almost sheer cliffs! But that's not all! In the Nazca region, there are Palpa mountains, some of which are cut like a table, as if some monster had gnawed their top. Drawings, lines and geometric images are also placed on these giant artificial sections.
Regarding the time of construction, there is also no unity. Now it is customary to divide everything created on the plateau into seven conditional cultures very spaced apart in time from Nazca-1 to Nazca-7. Some archaeologists are inclined to attribute the creation of the Nazca drawings to the time interval from 500 AD. before 1200 AD Others categorically object, since the Inca Indians inhabiting this region of Peru do not have even distant legends regarding Nazca, which gives reason to attribute the time of the creation of images to almost 100,000 years BC. They tried to determine the age of the bands from the remains of fragments of clay shards found nearby. It was believed that ancient builders drank from clay jugs, and then sometimes they broke them. However, sherds of all seven cultures were found everywhere in the same strip, and, in the end, this dating attempt was considered unsuccessful.
The scientific study of Nazca today is hindered by the prohibitions of the authorities. Due to the fact that after the discovery of the drawings, the plateau was subjected to a real invasion of "wild" tourists, who traveled all over the plateau in cars and motorcycles, spoiling the drawings, now it is strictly forbidden for anyone to appear directly on the Nazca plateau. Nazca was declared an archaeological park and taken under the protection of the state, and the fine for unauthorized entry into the park is an astronomical amount - 1 million US dollars. Everyone, however, can admire the giant ancient images from the board of tourist planes, which continuously circle over the mysterious plateau. But for real scientific research, this, you see, is still not enough.
But the secrets of Nazca do not end there. If on the surface of the plateau there are gigantic drawings that are still incomprehensible to human understanding, then in the depths of the caves there are even more incredible pukios - the oldest underground water pipes in granite pipes. There are 29 giant puquios in the Nazca Valley. The current Indians attribute their creation to the creator god Viracocha, but the canals are the work of human hands. At the same time, one of the canals was drawn under the local river Rio de Nasca, so much so that its purest water did not in any way mix with the dirty water of the river! From the description of an eyewitness: “Sometimes stone spirals lead deep into the earth, and watercourses have an artificial channel lined with slabs and smoothly hewn blocks. Sometimes the inlet is a deep shaft, going into the thickness of the earth ... Everywhere and everywhere these underground channels are artificial structures .. ”Pukios is also from the realm of eternal mysteries. Who, when and why created these gigantic water structures under a deserted plateau? Who used them?

