Nazca Lines in Peru: mysterious geoglyphs in the desert. Giant images of the Nazca Valley: Communication with a deity or signals to spaceships? Nazca peru

Many centuries ago, on the territory of an exotic country in which mysterious pyramids and religious buildings were perfectly preserved, there was a highly developed...

From Masterweb

15.04.2018 02:00

Many centuries ago, on the territory of an exotic country in which the main attractions of Peru - mysterious pyramids and religious buildings - 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 mysterious hieroglyphs that aroused the interest of scientists. Even opinions were expressed regarding the alien origin of figures and lines discovered quite accidentally in the 20th century. Nazca geoglyphs are huge drawings painted on the surface of the earth and not intended for public viewing. Thanks to the arid climate, they are perfectly preserved.

Bizarre and invisible from the ground, the signs are made in a single manner on a huge scale. At first glance, these patterns are barely distinguishable and represent an incomprehensible interweaving of all the lines scratched in the ground. The true form of the images can only be observed from above, when the chaos takes on meaning.

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 have had a craving for self-expression. The oldest images are considered to be petroglyphs (symbols on rocks) and geoglyphs (signs on the ground). The unusual patterns discovered in the desert are, according to scientists, an unparalleled historical monument, the inscriptions of which were written by giant hands. At the ends forming the drawings, wooden piles were found driven into the soil, which played the role of coordinate points when starting work.

The lifeless Nazca desert, which holds secrets

Surrounded by the Andes and sandy 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 secrecy, covers an area of ​​500 square kilometers. Rare drops of rain falling on the hot surface immediately evaporated.

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

Plateau covered with intricate patterns

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

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

Mysterious symbols

In total, about 13 thousand Nazca lines and geoglyphs, made in the soil, were found on the plateau. They are grooves of varying widths dug into the desert surface. 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 inspection 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 is clear that the mysterious drawings were created by removing the upper crushed stone, darkened by time, from the light lower layer. The black coating is called “desert tan”, consisting of a compound of iron and manganese. The exposed light soil has this shade due to the large amount of lime, which quickly hardens in the fresh air. In addition, the preservation of the 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: first, the Indians made a sketch on the ground of the future work, and each straight line of the image was divided into segments. Then they were transferred to the desert surface using 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 never saw them in their entirety. Since 1946, scientists began to seriously study unusual masterpieces.

Another secret

It is curious that the Nazca geoglyphs in Peru were applied by hand in two stages: images of animals and birds appeared much earlier than the lines and stripes superimposed on complex figures. And it must be admitted that the early phase was more advanced, because the creation of zoomorphic images required very high skill than simply cutting 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 by other cultures). In addition, scientists even remembered those whom our ancestors called their gods, although official science considers them fiction, denying the existence of an ancient developed civilization. Numerous artifacts indicate otherwise, and those who lived several thousand years before us possessed the highest technologies that surpass modern capabilities.

This discrepancy indicates a difference both in the capabilities of the “artists” and in the technique of execution. If we consider that any society develops from simple to complex, experiencing ups and downs, then the level of civilization always increases. However, in this case the scheme is broken, and developed technologies are replaced by primitive ones.

Indians who imitated the drawings

It is believed that the early author of all Nazca geoglyphs (photos presented in the article) was a highly developed civilization. Precisely calibrated drawings crossing complex terrain required enormous labor costs and special skill. It is these signs that amaze scientists and tourists with their careful execution and their scope. And the Indian tribes who lived on the plateau simply tried to imitate the remaining examples. But they didn’t have many opportunities, which is why shoddy 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?

The images, the true purpose of which scientists cannot yet understand, are striking in their size. But why did the Indians do such a titanic job? Some researchers believe that this is a giant calendar that accurately shows the change of seasons, and all the drawings are in one way or another connected with the winter and summer solstices. Perhaps representatives of the Nazca culture were astronomers who observed celestial bodies. 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 Orion constellation.

Others are sure that the Nazca geoglyphs, which are impossible to see from the ground, have a cult meaning: this is how the Indians communicated with their gods. The famous archaeologist J. Reinhard is one of them. He sees in the kilometer-long lines of roads that led to the place of worship of deities. And all the figures of animals, insects or birds are the personification of living creatures dying 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 area, only its scale is 1:16. However, no one can answer who it was intended for. And some see in the bizarre patterns a map of the starry sky transferred to the surface of the desert.

Still others, who saw the crossed lines, suggested that this was how the runway of ancient spaceships was designated. Scientists examined an ancient cosmodrome in a plateau formed by mudflow deposits. But why do aliens plying interstellar space need such primitive visual cues? In addition, there is not a single evidence of the use of the desert for take-off or landing of aircraft. But the number of supporters of the alien version is not decreasing.

Still others claim that all images of people, animals and birds were made in memory of the Flood.

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 Nazca geoglyphs are visible only from a great height.

Trident on the Paracas Peninsula (Peru)

To date, there are approximately 30 hypotheses, each of which tries to explain the strange masterpieces of the Indians. One cannot fail to mention another interesting 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, believed that it contained the key to the solution. The gigantic figure is visible only from the sea or air. If you mentally draw a straight line from the middle prong, it will turn 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?

Several years ago, archaeologists who studied the geoglyphs of the Nazca Desert, visible even from space, stated 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 had always reigned.

An extensive system of canals distributed life-giving moisture to those areas where it was needed. Wind entered through holes in the ground, which helped drive away the remaining water.

The craftsmanship of the ancient Indians

Other questions arise regarding mystical patterns. Our contemporaries are surprised how the ancient Indians created trenches more than a kilometer long in rough terrain. Even using modern geodetic measurement methods, drawing a perfectly straight line on the ground is quite difficult. But the Nazca Indians (or representatives of another civilization) did it very easily, cutting 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 that 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, looks a bit like a plaster sculpture containing a skeleton with organ remains inside. 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 solved by Russian scientists, who stated that it was not a human mutant, but a representative of an extraterrestrial race. According to experts, next to the mummified body there were drawings depicting a three-fingered creature. His face can also be found on the surface of the desert.

However, not all scientists believed the Russians' findings. Many are still convinced that this is a skillfully executed 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 rocked by information that new Nazca geoglyphs had been discovered using drones. 50 unknown images, damaged 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 previously prevented the discovery: the crumbling soil of the plateau made the intricate patterns blurred. Therefore, it was not possible to view the Nazca geoglyphs from a satellite or from an airplane. And only thanks to high-resolution cameras installed on drones (unmanned aerial vehicles), clear images were obtained.

Ecological problems

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

In addition, the desert faces an environmental threat: deforestation and pollution are changing its climate. Due to frequent rains, unique creations on earth can fall into oblivion. And descendants will never know the whole truth. Unfortunately, nothing has been done to save them yet.

Everyone can admire the mysterious patterns of the desert

Travelers planning to visit Peru should remember that the plateau belongs to the UNESCO World Cultural Heritage Site and it is prohibited to visit it without permission. But tourists are loved in Nazca because they allow local residents to make a good living in a very inhospitable area. Thanks to the constant flow of foreigners, people survive.

However, anyone who wants to admire the mysterious signs can do so without even leaving home. It is necessary to launch a special program demonstrating satellite images of the planet. Let us recall once again the coordinates of geoglyphs in the Nazca Desert – 14°41"18.31"S 75°07"23.01"W.

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Nazca Desert (Peru) - description, history, location. Exact address, phone number, website. Tourist reviews, photos and videos.

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The Nazca Desert, located off the southern coast of Peru, is one of the most amazing and mystical places on the planet. This area became widely famous thanks to the gigantic mysterious lines that form realistic drawings from a great height, as if made by the hand of an invisible giant master. The amount of art is amazing: in the Nazca desert there are more than thirty identifiable designs alone, and there are also about 700 geometric shapes and countless lines and stripes. Millions of tourists from all over the world come to see the mysterious signs every year, and the desert itself is perhaps the most visited attraction in Peru.

A little history

Hummingbird, Monkey, Dog, Whale - these are just a few of the giant drawings in the Nazca desert. The first evidence of the existence of shallow long trenches of unknown purpose dates back to the 16th century, and in 1939 it became visible from the air for the first time that these strips form perfect pictures. The first photos of the desert were taken in 1947, and since then scientists have been puzzling over the purpose of the Nazca drawings.

So far, all that is known is that the authors of the drawings (at least according to modern science) are the ancient Nazca civilization, which existed from the 1st century BC until the 8th century with its center in the ceremonial city of Cahuachi (28 km from the current city of Nazca) . In addition to desert art, the Nazcas bequeathed an extensive system of underground water canals (many of which are still used by local residents), as well as examples of ceramics and textiles, which can be seen in the Antonini Archaeological Museum in the city of Nazca.

The famous Nazca Lines are located on a section of rocky desert with an area of ​​50 by 5-7 km, occupying a total space of 500 square meters. km.

How to get there

The main settlement of the Nazca area is logically named Nazca. The most convenient way to get here is by bus, this indispensable Peruvian transport. Buses depart from all major cities in the country; the fastest way to Nazca is from the city of Ica, the center of the southern coast of Peru - the journey will take 2-3 hours and cost about 30-40 PEN.

Buses from Cusco and Arequipa also arrive in Nazca; in the first case, you will have to spend about 14 hours on the road, in the second - “only” nine, both buses depart from their starting points at night, arriving at the place in the morning. A ticket from Cusco will cost about 90-100 PEN, from Arequipa - about 75-85 PEN. The trip from Lima will take approximately 6-8 hours depending on the route.

If you want to see the Nazca Lines, but are based in Lima, it is most convenient to purchase a sightseeing tour from one of the agencies in the Peruvian capital. Tourists set off at 4 am, visit the cities of Ballestas and Nazca itself (including its attractions), and also fly around the Nazca lines in a light aircraft. Return to Lima around 10 pm the same day. The cost of the excursion is about 900-1000 PEN. Prices on the page are as of September 2018.

