Echoing the new
dual-image Martian "Face"
Perhaps at 14,000 feet, high in the Andes mountains of Peru
-- at a mysterious ancient place called "Marcahuasi" -- lies
a clue to the lineage of Cydonia’s enigmatic Martian "face."
On that plateau, there is a large, eroded "great stone face" staring
up into the heavens ... much like its distant cousin on the planet
Mars. Originally thought to be about 10,000 years old, its
most recent dating (from the immense degree of rock erosion of its
surrounding images) puts it at over 200,000 years ... That is
eerily close to the time of Richard Hoagland’s postulated
"last great catastrophe" on Mars.
Not only do we find "a
face" at Marcahuasi, but as Michael Morton has
discovered -- its "Global Grid coordinates" (a world-wide
ancient geodetic system apparently encompassing "sacred monuments"
all across the world) precisely match those of its apparent
counterpart on Mars.
And if that wasn’t
enough... using that same Grid Matrix, Richard Hoagland
was able to predict several years ago the location of an enormous
lion sculpture nearby on the same Marcahuasi plateau...
by referring to its Cydonia coordinates!
The Marcahuasi site
is rich with other legendary figures, as documented by Dr.Russo
Ruzo. Provocatively, for someone deeply immersed in unearthing
ancient "secret" knowledge, Ruzo was also a 33rd
(Dr. Ruzo. and his
wife, Carola, in their study in Cuernavaca, Mexico around 1990)
Images courtesty BC
Images courtesty BC Video
As all great sages have
repeated, the Human experience is "a journey of consciousness
through matter." It is no surprise, therefore, that artistic themes
underscoring this reality reoccur throughout all recorded time and
in every corner of this planet.
"Art" is the
mirror and the record of this continuity of consciousness in all its
many sojourns. Art is nothing less than the keeper of our
timeless "human record of experience" on Earth.
CERAMICS OF MEXICO
IN RELATION TO THE ZOOANTHROPOMORPHIC LITHIC SCULPTURE
OF THE EUROPEAN PALEOLITHIC
Courtesy Prof.Gian Carlo Bojani Director of the
International Museum of the Ceramics in Faenza
This ancient zooantropomorphic ceramic of Mexico
represents a face half human with headdress, central
elliptic eye with pupil, an ear with a perforated lobe,
open nose and mouth; the other half represents a feline
or a dog with pierced round eye. height cm.22,8, width.
cm. 20. (central Mexico, III hundert. B. C. - III
hundert a. C. Upper Preclassic Period)
(International Museum of the Ceramics in Faenza. Italy)
MÁSCARA VIDA-MUERTE Tlatilco.
An ancient zooantropomorphic ceramic represents a face,
half of a living man, the other half a skull. The eye
and the orbital zone are pierced.
8.5, width. cm. 7.3.
Mexico, medium Preclassico Period.)
Museum of Anthropology of City of Mexico.)
maschera is described
in the Museum as a characterization of "the dualism life
According to Pietro Gaietto, these zooantropomorphic
(above) are but
two examples of an entire ancient world of special art, termed "bifrontism":
two-faced anthropomorphic representations found in all excavated
periods, and nearly all over the world.
two-faced anthropomorphic representations are found in great numbers
and, generally, they join two heads -- which then look in opposite
directions. The most famous historical example is the "two-faced
Giano" (the Roman god of "gates" and "new beginnings," Janus
The origin of the bifrontism is pre-historic -- in the Lower
Paleolithic (c. 2 mil - 100,000 BC), and goes uninterrupted until
historical times. But examples of ancient bifrontism are
found (curiously, so far) only in the sculpture of western Europe.
However, this could be due to observational selection; this area is
where the most intensive searches have been carried out. It is
considered probable (but not yet proven) that this remarkable dual
art form is present also in this early period on other continents.
One striking example from a more recent period
has been found by Prof. Leslie Freeman of the University of
Chicago in association with Spanish archeologists at El Juyo,
Santander, Spain (now conserved at the Museum of Altamira). The
lithic (stone) sculpture of El Juyo represents roughly a half
human head with beard and moustache, fused (like the "Face
on Mars") with a half head from a feline.
zooantropomorphic sculpture of El Juyo
height cm 35 , wide cm.32,5, thick cm.22,5.
The discoverers believe
that the model for the feline half was a species of lion (or
leopard) that c. 14.000 years ago lived near El Juyo. The sculpture
itself was found at the entrance of a cave considered to be a "templum"
(Upper Paleolithic temple, - the most ancient known) -- in that it
was composed of an apparent "altar" consisting of a massive
stone monolith weighing nearly one ton, placed in a horizontal
position on an earth cumulus (mound) nearly a meter high, which
contained several additional apparent "offerings".
This dual species, bifaced sculpture was placed carefully upon this
altar. In the study of the religions of the much later historical
period, two-faced representations are considered representations of
a omniscient, all-seeing God. Of course, what the root symbolism of
the "dual species image" represented thousands of years earlier, we
have no way of knowing... unless they are now somehow "connected" to
what we see on Mars.