In the capital of the province of Nazca, the town of Ica, lives the owner of the most incredible collection in the world, professor of medicine, Hanviera Cabrera. He has more than two and a half thousand figurines made of unbaked clay, which the professor gets from local Indians. The figurines depict the ancient inhabitants of Peru next to dinosaurs and pterodactyls. At the same time, the ancient Peruvians perform operations on dinosaurs, fly on pterodactyls and look into space through a telescope. The figurines are estimated to be between 50,000 and 100,000 years old, perhaps even more. As for the radiocarbon method, it gave very contradictory results. In addition to figurines, Professor Cabrera's collection contains similar drawings on stones, including those depicting aircraft in the starry sky. The collection of Professor Cabrera is no exception. The famous Mexican collection of Acambaro also contains dinosaurs, including flying ones. The same is in the Ecuadorian collection of Father Crecy. In addition, there is also a collection of Russell Burrows, who found statues with strikingly similar subjects in the caves of Illinois. The same was found not so long ago in Japan. Falsification in this case is impossible even theoretically! Well, and, finally, the most scandalous find on the Paluxy River in the US state of Texas, where archaeologists discovered dinosaur bones and fossilized human footprints in the same rock! So people lived already in the era of dinosaurs, or, conversely, dinosaurs lived in the era of people! But both completely change our ideas about the beginning of the human era, and therefore one can imagine how much irritation, misunderstanding and simply outright opposition these findings cause among the elite of the scientific world, who have made a name for themselves on those hypotheses that are now completely crossed out by the finds of recent years!
And how not to recall here the seemingly absurd assumptions of the Crimean academician A.V. Gokh, who says that the protein necessary to create a huge number of repeaters of the Crimean pyramids was obtained from huge dinosaur eggs. It should be recognized that the statements of the Crimean academician now do not look so groundless.
Now, I think, it's time to present to the readers the hypothesis of the Emil Bagirov Institute regarding giant geoglyphs in the Nazca desert. However, to begin with, two more facts.
First. More recently, the German researcher Erich von Daniken (known to us from the sensational journalistic film "Memories of the Future") was discovered in Nazca by a giant ... classic MANDALA! Yes Yes! The same sacred man-dapa with which today's Tibetans and Hindus designate the pictures they contemplate during meditation! The same mandala, which was once the sacred sign of the Aryans and one of the main Vedic symbols. Coincidence? No way!
Second. The ancient texts of the Old World everywhere tell about some aircraft, and devices of completely earthly origin.
For example, in The Book of the Majesty of Kings, the flights of King Solomon are described in great detail: in one day they made a journey of three months ... He (Solomon) gave her all sorts of curiosities and treasures that you could wish for and a chariot that moves through the air and which he created according to the wisdom bestowed on him by God ...
And the inhabitants of the land of Egypt told them: in ancient times the Ethiopians visited here; they moved on a chariot like an angel, and at the same time they flew faster than an eagle in the sky. Quotations from the famous “Mahatbharata” are no less indicative: “l / i then the king (Rumanvat) with his servants and harem, with his wives and nobles entered the heavenly chariot. They circled the entire expanse of the sky, following the direction of the wind. The heavenly chariot circled the whole earth, (flying) over the oceans, and headed towards the city of Avantis, where the festival was just taking place. After a short stop, the king again took to the air in front of countless onlookers, who were amazed at the sight of the heavenly chariot.
Or here's another: “Arjuna, the terror of the enemies, desired that Indra send his celestial chariot after him. And then, in the radiance of light, a chariot suddenly appeared, illuminating the airy twilight and illuminating the clouds around and all the surroundings were filled with a roar similar to thunder ... "
So, all Indian sources claim that the ancient Aryan civilization had airships - vimanas. We find echoes of these unusual vehicles in the legends of the peoples of the Aryan area, for example, the famous Russian fairy tales about a flying ship and so on. But for the takeoff and landing of vimanas, runways and runways were needed. Are there traces of them in the Old World? As it turns out there is! At the present time, at least three are already known: one in England, the second on the Ustyurt plateau near the Aral Sea, and the third in Saudi Arabia. At the same time, similar giant geoglyphs were found everywhere, as in Nazca, although in smaller numbers. And this despite the fact that no purposeful searches for airports of antiquity have ever been carried out anywhere.
So what can you guess? After the destruction of the Tower of Babel, that is, after the collapse of a single ancient Vedic faith into several concessions, an energetic migration of Aryan tribes began, and with it the export of Vedic religion and knowledge. Of course, the main settlement of the Aryans went on land. It spread throughout Eurasia, where the Vedic influence is felt everywhere to this day. However, most likely, some of the Aryans also used the mysterious vimanas, which, as we already know, had a long flight range and could fly over the oceans. It was then, most likely, that the heroic throw across Africa and the Atlantic to South America followed. But why was the landing made on Nazca? It can be assumed that for some time this area attracted the Aryans because the Nazca region is rich in deposits of iron and copper ore, gold and silver. Let us also pay attention to the fact that it was in the Nazca region that very ancient abandoned mines for the extraction of all these metals were discovered.
Apparently, for some time the Aryans from the arrived Vimans lived in these places. They brought the local residents into obedience, organized the mining of metals, introduced and spread among the ancient Peruvians the cult of the Great Mother Goddess, the Holy Logo of the Sun-Khorsa, the immortality of the soul and rebirth. It was then that the runways and geometric signs were built, allowing the vimanas to be guided correctly on them, underground water conduits, facilitating the provision of water. It seems that the Vimanas actively carried out the export of mined metals to Egypt or some other countries that were in the area of ​​the then Aryan influence. It is possible that the Aryans also used tamed local pterodactyls for short flights, which was captured in the ancient clay figurines of Peru. Such an experience, too, apparently, was. Suffice it to recall the same "Avesta" and "Rig Veda", numerous European-Aryan mythology, where heroes very often use flying lizards as a completely suitable means of transportation. The same Russian heroes, for example, on occasion willingly used the legendary Serpent Gorynych for this purpose ...
However, the time has come and the Aryans who settled on Nazca, having fulfilled their mission, forever left the place, which was not very suitable for permanent residence, leaving the local residents with Vedic cults, knowledge of crafts and a firm belief that the departed people-gods will someday return. It was then, apparently, that the intensive creation of many drawings began, so that the people-gods flying in the skies past Nazca could see that they were still waiting here, as, indeed, in other places in America, where similar geoglyphs have now been found. At the same time, they drew what, according to the Indians, most of all liked those who flew away, which once surprised and amused them: unusual monkeys, hummingbirds, whales, iguanas.
Fortunately, the Aryans left the secrets of the technology for creating grandiose images to the local residents. That is why, among other drawings, the Indians also placed a grandiose mandala - the sacred Vedic sign of the Aryans, quite logically assuming that when they see it, the people-gods will definitely return to this earth, where they are so loved and so devotedly awaited. But, alas, none of the gods ever returned.