How to get around

You can get around the city of Nazca on foot - it is quite small. A taxi ride to any distance within the city will cost no more than 4 PEN, and a trip to the airport (from where the light-duty cars with tourists take off) will cost no more than 5-6 PEN.

Hotels in the Nazca Desert

Hoteliers in the city of Nazca and the surrounding area, of course, could not ignore the increased popularity of the area among foreign tourists, so there are plenty of options for accommodation here. Prices start from 35-40 PEN per room without embellishment; for 50 PEN you can stay for the night comfortably, and for 90-120 PEN you can even have a blast. For budget tourists there are a lot of hostels with prices ranging from 15-20 PEN per bed. Well, to experience the authentic atmosphere of Nazca, you can stay at a private hacienda turned into a hotel.

Cuisine and restaurants

In the city of Nazca, you should not look for gourmet restaurants - after all, although it is a popular province, it is a province. But there are more than enough establishments of a worker-peasant nature here - and the food they serve is very good: the ingredients are fresh, the preparation is simple but good, and the portions are huge. Fast food includes all kinds of sandwiches and burgers, kiosks with which are located on any of the city streets. If you want to have a hot lunch, Nazca restaurants are at your service, where for 8-15 PEN you will be offered a fixed menu of soup, several main dishes to choose from and a drink.

Nazca Lines

The famous Nazca Lines are located on a section of rocky desert with an area of ​​50 by 5-7 km, occupying a total space of 500 square meters. km. In fact, they are shallow furrows a meter wide and 30-40 cm deep. Due to the fact that the surface of the soil in Nazca is darker and the “underside” is lighter, the lines are clearly visible to the eye. But due to the fact that the drawings occupy a gigantic area, you can see them in all their glory only from the air.

Flights over the Nazca Desert start from the local airfield, where operator stands are plentiful. A seat in a four-seater Cessna (2 pilots and 2 passengers) will cost about 50-70 USD in the low season and 90-110 USD in the high season. Definitely need to bargain! The passenger will also be asked to pay an airport tax of 10-15 PEN. The flight duration is about half an hour.

You can also admire the Nazca Line from the observation tower located along the Pan-American Highway. From there you can see 3-4 drawings and a magnificent mountain landscape on the horizon. A taxi from the city of Nazca and back will cost about 55 PEN, and climbing the tower itself will cost 3 PEN.

Nazca city and surroundings

To get a complete picture of the Nazca culture, you should definitely visit the interesting Archaeological Museum of Antonini. It displays examples of ceramics and textiles recovered from archaeological sites, and in the garden there is a model of the Nazca Aqueduct and a model of the Nazca Lines.

In the nearby city of Cantalloc, it is worth seeing the system of underground Nazca aqueducts (“pucuyos”), thanks to which cotton, corn, beans and other crops are successfully grown in this arid region today. Nearby you can look at the ruins of the Inca city of Paredones.

The Chauchilla burial site is the only place in Peru where you can see mummies about 3 thousand years old “in a natural setting.” For centuries, treasure hunters have plundered ancient graves, not hesitating to leave the deceased owners of jewelry on the surface. Don’t be surprised to see skulls, bones, hair and other evidence of the frailty of human existence under your feet.

The drawings of the Nazca desert are simply amazing! Their lines stretch from horizon to horizon, occasionally converging or intersecting; One involuntarily gets the impression that this is a runway for ancient aircraft. Here you can clearly distinguish flying birds, spiders, monkeys, fish, lizards...
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Nazca is a desert in Peru, surrounded by low spurs of the Andes and bare and lifeless hills of dense dark sand. This desert stretches between the valleys of the Nazca and Ingenio rivers, 450 kilometers south of the Peruvian city of Lima.

“Many centuries before the Incas, on the southern coast of Peru, a historical monument was created, unparalleled in the world and intended for descendants. In size and precision of execution, it is not inferior to the Egyptian pyramids. But if there we look, raising our heads, at the monumental three-dimensional structures simple geometric shape, here, on the contrary, you have to look from a great height at wide expanses covered with mysterious hieroglyphs, as if drawn on the plain by a giant hand." The book by Nazca desert explorer Maria Reiche begins with these words. "The Secret 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 guardian 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.

The giant drawings scattered between abstract figures and spirals, the size of which reaches tens and sometimes hundreds of meters, are extremely impressive. Of all the animals, the largest number are birds. Fantastic and quite reliably drawn, a total of 18 birds are depicted in the desert. But there are also completely mysterious animals, such as a dog-like creature with thin legs and a long tail. There are also images of people, 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 picture is more than 30 meters. And the size of the so-called “big lizard” is 110 meters!

The desert area is approximately 500 square kilometers. The surface of the soil here is surprising in that it is covered with a kind of engraving that resembles 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 areas (trapezoids and triangles) and 788 figures depicting animals and birds. This "engraving" of the earth stretches approximately 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 oxides.

The figures and lines are perfectly preserved due to the arid climate of the area. A wooden marker stake driven into the ground, found in the desert, was carefully studied and radiocarbon dated, which showed that the tree was cut down in 526 AD. Official science believes that all these figures were created by one of the Indian cultures of the pre-Incan period, which existed in the south of Peru and whose heyday occurred in 300-900. AD The technique for executing the lines of these huge “drawings” is very simple. As soon as you remove the top layer of dark crushed stone, which has darkened over time, from the lighter lower layer, a contrasting strip appears. The ancient Indians first made a sketch of the future drawing measuring 2 by 2 meters on the ground. Such sketches have been preserved close to some of the figures. In the sketch, each straight line was divided into its component segments. Then, on an enlarged scale, the sections were transferred to the surface using stakes and a wooden rope. With curved lines it was 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 never saw and could not see them in their entirety.

The question is completely logical: for whom did the ancient Indians do such titanic work? Paul Kosok, a researcher of these drawings, estimates that it took more than 100,000 years of working days to create the complex of Nazca figures 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 changing seasons. Maria Reiche tested Kosok's assumption and collected irrefutable evidence that the drawings are associated with the summer and winter solstices. The beak of a fantastic bird, with a neck 100 meters long, is located at the point of sunrise during the winter solstice.

Some scientists put forward the version that the drawings had exclusively cult significance, but such a version is quite doubtful, because a religious building must certainly influence people, and huge drawings on the ground are not perceived at all. Hungarian cartographer Zoltan Selke believes that the Nazca sites are just a 1:16 scale map of the Lake Titicaca area. After exploring the desert for several years, he found a lot of evidence that fully confirmed his hypothesis. In that case, who was this super-giant map intended for? The mystery of the Nazca paintings remains unsolved.

VEDIC SECRETS OF THE NAZCA DESERT

The first incomprehensible lines on Nazca were discovered in 1927 by 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 his first sensational article. On June 22, 1941 (the day the Great Patriotic War began!!!), the American historian Paul Kosok took off a light plane and discovered a giant stylized bird, the wingspan of which exceeded 200 meters, and next to it something resembling a landing strip. Then he discovered a giant spider, a monkey with a strangely coiled tail, a whale, and finally, on a gentle mountain slope, a 30-meter tall 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 studied quite well. The number of discovered drawings has long exceeded several hundred, and the vast majority of them are made up of various geometric shapes. Some lines reach a length of up to 23 kilometers.
And today the solution to the mystery is no 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 identified the drawings as some kind of designations of zones of influence of Indian clans. But the plateau was never 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 images of Nazca are nothing more than an alien airfield. There are no words, a number of stripes are indeed incredibly reminiscent of modern runways and landing strips, but where is there any evidence of alien intervention? Others claim that Nazca are signals from alien intelligence.
Recently, voices have begun to be heard that Nazca is generally the brainchild of someone’s falsification. But then a whole army of counterfeiters had to work hard for decades to produce the most gigantic counterfeit in the history of mankind. How could they keep the secret in this case and why, in the end, did they become 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 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 had never been any permanent residence, no agriculture, no cultivated fields? The rain that spilled on Nazca was of no particular benefit to the ancient Peruvians.
There is an opinion that ancient Indian athletes once ran along giant ancient lines, that is, some ancient South American Olympics were held on Nazca. Let's say that athletes could run in straight lines, but how could they run in spirals and in the pattern of, for example, monkeys?
There were publications that huge trapezoidal areas were created for the sake of certain mass ceremonies, during which sacrifices were made to the gods and mass celebrations took place. But then why did archaeologists searching all the surrounding areas not find a single confirmation of this artifact? In addition, some of the giant trapezoids are located on mountain peaks, which are not so easy for a professional climber to climb.
There is even a completely absurd version that all the gigantic work was carried out solely for the purpose of a kind of occupational therapy, in order to at least do something to occupy the idle ancient Peruvians... They claim that all the images of Nazca 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, no one has yet undertaken to decipher it.
The most cautious part of historians defines Nazca drawings and lines as certain “paths that had sacred significance along which ritual processions were carried out.” But then again, who could see these trails from the ground?
Until now, scientists have not come to an agreement on how the Nazca drawings were created, because the production of images of such a huge scale represents a huge technical difficulty even today. Only the technology for 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 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 advanced mathematical knowledge. By the way, today's experimenters were only able to repeat the creation of straight lines, but were powerless in the face of ideal circles and spirals... In addition
This means that images were created not only on flat areas of land. They were applied on very steep slopes and even almost sheer cliffs! But that's not all! In the Nazca region there are the Palpa Mountains, some of which are cut off like a table, as if some monster had gnawed their tops. These giant artificial sections also contain drawings, lines and geometric images.
There is also no unity regarding the time of construction. Nowadays it is customary to divide everything created on the plateau into seven conventional cultures, very spaced in time, from Nazca-1 to Nazca-7. Some archaeologists are inclined to attribute the creation of Nazca paintings to the period of time from 500 AD. to 1200 AD Others categorically object, since the Inca Indians inhabiting this region of Peru do not have even remote legends regarding Nazca, which gives grounds to attribute the time of creation of the images to almost 100,000 BC. They tried to determine the age of the stripes from the remains of fragments of clay shards found nearby. It was believed that ancient builders drank from clay jugs and then sometimes broke them. However, shards from all seven cultures were found everywhere on the same strip and, in the end, this dating attempt was considered unsuccessful.
The scientific study of Nazca today is also hampered by government restrictions. Due to the fact that after the discovery of the drawings, the plateau was subjected to a real invasion of “wild” tourists who drove 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 has been declared an archaeological park and taken under state protection, 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 that continuously circle over the mysterious plateau. But for real scientific research, you will agree, this is still not enough.
But the mysteries 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 - ancient underground water pipes in granite pipes. There are 29 giant puquios in the Nazca Valley. Today's Indians attribute their creation to the creator god Viracocha, but the canals are the work of human hands. Moreover, one of the canals was laid under the local river Rio de Nazca, so much so that its purest water in no way mixed 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 entrance hole is a deep shaft that goes deep into the earth... Everywhere and everywhere these underground channels are artificial structures...” Pukios is also from the realm of eternal mysteries. Who, when and for what purpose created these gigantic water structures under a deserted plateau? Who used them?