George J. Haas, of
The Cydonia Institute, has
documented overwhelming evidence of this "dual-faced imagery" in the
historical period -- potentially linking it directly to Cydonia
and its highly controversial Face -- through the remarkable
"dual species" artwork
of the much more recent Mesoamerican cultures.
Art is the conscious external expression of the creator’s
inner world. It is a doorway into realms of consciousness beyond the
linear perceptions of the outer world. Often, Art tells a story in
which the characters and events are fundamental symbols --
expressing "truths" or generalizations about archetypal human life.
This allegorical (storytelling) quality of Art is prevalent among
all the ancient cultures; monumental Art on this planet is
well-noted for this "storytelling" theme, and secondarily as a means
of preserving important information for future generations. Look at
Sumer, Egypt, China and Central America...
just to name a few.
half-jaguar Inca figurine -
"Seated figure with
Snakes" from the book,
"The Incas and other
Andean Civilizations" by Longhena and Alva.
Theories pertaining to a
direct connection between MesoAmerican Art and the Mars
Face at Cydonia depend heavily on the observation of detail in
recent NASA images. Although now far superior to what
we were previously limited to in terms of Viking images over a
quarter century ago, detection of detail capable of resolving the
"artificial" versus "natural" question is still constrained by the
quality of the new images we currently possess, we cannot yet
clearly discern what is the "understructure" of this object -
potentially manufactured geometric elements, exposed by the process
of erosion -- and what is the actual, designed surface of the Face
Nevertheless, there are
sufficient parallels in what we are now seeing so as to make the
theory (of Artificiality - if not a direct "terrestrial
connection") definitely worthy of consideration. Only when we
can actually distinguish the details of these key surface areas
(probably not until the "centimeter resolution" of NASA’s
planned 2005 unmanned mission in Mars’ orbit!) will these current
observations be refuted or confirmed.
Most opponents of the "Artificiality Hypothesis" (those
claiming that the Face is "just a pile of rocks") base their
argument on the assumption that if it were "a Face," then obviously
it would be bi-laterally symmetric. However, this is a very
simplistic and all-too-linear viewpoint of an intrinsically artistic
process (if the Face is "real"). Everyone knows that ART is
anything BUT "linear." So how can we apply a linear standard to
a potential work of alien art? It simply makes no sense.
The use of such a
standard would lead one to say that Jackson Pollock’s works
merely accidents of "some spray gun suddenly let loose"; or that
Picasso’s Guernica was "done by a child who didn’t know about
proportion"; or that Rothko’s paintings were "simply fancy
wall textures"; and that Calder’s kinetic sculptures were
merely "giant’s toys made of scraps from a dismantled skyscraper."
If indeed, what we are looking at is an extraterrestrial WORK OF ART
-- then we need to apply the standards, not of "science" ... but of
We would never call on an artist to examine a jet propulsion system
to discern its functionality. Why then, would we rely on jet
propulsion engineers to solely critique a work of ART?
When we walk through the halls of a modern art museum, we hear a
wide range of comments from those spatial thinkers who "get it" ...
to the linear thinkers who obviously "don’t." And we realize that
Art - whatever it’s ultimate origin -- is a provocative medium
intended to engage the consciousness of all who experience its
"message"... to challenge, awaken, inspire, incite ...or to sooth.
Nevada artist, Ragen Mendenhall has this to say about Art
and the Face:
"Art speaks to us by
communicating directly to a place within us ... a pictorial
realization that exists outside of the boundaries of space and
time. It is a communication that was there long before we lined
up words and letters in such a consecutive and linear fashion.
It seems that in our elaborate efforts to define, analyze and
rationalize, we grow farther and farther from "truth." In truth,
we need no interpretations, or judgments. And in pure essence,
we need not even symbolism, for we are within the source.
(photos of Ragens art) The true nature of Art is to deliver a
message of valuable information, interpreted by a ’glyph’ of
symbolic interpretations. Ancient Art discovers this idea over
and over again.
Just as the Face does -- by combining the cognitive linear
aspects of thought and perception (in man), with a more
’primitive’’ instinctive and non-spatially focused type of
perception (in cat) -- much in the same way the two sides of our
own brains work together. A fusion of these two powers... to
create a physically focused, yet multi-dimensional being."
As noted earlier, even
in contemporary art we see this archetypal idea of the "half face"
and the "two-faced mask" carefully hidden within the modern
well-known paintings of Jackson Pollock. Pollack’s
self-admitted early interest in primitive art led him to seek out
tribal masks, and he incorporated bits and pieces of those masks in
many of his paintings ... including, as we have seen, the
thousands-of-years-old artistic tradition of dual symbolic imagery.
A tradition, we now suspect, which may in fact have come all the way
(To read about Pollack’s
two-faced imagery in greater detail, check out:
a subsidiary branch of
The Cydonia Institute)