Centuries passed, millennia. The foundations of the Vedic faith, once laid here by the Aryan priests, over time, intricately intertwined with local cults. However, the pyramids, and the cult of the Sun, and many priestly rituals today strikingly resemble their Vedic foundations. All this time, the Indians were patiently waiting for the fair-haired bearded people-gods, carrying great faith and great knowledge, to return from the west from across the ocean. The time has come and the bearded men clad in iron did indeed come from the west, but instead of the long-awaited benefits, they brought destruction and death. However, that's a completely different story...

What are Nazca drawings?

Giant images on the Nazca plain in Peru (South America) are the mystical sights of the planet Earth. They look like lines on the earth's surface with an area of ​​​​approximately 500 square meters. m, which are made in the form of recesses. The elm has approximate dimensions of 140x50 cm, its color becomes white on a dark rocky surface.

At close range, it is noticeable: this shade of “scratch” was obtained by cleaning tons of volcanic rock. As a result, a desert base was exposed - a sandy-clay base with a yellowish tint. Surprisingly, but Nazca drawings have smooth and solid contours, regardless of whether they pass through a hilly or flat landscape.

At the same time, many geoglyphs are drawn with lines, over 10 thousand of which are stripes, more than 700 are geometric textures in the form of trapezoids, triangles and spirals, up to 30 are frontispieces of birds and animals, insects and.

History of drawings

The first mention of geoglyphs appeared in 1553 in the book of Pedro de Cies de Leon (Spanish historian). I saw part first drawings in the Nazca desert an archaeologist from Peru, Mejia Xessle, who stood one day in 1927 on a mountainside.

Discover all mysterious patterns and install coordinates of Nazca drawings succeeded only in 1939 by the American archaeologist Paul Kosok, who flew over the plateau. Since in the desert they look like ordinary depressions, being on the ground, they cannot be seen, and the outlines of all the figures are clearly visible from a height.

The history of the origin of the drawings seems obvious. They are made in Southern Peru by locals who have ornamented the desert areas along the coast for several centuries. The ancient Peruvians applied mysterious signs to the earth in the same way as the ancient Indians, using the dark shade of the soil as a “canvas”.

But to the question: "Why?" no answer has been found yet. Scientists also have not yet established the exact age of the images. Local residents claim that the drawings were made by demigods - Viracochas. They say that they captured their presence in the Andes mountain range many millennia ago.

But scientists have already proven that drawings on the Nazca plateau were made at different time intervals. The oldest appeared in the VI century. BC, the youngest are those drawn in the 1st century. AD

Location and size of drawings

Geoglyphs are scattered across the rocky Nazca desert between the cities of Nazca and Palpa. A significant number of them are located above the dry valley of the Ingenio River. These drawings of antiquity show another mystical drawing in the form of a giant trident, which is carved in a cliff near the town of Paracas.

Among the giant images there are no figures of Homo sapiens or anything related to it. The largest ones obtained by unknown artists were: a spider 46 m long, a hummingbird stretching 50 m, a monkey stretching 55 m, a condor spreading its wings 120 m, a lizard whose length is 188 m, and a pelican whose length is 285 m. m.

Almost all images have huge parameters and are made with a solid border. The lines stretching to the horizon intersect and overlap each other, forming mysterious drawings by their union. Because of this Nazca desert took on the features of a huge drawing board.