An ancient clay figurine depicting surgery on a dinosaur.

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 unfired clay, which the professor obtains from the local Indians. The figurines depict the ancient inhabitants of Peru next to... dinosaurs and pterodactyls. At the same time, ancient Peruvians performed operations on dinosaurs, flew on pterodactyls and looked into space through a spyglass. The age of the figurines is estimated to be from 50,000 to 100,000 years, and maybe even more. As for the radiocarbon method, it gave very contradictory results. In addition to the figurines, Professor Cabrera's collection contains similar drawings on stones, including ones that depict aircraft in the starry sky. Moreover, Professor Cabrera’s collection is no exception. The famous Mexican collection of Acambaro also contains dinosaurs, including flying ones. The same is true in the Ecuadorian collection of Father Crecy. In addition, there is also the collection of Russell Burrows, who found sculptures with strikingly similar subjects in caves in Illinois. The same thing was found not long ago in Japan. Falsification in this case is impossible even theoretically! Well, and finally, the most scandalous discovery on the Paluxy River in the US state of Texas, where archaeologists discovered dinosaur bones and fossilized human traces in the same rock! This means that people already lived in the era of dinosaurs, or, conversely, dinosaurs lived in the era of people! But both of these 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 made a name for themselves on those hypotheses that are now completely crossed out by the findings of recent years!
And how can one not 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 admitted that the statements of the Crimean academician now look not so groundless.
Now, I think, it’s time to present to readers the hypothesis of the Emil Bagirov Institute regarding the giant geoglyphs in the Nazca desert. However, first two more facts.
First. Quite recently, through the works of the German researcher Erich von Däniken (known to us from the sensational journalistic film “Remembrance of the Future”), a giant... classic MANDALA was discovered in Nazca! Yes Yes! The same sacred mandapa with which today's Tibetans and Hindus designate the pictures they contemplate during meditation! The same mandala that was once the sacred sign of the Aryans and one of the main Vedic symbols. Coincidence? No way!
Second. Ancient texts of the Old World everywhere tell about certain flying machines, and machines of completely earthly origin.
For example, in the “Book of the Greatness of Kings” the flights of King Solomon are described in detail: “The king and all who obeyed his commands flew in a chariot, knowing neither illness, nor sorrow, nor hunger, nor thirst, nor fatigue, and at the same time everything in one day they traveled a journey of three months... He (Solomon) gave her all sorts of wonders and treasures that one could wish for and a chariot that moves through the air and which he created according to the wisdom given to him by God...
And the inhabitants of the Egyptian country told them: in ancient times the Ethiopians visited here; they rode on a chariot like an angel, and at the same time flew faster than an eagle in the sky.” No less indicative are quotes from the famous “Mahatbharata”: “l/i then the king (Rumanvat) with his servants and harem, with his wives and nobles entered the heavenly chariot. They flew over the entire expanse of the sky, following the direction of the wind. The heavenly chariot flew around the entire earth, (flying) over the oceans, and headed towards the city of Avantis, where the holiday was just taking place. After a short stop, the king rose into the air again in front of countless onlookers, who were amazed at the sight of the heavenly chariot.”
Or here’s another: “Arjuna, the terror of his enemies, wished that Indra would send his heavenly chariot after him. And then, in a blaze of light, a chariot suddenly appeared, illuminating the gloom of the air and illuminating the clouds around, and all the surroundings were filled with a roar similar to peals of thunder...”
So, all Indian sources claim that the ancient Aryan civilization had airships - vimanas. We find echoes of these unusual means of transportation 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 vimanas to take off and land, they needed runways and landing strips. 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 quantities. And this despite the fact that no targeted searches for ancient airports have ever been carried out anywhere.
So what can we assume? After the destruction of the Tower of Babel, that is, after the collapse of the single ancient Vedic faith into several concessions, the vigorous migration of Aryan tribes began, and with it the export of Vedic religion and knowledge. Of course, the main settlement of the Aryans was by land. It spread throughout Eurasia, where the Vedic influence is felt everywhere to this day. However, most likely, some of the Aryans also used mysterious vimanas, which, as we already know, had a long flight range and could fly across 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 is 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 vimanas that arrived 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 Goddess-First Mother, the Most Bright Sun-Horsa, the immortality of the soul and rebirth. It was then that runways and geometric signs were built, allowing vimanas to be aimed at them correctly, and underground conduits making it easier to provide 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 depicted in the ancient clay figurines of Peru. Apparently there was such an experience. Suffice it to recall the same “Avesta” and “Rigveda”, numerous European-Aryan mythologies, 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 completed 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 the firm belief that the departed people-gods will one day definitely return. It was then, apparently, that the intensive creation of many drawings began, so that the people-gods flying in the skies past Nazca would see that they were still waiting for them here, as, indeed, in other places in America, where similar geoglyphs have now been found. At the same time, they drew what, in the opinion of the Indians, those who flew away liked most, what 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 placed a grandiose mandala - the sacred Vedic sign of the Aryans, quite logically assuming that seeing it, the people-gods would definitely return to this land, where they were so loved and so faithfully awaited. But, alas, none of the gods returned.

Centuries and millennia passed. The foundations of the Vedic faith, once laid here by Aryan priests, over time became intricately intertwined with local cults. However, the pyramids, the cult of the Sun, and many priestly rituals today are strikingly reminiscent of their Vedic foundations. All this time, the Indians patiently waited 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 bearded men clad in iron really came from the west, but instead of the long-awaited benefits they brought destruction and death. However, this is a completely different story...

About four and a half hundred kilometers south of Lima, the modern capital of Peru, and forty kilometers from the Pacific coast is the Nazca Plateau, the mystery of which has excited the imagination of many researchers for decades.

Now there is no problem getting here - a comfortable double-decker bus from Lima will take you along the smooth Pan-American highway to Nazca in just a few hours. A small town on the edge of the desert warmly welcomes tourists with very cozy hotels of various ranks. And in local restaurants you can not only have a snack and relax with a weak Peruvian cocktail “Pisca-sur” or stronger drinks, but also watch a colorful Indian show. And of course, listen to the famous “Condor” in the most unexpected arrangements.

Tourists are loved in Nazca because they provide the local population with the opportunity to live well in a very inhospitable area of ​​the country. After all, if there weren’t such a foreign flow here, it’s completely unclear how people could survive here.

The Nazca Plateau is a surprisingly flat and completely lifeless desert in one of the driest places on Earth. Rains fall here on average once every two years and last no more than half an hour, although even in this case it is sometimes difficult to call them rains. And the proximity to the equator leads to the fact that even during the local “winter” months, during the day the plateau warms up so much that streams of hot air become visible, rising upward from the hot stones, which over many years in these conditions have received the so-called “desert tan” - darkened by the heat and sun.

And yet here, where, it would seem, nothing else could exist, images of animals and people, geometric shapes and lines are intertwined on the surface of the plateau. Rectangles, trapezoids, triangles, figures of a whale, monkey, spider, condor, hummingbird, unknown animals and plants. Together, all this forms a strange, intricate pattern that covers a huge area - several hundred square kilometers. It is this pattern that attracts numerous tourists here, the flow of which is even enough to support the life of the local airport with small pleasure planes, from which tourists have the opportunity to examine the most impressive details of the mysterious pattern on the ground.

“Many centuries before the Incas, a historical monument was created on the southern coast of Peru, which has no equal in the world... In terms of scale and precision of execution, it is not inferior to the Egyptian pyramids. But if there we look, raising our heads, at monumental three-dimensional structures of simple geometric shape, then here we have to look from a great height at wide open spaces, covered with mysterious lines and images that are drawn on the plain as if by a giant hand...” (M. Reiche. “ Secrets of the Desert").

Who created the giant “easel” - nature or man?.. Who, when and why painted the lifeless desert like that?.. Where did the strange drawings on the ground come from?..

Not only professional archaeologists and historians, but also amateur enthusiasts around the world have been trying to find the answer to these questions for many years. The versions that are put forward regarding the origin and purpose of the lines and drawings are so diverse and sometimes so fantastic that they form a mixture no less bizarre than the Nazca geoglyphs themselves. And the information about the desert plateau and the images on its surface is so seasoned with the most incredible rumors and conjectures that sometimes even a very experienced reader finds it extremely difficult to understand the real state of affairs on the Nazca Plateau and understand which source presents the real facts and which contains nothing but outright fiction and fantasies of the author, who (alas, this is by no means uncommon) has never been to the plateau and has never seen geoglyphs...

In principle, it would seem that there is nothing particularly strange in the very fact of drawings, because people have always loved to draw. And he drew on everything that came to hand - on paper, on walls, on stones. This is his craving for self-expression, which can be traced from the earliest periods of the existence of humanity as such.

The human desire to draw is so great and has such ancient roots that researchers even use special terminology to distinguish one image from another. So frescoes are images on the walls (both natural caves and artificial structures). Petroglyphs are drawings on stones and rocks. Geoglyphs are images on earth...

Near the same Nazca plateau, on some of the surrounding mountains there are, for example, petroglyphs that are applied both directly to the rocks that form the mountain, and to large crumbled boulders.

What then is strange about the fact that there are also geoglyphs - drawings on the ground?.. And why such close attention to the Nazca Plateau?..

Geoglyphs are known on many different continents. They are found in Australia, in European England, in North American California. There are also several countries in South America - Chile, Peru, Bolivia. However, if in other regions of the planet these are single images of mainly animals and people, which do not represent anything particularly surprising, then in the central regions of Peru we are faced with lines, stripes and geometric shapes. In addition, on a rather large, but still limited space of the Nazca plateau, there is an incredible concentration of geoglyphs - their number is in the thousands!.. And this is the uniqueness of this region, its fundamental difference from all others places

First of all, Nazca attracts attention with images of animals, sometimes reaching tens and even hundreds of meters in size. So, let's say the design of a hummingbird is 50 meters long, a spider is 46 meters long, a condor is almost 120 meters long from beak to tail feathers, and a lizard is 188 meters long. These same images are the most famous.

But there are just over three dozen such informative drawings. Everything else is geometric shapes: Nazca now has 13 thousand lines, about a hundred different spirals, over seven hundred rectangular and trapezoidal areas. Scattered among these strict forms are countless “half-finished figures,” zigzags, strokes, segments, straight rays and curvilinear formations. On top of that, there are more than a dozen so-called “centers” on the plateau - points from which lines and stripes extend in different directions.

Literally a phantasmagoria on a huge “easel”, where a mass of “artists”, adherents of a wide variety of styles and movements, left their memories...

“Nazca is something mysterious, enigmatic. Nazca is shrouded in an impenetrable and incomprehensible shroud of mystery. This is something fascinating, deceptive, logical in its own way and at the same time completely absurd. The message that Nazca brings to us is incomprehensible and mysterious, and any hypotheses about it are contradictory. Nazca appears as something unthinkable and unsolved, almost meaningless and capable of driving you crazy. But if the graphic “messages” with which the lands in the vicinity of the modern city of Nazca are dotted are just cyclopean children’s drawings, completely devoid of any meaning and arose as a result of a strange whim or whim, this means that all laws of logic have been violated on the Nazca plateau” ( E. Däniken, “Signs facing eternity”).

Theories and hypotheses

During the study of Nazca geoglyphs, many different versions of both the creation of drawings on the ground and their purpose have been put forward. Here we will provide only their (far from complete) list with brief comments. And some of the most meaningful ones will be considered in more detail below.

So, here are some theories (even the most incredible ones) proposed by different people - archaeologists, historians, writers, scientists and simply enthusiasts, inspired by the secrets of the Nazca geoglyphs.

Erich von Däniken – Alien Cult

The theory of Erich von Däniken is the most famous. He put forward the idea that long ago aliens from other stars visited Earth. They were also noted on the Nazca Plateau. They landed at this place, and in the process of landing the aircraft, the stones were blown in all directions by rocket exhaust. When approaching the ground, the energy of the gases flying from the engines increased and a wider strip of soil was cleared. Thus the first trapezoids appeared. Later the aliens flew away and left people in the dark. Like modern cults, they tried to call upon the alien gods again by creating lines and shapes.

Paul Kosok – Observatory

Kosok suggested that the Nazca Plateau was something like an ancient observatory, where lines and stripes indicated the positions of celestial bodies (stars and planets) at a certain point in time. This hypothesis was completely refuted during the Hawkins expedition.

Maria Reiche – Astronomical theory

Maria Reiche, the most famous explorer of the Nazca Plateau, favored an astronomical theory in which the lines indicated the rising directions of important stars and planetary events such as the solar solstice, and the spider and monkey designs symbolized the constellations Orion and Ursa Major.

Alan F. Alford – Negroid Slaves

Alford hypothesized that the Nazca lines were created by some “Negroid slaves of the Tiahuanaco culture.” After the revolution, the Negroid population destroyed some of the figures, which, according to Alford, explains the formation of zigzag lines. Later these people went north and founded the Chavin culture in Peru and the Olmec culture in Mexico.

In my opinion, this hypothesis is completely made up. The Tiahuanaco, Chavin and Olmec cultures have absolutely nothing in common with each other. Moreover: in Tiahuanaco and Chavin de Untara there are ruins of structures belonging to an ancient, highly technically advanced civilization (see the author’s book “Peru and Bolivia Long Before the Incas”), while the Olmec culture is completely primitive .

Robert Best – Memory of a Rainstorm

Robert Best from Australia put forward the idea that the Nazca drawings represent certain “memorable places” of a great flood caused by a prolonged downpour from heaven (such as the Old Testament Flood).

Gilbert de Jong – Zodiac

Gilbert de Jong, based on the results of his own measurements on the Nazca plateau, came to the conclusion that geoglyphs are images of the zodiac constellations.

Robin Edgar – Solar Eclipses

Robin Edgar from Canada believes that the Nazca figures and lines are intended to observe the so-called “Eye of God” during total solar eclipses.

Simone Weisbard – Astronomical and meteorological calendar

Simone Weisbard believes that the Nazca geoglyphs were originally a giant astronomical calendar. The system of lines and drawings was later used by the Nascan culture as a system for meteorological forecasts of the Nascan culture.

What forecast could there be in a desert like Nazca?.. Quite obvious - hot and dry. This is confirmed by the preservation of lines that otherwise would have long been washed away by rain. So creating a lot of lines and drawings for such an unambiguous forecast makes absolutely no sense.

Jim Woodman – Balloon Theory

Jim Woodmann experimented with launching a hot air balloon made by the Aymara Indians from local materials. After this experiment, Woodman proposed the theory that the Nazcans used balloons both to create geoglyphs and to bury their leaders.

Prof. Anthony Eveny – Water Cult

Anthony Eveny believes that there are connections between the lines and some kind of underground system of water channels. In this way, the Nazca Indians allegedly celebrated the cult of water. And figures and lines were used for ceremonial dances.

Prof. Gelan Siverman – Tribal Signs

Michael Ko – Ceremonial Places

Famous Mayan historian and researcher of Mesoamerican cultures Michael Ko believes that the lines are sacred paths for certain religious rites. And the first lines were created in honor of the oldest heavenly and mountain deities who brought water to the fields.

Prof. Frederico Kaufman-Doig – Magic Lines

A famous archaeologist has proposed a theory according to which the Nazca lines are magical lines that have their origins in the cult of the cat deity in Chavin de Huantar.

Georg A. von Brünig – Sports Stadium

Bruenig suggested that the Nazca plateau was used for races for ritual purposes. This theory was supported by Professor Heumar von Ditfurth.

Markus Reindel / David Johnson – Water Cult and Dowsing

David Johnson believes that the Nazca figures are markers for underground water. Trapezes show the flow of streams, zigzags show where they end, lines indicate the direction of the currents. Reindel, complementing Johnson's theory, explains the nature of the figures by using vines to find underground water.

Carl Munch – Ancient “geo-matrix of numbers”

According to Munch, ancient structures around the world are precisely located in a global coordinate system tied to the position of the Great Pyramid on the Giza Plateau in Egypt. The locations of these sites correspond to the geometry of their construction, which was supposedly based on a very ancient number system, called the "Geomatrix" by Munch. The Nazca Lines are also supposedly located in accordance with the “Geomatrix Code System”.

There are many variations of such theories. But alas. Any thorough examination of the “evidence” of such theories quickly reveals that the authors pull out from the general mass of ancient objects only those that are suitable to “substantiate” their theory, ignoring the fact of the existence of objects that do not fit into this “theory.”

Herman E. Bossi – Nazca Code

Bossy's theory is based on an analysis of a geoglyph called the Mandala or Zodiac (more commonly "Estrella"), which was discovered by Erich von Däniken in 1995. Bossy believes that this design contains encoded information about the star HD 42807 and its planetary system. In other drawings, in his opinion, this code is also used.

Thomas Wieck – Plan of the Cathedral

Vic saw the plan of the cathedral in the Estrella geoglyph.

It remains only unclear which cathedral, and what this drawing would do on a desert plateau...

Prof. Henry Stirlin – The Loom

Stirlin believes that the Nazca Indians used the line system as a loom. In the neighboring Paracas culture, textiles were made from a single thread. But the Indians had neither wheels nor looms, so they organized hundreds of people who held this thread. Their position on the ground was determined by the lines.

Dr. Zoltan Zelko – Map

Hungarian mathematician Dr. Zoltán Zelko analyzed the Nazca line system in comparison with other ancient sites in Peru and hypothesized that the Nazca Plateau could be a 100 by 800 kilometer map depicting the area around Lake Titicaca at a scale of 1:16.

Evan Hadingham – Hallucinogens

Evan Hadingham believes that the solution to the Nazca mystery is the use of a powerful hallucinogenic plant such as Psilocybine. With its help, the Indians allegedly organized “shamanic flights” to view the surface of the plateau. And the lines themselves were created for the worship of a certain “mountain deity.”

Prof. Dr. Aldon Mason – Signs for the Gods

Mason's main interest is ancient burials and deformed skulls of the Nazcan culture. He considers geoglyphs as Signs for the Heavenly Gods.

Albrecht Kottmann – Writing system

Albrecht Kottmann tried a different approach to the Nazca mystery. He divided the drawings into separate parts and analyzed their geometry. So he divided the 286-meter-long bird into 22 parts and as a result “found” that the head consists of two parts, the neck of five parts, the body of three, and the remaining twelve parts form the beak. Kottman believes that geometric signs, designs and their parts are a writing system with giant and small letters.