Scientists' assumptions about the Nazca drawings

The mystery of the appearance of images is not yet amenable to study. Scientists have a lot of versions and hypotheses concerning, among other things, the answer to who and when made the Nazca drawings. Some researchers believe that the drawings appeared in 750-100 BC. during the heyday of the Paracas culture.

Others argue that the images were executed between the 2nd century BC. BC. and VI century. AD, when the Nazca Civilization ruled in this area. The third group of experts is inclined to believe that the geoglyphs were made on the plateau in the 11th-16th centuries. during the period of the Inca Empire. The fourth one has its own point of view: drawings were “painted” by extraterrestrial beings in the period 12960 - 10450 BC.

As a result, various assumptions arose about the origin of geoglyphs.

- These drawings were ritual, therefore they were used in ancient times in occult ceremonies.

- Geoglyphs - a gigantic astronomical calendar: displayed drawings of Nazca on the map very reminiscent of the month.

- They helped the ancient inhabitants of Nazca to contact the deity Viracocha.

- The outlines are the runways of airfields.

- The Nazca plateau served as a spaceport for takeoff and landing of interplanetary rockets.

- Images - fires on the original platform for balloons.

- Geoglyphs appeared as a result of the energy influence of UFOs.

— Photo drawings Nazca shows that they are a map of the astral sky placed on the earth's surface, and the figure of a spider is a coordinate system of a gigantic stellar concentration in the constellation Orion.

- The image titled contains information about the star HD42807 in the constellation Orion.

- Figures related to flora and fauna are drawn as a reminder of the Flood.

— Outlines and images are the most ancient Zodiac.

— The outlines speak of the worship of the deity of the Mountain. For the ritual, the Indians took plants that cause hallucinations and carried out "medicine flights" over the valley.

- Drawings are an indispensable attribute of solemn dances in honor of the cult of Water, and straight lines denoted plumbing and sewer systems.

— Nazca geometry is a theory of numbers and measurements, a cipher with a coded number "pi".

– Geoglyphs denote ancestral signs with which different families marked the territories they occupied.

- Figures and images on the plateau - a gigantic map of the well system, which is placed according to the outlines of the mysterious drawings.

There are among scientists and those who believe: the answer is located in Peru Nazca drawings lies in the giant geoglyph "El Candelabro Trident" (its parameters are 128x74 m), known under the pseudonym "Candelabra". It is located on a rock in Pisco Bay on Cape Paracas at a height of 150 meters and can only be seen from the sea.

It is worth drawing an imaginary line from the middle prong of the Candelabra and making sure that it points to the Nazca plateau. Experts believe that the Paracas Candelabra symbolizes Atlantis and contains important information about Mother Earth.

Based on numerous expeditions to Peru, some scientists have the impression that the Nazca plateau was created by a petrified mudflow in the form of "tongues" descending from the peaks.

Moreover, the “tongues” between the cliffs froze already on the return path of the tsunami that happened then to the Pacific Ocean. This is also evidenced by the flora and fauna found in the alpine lake Titicaca (4 km above the sea line), which live in the salt water of the sea, and not in a freshwater reservoir.

The giant drawings of the Nazca desert gained wide popularity after the amazing illustrations, accompanied by explanations from Eric Von Denikin. In one of the films about the Nazca desert, an airplane flying over the ancient lands showed geometric lines and contour drawings of a monkey and other animals.

Mysterious ground drawings are divided into two types by specialists: the first is lines, zigzags, geometric shapes; the second type is represented by figures of animals, birds, fish, trees, flowers.

For the first time, the drawings were noticed by the pilots, who jokingly called them runways. In 1939, the historian Paul Kosok was involved in the study of the figures. Together with him, Maria Reiche conducted the study, who continued to study ground-based images for the next 40 years.

bird drawing - Hummingbird

The generally accepted teaching relates geoglyphs to the activities of the Nazca Indian culture, which lived here 300-900 BC. e. However, the drawings reveal only a modest part of a huge phenomenon, since such images lie in the Andean desert along the entire Pacific coast.

In the 40s, it became known about similar lines and drawings near the rivers Rimac, Chilpon, and in the 70s, drawings were discovered in the province of Peru, Arequipa. That is, our phenomenon cannot belong to the Nazca culture alone.