William H. Isbell – Demographic Theory

According to this theory, the Nazca rulers ordered lines to be drawn to control the population. Isbell believes that the Nazcans could not store crops for long, and in fertile years the population increased sharply. When the Indians were working to create lines, they could not produce children at the same time.

Wolf-Galik – Signals from extraterrestrial life

The Canadian Galiki recognizes in the Nazca system undoubted signs of an extraterrestrial race. He believes that only with such a point of view can we explain such a grandiose plan and the work to implement it.

Siegfried Waxman – Cultural Atlas

Siegfried Waxman saw in the Nazcan line system a cultural atlas of human history.

Ivan Koltsov – Graves of leaders

In accordance with Koltsov's hypothesis, the drawings on the Nazca plateau indicate the burial places of local leaders.

Vladimir Babanin – Map of Ancient Civilizations

According to Babanin, the Nazca geoglyph system is a map of the Earth, where the places of ancient cultures are marked with specific geoglyphs. Including the lost continents of Atlantis and Mu.

Alla Belokon – Traces of an alien civilization

According to this version, the Nazca lines were created by streams of energy of an unknown nature from the aircraft of an alien civilization, which combines them with the so-called crop drawings produced by UFOs. According to Belokon, the Nazca geoglyph system reflects the diagram of our Solar system.

Dmitry Nechai – Connection with the Great Pyramid

The geoglyph “Estrella,” according to Nechai, reflects the geometric proportions of the Great Pyramid on the Giza Plateau.

Eduard Vershinin – Navigation signs

Geoglyphs on the Nazca plateau served as navigational signs to train young pilots of aircraft of an ancient, highly developed civilization.

Igor Alekseev – Mining

Lines and drawings are a by-product of the activities of an alien civilization in the search and extraction of minerals or chemical elements.

Andrey Sklyarov and Andrey Zhukov – Scanning from aircraft

According to the version voiced in the film “Peru and Bolivia Long Before the Incas” (see video below), the plateau was partially created by people in different periods and, perhaps, some of the drawings were created by a highly developed civilization, which was destroyed as a result of the Flood. Sklyarov’s group found traces of a mudflow that stopped here, descending from the mountains when masses of water from a giant tsunami that hit South America returned to the Pacific Ocean.

As mentioned earlier, the list presented does not exhaust all existing versions.

Consequences of the Flood

When, even before the 2007 expedition of the Foundation for the Development of Science "III Millennium" in Peru (in search of any patterns in the arrangement of lines and figures), I tried to analyze photographs of the Nazca and Palpa plateaus taken from space, I discovered a very interesting detail that had previously for some reason no one paid attention. When viewed from space, this entire area looks like a dry river mouth, or like a stream frozen in place. Moreover, not only the Nazca and Palpa region itself looks like this, but also the region tens and even hundreds of kilometers to the north. The overall picture seemed to record or “photograph” huge water and mudflows that descended from the mountains in a powerful front.

There are no rivers of such width on Earth. Such powerful mudflows, which would have been generated by ordinary climatic factors and at the same time (and there is no doubt about this, looking at the frozen picture) would have descended from the mountains at a front hundreds of kilometers away, have also not been recorded. But there are features of the corresponding relief. Therefore, the idea arises that we are dealing here with traces of such an extraordinary and large-scale cataclysm as the Great Flood.

In the biblical version, the Great Flood is a punishment for people that God sent to them for their sins, flooding the entire Earth with the help of a stream of water from heaven. All living things perished in the waters of the Flood. Only the righteous Noah was saved with his family and those animals that he, at the direction of God, took on board the floating Ark. Similar motifs can be traced in ancient legends and traditions on all continents.

Historical science previously actively denied the reality of the Flood. Nowadays, under quite strong pressure from facts, historians and archaeologists prefer to either attribute everything to local floods, or simply bypass the topic of the Flood “by default.”

According to the views of supporters of the so-called “alternative history”, the Great Flood is a cataclysm on a planetary scale that actually took place, but according to a completely different scenario than that reflected in the Old Testament.

As a number of researchers representing “alternative” trends in history believe, during the events of the Flood, a huge tsunami hit South America from the Pacific Ocean, which, being several kilometers high, reached even remote mountainous areas, leaving behind many “scars” "and consequences that have long been noted by researchers.

In particular, in Lake Titicaca, located on the border of Peru and Bolivia at an altitude of four kilometers, species of animals and plants were found that are characteristic not of fresh water bodies (which is what Titicaca is now), but of the deep sea. They were brought here by the flood tsunami.

The same destructive wave, sweeping away everything in its path, uprooted trees and bushes, killed people and animals, mixing their remains among themselves. This is precisely the picture that archaeologists discovered in many regions of South America - including on the high mountain plateau of the Altiplano, where Lake Titicaca is located...

Usually the description of the Flood is limited to this. But we can make simple logical reasoning by extending the analysis of the consequences of the cataclysm.

It is quite obvious that after all the dramatic events, the water brought here by the tsunami and covering a significant part of the continent naturally had to go somewhere. She could not evaporate instantly. It also could not be completely absorbed into the soil. So it is quite obvious that the bulk of the water that ended up on land due to the tsunami inevitably had to return back to the Pacific Ocean. Which is what she did.

Only upon returning it was no longer just water, but water that had absorbed dirt, clay, sand, small stones and other “garbage”. It was, in fact, just that powerful mudflow that rushed in a wide front from the mountains to the ocean and is now visible from space in the “scars” it left on the western edge of the South American mountains.

Getting into some hollows and depressions, this flow - actually a mudflow - stopped, forming a kind of “mud lakes”. Subsequently, the water from such “lakes” evaporated, exposing the “dirt”, which, according to all the laws of physics, had by this time settled to the bottom in such a way as to form a smooth surface, which was later used by the ancient “artists” as a “canvas” or an “easel” for your geoglyphs. This is exactly how such flat Nazca-type plateaus were formed, which seemed to be specially leveled by someone. Only this “someone” was, albeit catastrophic, but completely natural events...

This logical assumption was fully confirmed on site by a number of geological features that our 2007 expedition drew attention to.

For example, the Nazca plateau on its outskirts does not at all merge into the surrounding mountains as is usually the case in the foothills - more or less smoothly and gradually increasing its level. Instead, the picture is somewhat similar to the fact that the plateau seems to “flow out” from the gorges between the mountains.

Moreover. Above the plateau level here and there rise the peaks of low mountains, which were flooded by the mudflow, but not completely. And the terrain here fully corresponds to the scenario of events that is associated with the return of the waters of the flood tsunami to the Pacific Ocean.

And finally, this development of events is fully confirmed by the actual mudflow nature of the sediments that make up the Nazca and Palpa plateaus. Where small rivers cut through the flat surface on the edge of the plateau (and even in places where modern road builders had a hand in going deep into the geological layers), the structure of these deposits is visible, which absolutely coincides with what should have been left after the descent a powerful mudflow - stones, clay, sand and other “garbage” mixed in a chaotic disorder. We saw a similar “section” of sediments just when we were going to inspect the petroglyphs in the surrounding mountains (see earlier) along the “tongue” of this mudflow “flowing” along the valley between the mountains...

However, if the Nazca and Palpa plateaus were formed as a result of the events of the Great Flood, then the geoglyphs, naturally, were created after these events. This is quite obvious - after all, you can’t draw on something that doesn’t exist yet. In addition, geoglyphs created before the Flood would have been simply washed away by the same tsunami that covered South America. It's simple...

But then it turns out (according to existing estimates of the time of the Flood) that the lines and drawings appeared no earlier than the middle of the 11th millennium BC. This is the lower limit of dating geoglyphs. Unfortunately, it is not yet possible to determine how much later they formed based on the same geological features.

For those who are interested in the events of the Flood in more detail, I can recommend that they familiarize themselves with them in my book “The Inhabited Island of Earth” or “The Sensational History of the Earth,” which were published by the Veche publishing house. Electronic versions of these books can be found on the Internet. We will not delve into the unnecessary details of the Flood and return to the geoglyphs.

Archaeological dating

Archaeologists and historians believe that the geoglyphs of Palpa and Nazca are only about one and a half thousand years old - the same age as, in their opinion, the local culture, whose representatives supposedly created the geoglyphs. But in fact, this assumption is based on radiocarbon dating of the remains of just one single wooden peg, which was found on one of the lines. Meanwhile, it is quite obvious that the peg could have appeared here much later than the drawing - almost at any time, and it is possible that there is no connection at all between the peg and the drawing.

True, recently there have been reports of “confirmation” of this age during thermoluminescent dating of ceramic fragments found both in stone dumps and in some ancient ruins of primitive buildings on the lines. However, these results can also be questioned for the same reasons. Both ceramic fragments and buildings could have appeared here significantly later than the lines themselves. After all, literally fifty years ago or a little more on the Nazca Plateau, no one forbade construction (and outside the territory that is now a protected area, construction is still going on).

It would be a different matter if the find was made not from above the line, but below it. But even in this case, hopes for an accurate determination of the age of the line are not so great.

The radiocarbon dating method is based on measuring the amount of radioactive carbon isotope that accumulates, for example, in a plant during its life and decays after its end. The thermoluminescence method involves measuring the glow of a sample that occurs when it is heated. Both methods are used in archeology and are claimed to be "highly reliable". However, there are also adherents of a skeptical approach who claim that the real measurement error using these methods can even reach several hundred percent. I also adhere to a similar skeptical point of view and believe that these methods can only give the roughest estimates, and not at all accurate dating...

I recently came across the following information on the Internet about the measurements of a certain researcher named Bray Warwick:

“Stones heated to high temperatures leave a coating of manganese oxide, as well as traces of clay and iron. The bottom of the stone is covered with fungi, lichens and cyanobacteria. Such rocks adjacent to the lines can be used for organic analysis using Method C-14. It is assumed that these stones were moved during the process of drawing the lines. In this way the exact date could be determined between 190 BC. and 600 AD But only nine stones were analyzed!”

Let's leave aside the number of stones analyzed - nine pieces are really very few for any categorical conclusions. It is much worse that the author of the above quote clearly does not understand either the conditions on the Nazca Plateau or the methodology for conducting empirical research.

Firstly, there is no clay on the surface of the plateau. There are only stones and very fine, dust-like sand. Secondly, natural clay as such is simply useless for analysis of radiocarbon content. The radiocarbon analysis of ceramics, which, as is known, is created from clay, is based on the assumption that organic matter gets there directly during the process of creating ceramics. For stones near geoglyphs, there is simply no connection between the hypothetical clay (even if it could somehow end up there) and the movement of stones from place to place. Thirdly, the heat and extremely low humidity in the Nazca desert do not at all contribute to the formation of any fungi and lichens on the stones roasting in the sun (I won’t say anything about cyanobacteria - I don’t know). And fourthly, even if fungi and lichens miraculously ended up there, there is absolutely no guarantee that they would have formed precisely at the moment the stones were moved, and not earlier or later.

In general, we can say that Bray Warwick measured who knows what. And it is absolutely impossible to take his “dating” into account...

Since 1997, the Nazca Palpa project, led by the Peruvian archaeologist Joni Isla and Professor Markus Reindel of the German Archaeological Institute, with the support of the Swiss-Liechtenstein Foundation for Foreign Archaeological Research, has been at the forefront of official archaeological research. The main version based on the results of the work is that the geoglyphs were created by local Indians for ritual purposes associated with the cult of water and fertility. However, as far as can be judged from the available materials, no other version of the authorship of the drawings was seriously considered by archaeologists. So the “result” was actually predetermined...

Moreover. This international team of archaeologists conducts their main research not on the geoglyphs themselves, but nearby - in the places of ancient settlements of local cultures. As for the geoglyphs themselves, only one single attempt was made to conduct excavations on one of the stripes of the Palpa plateau. And during the 2007 expedition, while visiting the archaeological mission, we had the opportunity to familiarize ourselves with the results of these excavations.

Alas. A very weighty report, abundantly supplied with photographs and diagrams, recorded only that under the geoglyph there was ordinary plateau soil. We couldn't find anything.

Therefore, the main basis for dating at one and a half thousand years remains the fact that the mysterious drawings are simply located in the territory inhabited by the Nazca and Paracas cultures known here. Although, following this logic, one could easily attribute the construction of the Egyptian pyramids to modern Arabs - after all, they also live next to the pyramids...

Who came first?

The fact that a number of geoglyphs were created by our contemporaries is beyond any doubt. This is not disputed even by historians who, as a rule, simply do not take them into account by default, considering only obviously ancient drawings.

But if there are ancient and modern geoglyphs, then their history already has a certain dynamics. And if so, then it would be quite logical to assume the presence of similar dynamics in the past. That is, to assume that ancient geoglyphs were created at different times.

It seems to be a rather banal logical consideration, but for some reason it is completely ignored by the overwhelming majority, not only by representatives of academic science, but also by those who adhere to the so-called alternative views of the past. For some reason, both of them are trying to look for a single authorship everywhere and in everything.

Meanwhile, the earlier comparison of styles already clearly reveals the different authors of different drawings. Moreover, the difference between the two groups of drawings on the ground is colossal!..

Then, in order to understand the entire historical picture of the life of geoglyphs precisely in its development, it is not at all enough to divide them only into “modern” and “ancient”. And even if we do not take into account the literally striking difference between drawings and geometric figures (lines, rectangles, trapezoids, etc.), then even in this case, with a slightly more or less careful look, you can notice the difference between different ancient geoglyphs.

For example, an analysis of the most popular and widely known drawings (and at the same time the most extensive in size), in addition to the “contour style,” reveals in them the presence of clear mathematical patterns, which was determined by Maria Reiche. She, alas, was not able to determine what exactly these patterns were (more on that a little later), but she nevertheless unequivocally stated their presence, having carried out careful measurements of many of the drawings.

However, along with these “mathematically verified” geoglyphs, there are also drawings in which there is no point in even looking for any patterns - the naked eye can see that they are not there. The drawings themselves are made very carelessly, and the lines and curves that make them up clearly move from side to side. These are, as a rule, drawings of a rather small size, which, in addition, gravitate towards the outskirts of the plateau. And if there are doubts about the execution of “mathematically verified” drawings by the Indians, then there is no longer any doubt about their ability to create simple crooked drawings. Here (albeit with a more detailed analysis) there is also a feeling of completely different authorship in two different types or “subgroups” of drawings.

Meanwhile, there are very few drawings on the plateau - a little more than three dozen. There are tens of thousands of geometric shapes, lines, rectangles, trapezoids and other things. But literally a little closer look reveals the same situation with ancient lines and geometric figures. They can also be divided into two very different categories, clearly having completely different “authors”. One group of such geoglyphs is made very well and has smooth boundaries - as a rule, these are images that stretch for many kilometers, sometimes even crossing some small mountains, ravines and other relief features, completely ignoring elevation changes.

The second group of lines is made of much less quality. Stones that have a darker color were removed much less carefully from the main light surface - small stones remained in their place. As a result, such lines are even less visible (although they are visible against the general background). These geoglyphs are not very large in size and often have uneven boundaries, which is easily visible to the eye and does not require any precise measurements. And in comparison with large, high-quality lines, representatives of the second group leave the impression of almost hackwork.

Stripe with curved edges

The difference between large and high-quality on the one hand and small and shoddy on the other was so clearly evident to all members of the expedition that the very fact that neither academic historians nor alternativeists had yet mentioned this anywhere was surprising. Meanwhile, the consequences of this observation are literally global.

The difference between the two groups of geoglyphs, upon closer examination, is so obvious and so significant that it naturally gives rise to the version of their creation at different times (at least) by two completely different cultures. Not only by Indians or only by aliens, but by two completely different groups of “authors”!..

But the most important thing is that the difference is so great that it cannot be reduced to a simple difference in the size and quality of the geoglyphs. It indicates a strong difference in the technologies and capabilities of different “authors”, that is, a strong difference between the levels of development of those cultures that created geoglyphs at different times.

And here's what's interesting.

Currently, the dominant position in historical science is occupied by a kind of “linear” approach, according to which society develops “from simple to complex.” Deviations, of course, are allowed, but only those that are not of a fundamental nature. Individual cultures may experience ups and downs, but in general the level of development of civilization is increasing. Hence, as a consequence, more ancient societies are considered more primitive, and later cultures are correlated with more advanced technologies.

On the Nazca Plateau, the linear pattern of development “from simple to complex” is clearly violated.

If geoglyphs were the work of the Nazca and Paracas cultures, then (especially taking into account the enormous scale, which requires a long time to paint the entire plateau - see, at least, the calculations of Alla Belokon) most likely one would expect a gradual complication of geoglyphs and an increase in the quality of their execution - along with the Indians' experience in creating lines and drawings. Instead, the most complex large lines, stripes and trapezoids also have the greatest degree of wear due to later damage and natural erosion, which indicates their very venerable age.

Moreover, if you follow banal logic, then the area covered with drawings and lines most likely gradually increased around some very ancient center. Accordingly, from the center to the periphery the perfection of their execution should gradually increase. Meanwhile, the simplest and most carelessly executed geoglyphs clearly gravitate not to the center of the plateau, but to its outskirts.

And if we attribute the authorship of all ancient geoglyphs to the Indians, then from the relative position of various geometric figures and designs and their quality of execution, one would have to conclude that the Nazca and Paracas cultures did not develop over time at all, but on the contrary, they experienced some for unknown reasons, powerful degradation. Meanwhile, actual archaeological finds during excavations at the places of residence of representatives of these cultures reveal absolutely no signs of such degradation. And if the facts contradict the logical consequence of some initial assumption, then this initial assumption itself is erroneous.

Taking all this into account, it must be stated that in reality there was a completely different order of events on the plateau.

The “earliest author” was some very highly developed civilization, as a result of whose activities “mathematically verified” drawings appeared, as well as smooth, large and extended lines, stripes and figures that intersected sometimes complex relief details and required a lot of labor in their creation . It is these geoglyphs that most amaze researchers and ordinary viewers with their scope and precision of execution.

Apparently, they made a strong impression not only on modern tourists, but also on the Indian tribes who lived here, whose representatives tried to imitate the perfect ancient models. However, the Indians had incomparably fewer opportunities, and therefore they were able to create only smaller and less well-executed crooked “copies”. So the second group of “hacky” geoglyphs appeared...

By the way, the difference between the level of execution of the two groups of geoglyphs is so great that it makes us remember those whom our ancient ancestors called “gods.”

Historical science considers “gods” to be pure fiction, the fantasy of our ancestors, and categorically denies even the very possibility of the existence of a highly developed civilization in ancient times, although our ancestors themselves had absolutely no doubt about the reality of the “gods.” Meanwhile, over the past few years, during a number of expeditions of the Foundation for the Development of Science “III Millennium” to various countries, we have already identified thousands of artifacts - signs of the real existence of such an ancient civilization, which surpassed even modern humanity in terms of technology development. The number of discovered facts is so great that we consider it necessary to recognize the long-standing debate “whether such a civilization was or was not” is already a thing of yesterday. At the moment, the existence of an ancient, highly technologically advanced civilization has simply been PROVEN. And research has long shifted to the plane of studying the characteristics of this civilization, its origin, technologies and real possibilities.

And by the way, South America (especially the territory of Peru) is characterized by the fact that the brightest, most irrefutable evidence of the use of the highest technologies by a certain civilization, which in many ways exceeds our modern capabilities, is found here...