According to the researchers involved in the study of the amazing phenomenon, it would take the participation of about 100,000 people to make these drawings. Moreover, the "artists" would have to work 12 hours a day!

It is quite possible that this was the case, but then it is interesting, but who, in this case, was engaged in agriculture and other pressing matters, if such a large number of people were involved in the creation of drawings? Where did the footprints go? After all, absolutely nothing remains of the Cyclopean works, although in these dehydrated places the prints remain for centuries!

Moreover, we have no evidence or mention of these drawings in history. It is strange, but the local population also allegedly does not know anything about their own history, well, or does not want to talk about it. Maybe these drawings were sent to us by well-wishers from distant starry worlds?

Aliens were in Peru.

Among the construction of figures, one can note a peculiar structure, which in general looks like some kind of decoration or computer graphics right on the surface of the earth. An interesting feature is inherent in the drawing of a monkey - there are five fingers on the left hand, four on the right. The same is seen in another figure, which indicates the intentional delineation of images. Why such oddities?

There is one impressive legend that tells how a woman named Oryana flew to Earth on a spaceship with a mission to become the foremother of life on the planet. According to an ancient legend, Oryana had four fingers connected by membranes - you must admit, this is a suspicious coincidence with the image of an owl man.

If we assume the intervention of some extraterrestrial intelligence, then maybe the drawings carry some information? Most likely, yes, since there is a certain harmony in them, and on the slope of the mountain lies the figure of a man (by the way, the only figure representing the image of a man).

No one knows exactly what the lines of the Nazca desert mean.

The only indisputable fact is that they are located in South America, on the Nazca plateau in southern Peru. They were added to the list of UNESCO World Heritage Sites in 1994. However, this is the part where the indisputable facts end, leaving scientists with many unsolved mysteries.

Scattered throughout the plateau, giant geoglyphs represent geometric and natural features. They are carved into the ground about 135 cm wide and 40-50 cm deep in the soil.

It is almost impossible to recognize the real image from the ground level, the big picture can only be seen from a bird's eye distance. That is why the Nazca Lines were discovered only in 1939, when airplane flights became possible.

Despite many theories, it is difficult for us to understand the drawings of the Nazca desert, and indeed it may not be the time yet, and our mind is still not sufficiently developed. But since these “letters” exist, they must reach their “addressee”. In addition, other legends of the local lands are of no less interest.

Reptiles are gods who came from the sky.

In the fourth largest city in Peru, an amazing statue of a reptile man rises. The artwork is intended to show the deity Morrop, and was created with ancient descriptions of the reptilian god in mind.

Reptiles - gods of antiquity from heaven?

About 2,000 years ago, the area of ​​northern Peru was inhabited by the Moche people, a civilization rich in culture and mythology that continues to baffle us to this day. The fact is that the statue demonstrates the god Morrop, a man - an iguana.

In ancient legends, the iguana man is presented as a character of great importance to. Acting as an intermediary between the world of the living and the dead, the deity was both feared and revered.

Considering everything we know about the reptile, doesn't it seem strange to you that people decided to associate it with the underworld realm of the dead? Was this association made by chance, on a whim, or is it a subtle indication of the real nature of God?

Yes, South America is replete with legends and descriptions of ambiguous mythical characters, which nonetheless fit well with modern theories about aliens, hybrids and their relationship with the people of Earth.

From Viracocha to Quetzalcoatl to the Feathered Serpent, this continent seems to have had a large share of centuries of extraterrestrial interactions. And this is best reflected in the local attitude towards.

As many of our readers will agree, South America is an open and highly receptive place to the issue of alien visitors. Is this a direct consequence of their way of life, or is it based on the fact that their ancestors were in contact with aliens?

The iguana sculpture itself is part of a larger ensemble, conceived as a tribute to the rich culture of an ancient civilization. The city of Chiclayo is also "home" to the sculpture of an anthropomorphic crab, a creature guarding the entrance to the sea and its inhabitants (like the Sphinx guarding the pyramids of the Giza plateau).

So, taking into account all the known facts and putting them together, we are curious: a collection of strange drawings and sculptures can not be an illustration of the rich history of the region, carrying a message about ancient aliens? What do you think of it?