By the way, the version of imitation formulated a little earlier, to a certain extent, not only does not contradict, but is even completely consistent with the position of archaeologists and historians who have now settled on the version of the “religious-mystical” purpose of geoglyphs.

The ancient inhabitants of Nazca and Palpa saw huge drawings of certain “gods” - that is, representatives of a highly developed civilization - and worshiped “divine creations”, copying them and performing some religious or cult rituals on the lines.

Could this be so?.. And why not?!.

However, there may be different variations of this version. For example, it is possible that even high-quality lines and figures could have been made in several stages by different, if not civilizations, then cultures (even “gods”). It is also possible that even the earliest lines may have been created by humans - but under the supervision and direction of "gods" who simply used local Indians as unskilled labor...

Be that as it may, the facts suggest that the oldest and largest lines were made by representatives of another civilization or with their direct participation. And it’s not even so important whether it was an earthly civilization or aliens from another planet. The main thing is that it was a very highly developed civilization, for which flying by air was absolutely no problem (see below). It was clearly not a problem to create such a huge number of lines on a desert plateau. Or at least organize their creation...

Signs of another civilization

Versions about the creation and use of Nazca geoglyphs by pilots of some fairly advanced aircraft imply a very highly developed civilization that visited these places in the distant past. Whether they are representatives of earthly civilization who survived the flood cataclysm, like Vershinin, or representatives of an alien civilization, like Daniken. And it is quite natural to expect that such a civilization should have left behind more significant evidence of its presence than strange patterns, stripes and geometric shapes on a desert plateau.

As mentioned earlier, in South America there are not just many, but very many traces of the activity of an ancient, highly technologically advanced civilization. Moreover, it is in South America that these traces are most indicative - the difference between the quality of processing of hard rocks (such as granite, basalt, diorite and others) and the capabilities of local Indian civilizations is so obvious that it leaves no doubt. Almost all of the most famous megaliths - that is, structures made of large and even huge stone blocks - on the South American continent were created by this highly developed civilization, which in a number of parameters surpassed even the capabilities of modern humanity.

I will not dwell here in detail on the features of local megaliths, since this is beyond the scope of the topic of this book. For those who are interested in a detailed description of South American ancient objects, I can recommend reading my book “Peru and Bolivia Long Before the Incas,” published by the Veche publishing house. Here I will only mention direct, immediate evidence of highly developed technologies left in ancient times.

Traces of the use of such technologies are visible, say, in Tiahuanaco (modern Bolivia) in the complex shapes of blocks of hard andesite (local granite) - the creation of such internal angles is a Herculean task for modern industry. This requires the use of very developed machine (namely machine -!) technologies and durable tools, which the local Indians did not and could not have. The fact that machine technologies were used here is shown, for example, by a block on which ancient craftsmen left a shallow cut with neatly drilled recesses.

Similar cuts, also clearly made by a machine tool, can be seen on the horizontal surface of a small step carved into a sheer cliff at Ollantaytambo in Peru. Moreover, in this case we are faced with double cuts only a millimeter wide, which are physically impossible to obtain using any “impact” methods (simply chopping off the material).

A deeper cut can be seen on the diorite rock at the archaeological site of Sacsayhuaman, located near the ancient Inca capital of Cusco and famous for its “jagged” three-tiered wall of huge sides. Here, for some reason, the ancient craftsmen cut the rock along a length of about ten meters and then broke off a “piece” of several hundred tons from it - just like we work with a glass cutter when cutting glass or ceramics. Only here the cut has a depth of about a centimeter or two, but it is made in the way required by the skill of a glass cutter - in one pass of the tool. This in such a hard material is only possible with the help of powerful stationary equipment using durable steel saws with diamond attachments. And here, it seems, something like our “grinder” was used (only a modern master can go deeper in one pass by only a millimeter and a half, but here the depth is an order of magnitude greater -!). The use of a “grinder” - that is, a circular saw - is clearly indicated by the preserved traces of just such a tool nearby on the same rock, from which in this case, for some reason, a small piece was cut off - see.

However, the main megaliths with signs of the use of highly developed technologies are concentrated in remote mountainous areas. But in the area of ​​geoglyphs there are no such obvious traces. There are no megalithic structures here at all in the usual sense of the word - that is, structures made of large blocks.

It is clear that such a highly developed civilization, which was able to create such megalithic structures in mountainous areas, had no problems covering a distance of several hundred kilometers to the Nazca Plateau. The level of its development is such that it should have mastered air flight long ago and created very advanced devices for this. So she could very well be here. But this is only a logical assumption, but I would still like to see something “more tangible.”

One of the albeit very indirect evidence of the presence of such a civilization here can be found in some features of the Nazca and Paracas cultures.

“The creators of the Paracas culture had a strange predilection for experimenting with their skulls. Infants were subjected to a painful operation to deform the skull, as a result of which the head of the Parakas acquired a wedge-shaped shape. Sometimes children could not withstand such severe tests, as evidenced by the tragic discovery in one of the burial grounds. Here, in 1931, a tiny child was discovered with his head tied with a cotton ribbon. Under the tightly wrapped tape there were two dense pads - one pressed on the frontal and the other on the occipital part of the skull. The result should have been a perfectly wedge-shaped head - but the baby no longer had the chance to rejoice at the result” (G. Ershova, “Ancient America: Flight in Time and Space”).

The fashion for such a strange (and very painful, by the way) execution, as a result of which a person’s head takes on an elongated shape, is found in various regions of the planet. But the largest number of such deformed skulls is found precisely in the area of ​​the Nazca and Paracas cultures. Here, such a practice took on a truly manic and all-encompassing scale.

And here's what's interesting. In the practice of head deformation everywhere, in all regions, a certain pattern is clearly visible: with all the variety of methods and methods of influencing the shape of the skull (from tight bandages-caps to special wooden devices), the desire to achieve only one result of deformation is clearly dominant - an elongated head. Nowhere and never has anyone strived for a different form...

A completely logical question arises: what are the origins of such a massive (and uniform in all regions!) desire for an elongated head shape?.. The question is far from idle, given the data of modern medicine that such an effect on the head, in addition to causing inconvenience and unpleasant sensations contributes to the occurrence of regular headaches and seriously increases the risk of negative consequences for a person’s mental and physical health.

Historians do not give any intelligible answer to this question, attributing everything at best to a cult ritual with an unclear motivation. However, even with all the power of influence of religion and cult on the entire way of life of people, it is clearly not enough. For such a “fanatical desire for ugliness” there must be a much more powerful incentive. And the incentive is quite stable, given the ubiquity and duration of this “tradition.”

Recently, more and more researchers are leaning towards the neurophysiological version. The fact is that a change in the shape of the skull also affects various areas of the cerebral cortex, which should, in theory, contribute to certain changes in the human psyche. However, all this is still only in the realm of hypothetical assumptions, and among the tribes practicing skull deformation, no special positive changes in mental abilities have been noticed. And clergy (shamans and priests), for whom the ability, for example, to fall into a trance or immerse in meditation is very important, do not strive for deformation of the skull at all, preferring less radical means...

And here it makes sense to pay attention to the version put forward by Erich von Däniken, a supporter of the version of the real existence of ancient “gods” who were representatives of an alien civilization.

Däniken suggested that the roots of the strange tradition of skull deformation lie in the desire of local Indians to resemble “gods,” that is, representatives of an alien civilization who had an elongated head shape. And this assumption, no matter how strange it may seem, has a very real basis.

The fact is that among the elongated skulls in South America, there were also found those that could well claim to be the skulls of the “gods” themselves!

Robert Connolly first drew serious attention to these skulls during his travels, during which he collected various materials about ancient civilizations. The discovery of these skulls came as a surprise to him.

The first thing that catches your eye is the abnormal shape and size, which have nothing in common with the skull of a modern person except the most basic features (“box” for the brain, jaw, holes for the eyes and nose)…

However, the main thing is that during deliberate deformation, only the shape of the skull can be changed, but not its volume. And the skulls that Conolly drew attention to are almost twice the volume of an ordinary human skull!..

Strictly speaking, among people there are cases of increased size of the cranium - in some diseases. However, in cases of such a strong deviation of the head from normal sizes, people are close to the state of a “vegetable” and do not survive to adulthood, but here we are faced with the skulls of clearly adult individuals (which a specialist can easily determine at least by the condition of the teeth)…

Moreover, with artificial deformation, the bones of the skull diverge slightly at the joints. The displacement is not so great as to have any noticeable effect on the volume of the cranium, but it is very clearly noticeable to the eye. And such a displacement can be seen on deformed skulls by almost any tourist who looks, for example, into one of the museums in Peru.

Meanwhile, on those skulls that have a volume significantly larger than a human one and which Conolly drew attention to, in the places of articulation of the skull bones, no signs of their displacement are noticeable. And in general, they do not look deformed at all, but quite natural - even if they have an unusual shape for us.

Do these skulls belong to the same aircraft pilots who created geoglyphs on the Nazca plateau?.. It is unlikely that any definite answer can be given here. But the fact that these could be skulls of at least relatives of the very authors of the drawings on the ground is a completely acceptable hypothesis...

However, there are much more compelling arguments in favor of the version of the creation of geoglyphs by a highly developed civilization. The fact is that in some features of the drawings, lines and geometric figures on the Nazca plateau, oddities are found that are most logically explainable within the framework of this particular version.

Frozen mathematics

To a certain extent, the Nazca geoglyphs were very “lucky” that it was Maria Reiche who became interested in them at one time. The fact is that Reiche was a mathematician by training.

If only archaeologists and historians were engaged in the study of drawings and lines on earth, then they, being strictly humanists, would undoubtedly only reproduce the general appearance of geoglyphs with varying degrees of accuracy of the resulting image and would, at best, only analyze iconography from the standpoint of comparing styles . This is how they are taught, and this is what ultimately shapes not only their approach to describing ancient objects, but also the very principle of their perception of objects, their thinking.

A mathematician thinks completely differently. It is not enough for him to simply reproduce something to scale. He tries to describe the object in his own mathematical language. That is why Reiche not only compiled a general map of the Nazca geoglyphs. Her sketches and diagrams of objects depicted in the desert are accompanied by numerous mathematical parameters of individual elements of these objects, including, for example, the radius of curvature, the location of the center of this curvature, the angles between tangents at different points, and the like.

But the thinking style of a mathematician is such that the researcher does not simply describe the object being studied. A mathematician looks for possible patterns. And Reiche, as a result of her many years of research, discovered that there are not just patterns in the patterns and lines - the Nazca geoglyphs are literally “permeated” with mathematics!..

“The method of making pictorial figures, and the arrangement of lines and “centers” on the surface of the plateau are subject to mathematical logic. Thus, the beauty and harmony of the drawings is explained by the fact that, as Maria Reiche established, all curves are ideally conjugated with each other and with straight lines, that is, they are made according to strict mathematical laws. The envelopes of sinusoidal elements, which are very often used in images, also obey mathematical laws” (A. Belokon, “Figures of the Nazca desert and circles in grain fields as a result of the energy impact of UFOs on the ground,” report at the 10th Anniversary Conference “Ufology and Bioenergy Informatics” , October 2002)

The subordination of geoglyphs to rigid mathematical logic made a strong impression on astronomer Gerald Hawkins, the leader of the 1973 expedition, during which the geodetic parameters of many lines were measured and the hypothesis of the ancient observatory was refuted. Describing this expedition to the hot Nazca desert, Hawkins used a very emotional but capacious expression - “life in the hell of frozen mathematics.”

However, for us, perhaps, what is more important is not Hawkins’ emotional state, but the fact that he discovered during his expedition. According to the measurements taken during this expedition, the large lines of the Nazca plateau were made at the limit of modern (!) techniques of geodesy and aerial photography. Their average deviation in direction does not exceed 9 arc minutes. That is, only two and a half meters for a whole kilometer of length! And this despite the fact that many of the lines cross ravines and small hills. For the primitive Nazca and Paracas cultures this is an impossible result. This requires highly developed measuring technologies!..

A number of researchers paid attention to one strange circumstance. Those images on the Nazca plateau, which, by all logic, should be symmetrical (spider, condor and others), in fact have very pronounced asymmetry. This oddity was so striking that it forced us to look for some logical explanation. And in recent years, a number of publications have appeared in which the authors independently come to the same conclusion - the violation of symmetry in the Nazca geoglyphs is not at all the result of the negligence of their creators, but an inevitable consequence of the fact that the ancient authors... drew projections of three-dimensional images !

Here is what I. Alekseev writes, for example, about this:

“The condor is drawn in two planes intersecting at a slight angle. The pelican appears to be in two perpendicular. Our spider has a very interesting 3-D appearance (1 – original image, 2 – straightened, taking into account the planes in the picture). And this is noticeable in some other drawings... And look how cleverly the three-dimensional volume is laid out in the tree. It’s like it’s made from a sheet of paper or foil, I just straightened one branch” (I. Alekseev, “Nazca Geoglyphs. Some Observations”).

Kiev geologist, specialist in historical artifacts R.S. Furduy and his colleagues have moved even further. They conducted a computer experiment with a condor image, which showed that a corresponding distortion in the shape of the picture could occur if the three-dimensional original was projected onto the desert surface at an angle of 14° to the horizon from a height of 355 meters above the ground!..

Just imagine the ancient Indian shamans who managed, one and a half thousand years ago, not only to create a hot air balloon and rise on it to a height of three and a half hundred meters, but also, holding a three-dimensional figurine of a condor in their hands, to direct from this height the actions of the Indian workers on the ground so as to ultimately obtain an accurate projection of the figure. It is unlikely that anyone will object to the fact that the picture turns out to be completely beyond reality...

I. Alekseev decided to try to make an initial three-dimensional figure of a strange creature, which, when projected onto the ground, would give the famous geoglyph, similar to a chicken with nine fingers, and received an interesting result.

“We had to play tricks with the paws; the ancients depicted them in a slightly exaggerated way, and no creature walks on tiptoes. But in general, it turned out right away, I didn’t even have to think about anything - everything is in the drawing (a specific joint, the curvature of the body, the position of the “ears”). What’s interesting is that the figure initially turned out to be balanced (standing on its feet). The question automatically arose, what kind of animal is this? And in general, where did the ancients get the subjects for their wonderful exercises on the plateau?” (I. Alekseev, “Geoglyphs of Nazca. Some observations”).

In 2010, Alekseev managed to solve a problem that Maria Reiche could not completely solve. He found the same mathematical patterns that are embedded in the Nazca geoglyphs. Moreover, he came to this decision literally in a semi-intuitive way.

Trying to reproduce Nazca drawings using a computer in a simple graphics editor Paint.net, he discovered that the fewer lines drawn by hand, and the more methods built into the editor to create lines with variable curvature, the greater the resemblance to real geoglyphs. As he himself writes, he even sometimes had the feeling that the authors of the drawings on the Nazca plateau used the same software when creating them!..

But to create lines with variable curvature, modern graphic editors widely use so-called Bezier curves.

The Bezier curve is a special case of Bernstein polynomials, described by Sergei Natanovich Bernstein in 1912. The Bezier curve method was developed independently in the 60s of the 20th century by Pierre Bezier from the Renault automobile company and Paul de Casteljo from the Citroen company, where this method was used to design car bodies. Due to the ease of defining and managing changes, Bezier curves are widely used in computer graphics for modeling smooth lines.

“And then, at one fine moment, I suddenly discovered that with a certain skill in working with Bezier curves, the program itself sometimes drew the contours quite similarly. At first this was noticeable on the roundings of the spider’s legs, when without my participation these roundings 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 followed the contour of the drawing. And the fewer nodes, but the more optimal their position and settings, the greater the 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. During further work, a feeling arose that grew into confidence that this unique “Nascan” design was a combination of Bezier curves and straight lines. Almost no regular circles or arcs were observed.

Was it not Bezier curves that Maria Reiche, a mathematician by training, tried to describe by making numerous measurements of radii?” (I. Alekseev, “Geoglyphs of Nazca. Some observations”).

“But I truly became inspired by the skill of the ancients when drawing large drawings, where there were almost perfect curves of enormous size. 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 it on the plateau. I tried to minimize my own creativity, resorting to completing the drawing of damaged places only where the logic of the ancients was obvious (such as the tail of a condor, the protruding and clearly modern rounding on the body of a spider)" (I. Alekseev, "Nasca Geoglyphs. Some observations").

Alekseev managed to reproduce in this way almost all the main drawings known on the Nazca plateau. Subsequently, based on the materials of his article, a kind of “dynamic” experiment was conducted on the website of the Laboratory of Alternative History forum. The man tried to draw a freehand image of a spider on top of a photograph in a specialized graphics program. The hand, naturally, trembled and became confused. The program smoothed out “manual” flaws in accordance with the Bezier curve algorithm. In this case, the final curve automatically fit almost perfectly onto the original photograph!..

Reiche only just barely reached this solution to the problem she formulated of identifying the mathematical patterns of the geoglyphs of the Nazca Plateau, although the foundations of these patterns were prescribed by Bernstein at the dawn of her youth. She didn’t make it, most likely, only because she didn’t see the time when the computer use of Bezier curves became widely available.

It is clear that any speculation about the knowledge of the Nazca and Paracas Indians of the Bezier curves is far beyond any reasonable logic. They also did not have modern computers with graphics programs. Only a civilization that had a level of development at least comparable to ours could observe the corresponding mathematical laws.

It turns out that Däniken was right - geoglyphs are not only addressed to celestial viewers, but were also created by them. And the Indians of the local Nazca and Paracas cultures clearly have nothing to do with these heavenly spectators.

Only now this is no longer just an assumption, but a hypothesis that has a strict mathematical justification!

It is quite possible that if not the Indians themselves, then their ancestors knew that the Nazca geoglyphs were created by a highly developed civilization. And they were not created by hand at all, but with the help of special mechanisms.

“...in this regard, the following picture is of interest. A worthy competitor to the famous “astronaut” from the Temple of the Inscriptions in Palenque, Mexico. It is possible that this is an episode from some Nascan myth that has not reached us, but the fact that the “cat god”, devouring objects similar to stones, is used as a kind of vehicle for a warrior with a spear thrower and full ammunition is depicted quite unambiguously” (I. Alekseev, "Geoglyphs of Nazca. Some observations").

And one more point noted by Alekseev. While experimenting with Bezier curves while drawing the so-called “pelican” - a huge geoglyph covering an area of ​​280 by 400 meters, he discovered a rather strange detail.

“The only drawing that, due to its size and ideal lines, looks absolutely the same in the drawing as in the desert (and in the sketches of the ancients, respectively). Calling this image a pelican is not entirely correct. A long beak and something similar to a crop does not mean a pelican. The ancients did not identify the main detail that makes a bird a bird - its wings. And in general this image is non-functional from all sides. You can't walk on it - it's not closed. And how to catch the eye - jump again? Due to the specificity of the parts, it is inconvenient to view from the air. It doesn’t really fit in with the lines either. 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 couldn’t understand why this drawing left a feeling of something very unusual. And everything is very simple. Small and subtle details are separated over a considerable distance, and in order to understand what is in front of us, we must move our gaze from one small detail to another. If you move a considerable distance away in order to take in the entire picture, then all this small detail 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” (I. Alekseev, “Nazca Geoglyphs. Some Observations”).

A little conclusion

As we see, if we do not confine ourselves to a very simplified version of the creation of geometric shapes, lines and patterns on the Nazca plateau by the Indians of local cultures and take into account the existing features of geoglyphs, the mystery of the Nazca plateau turns out to be closely connected with issues that go far beyond the limited desert area on the South American coast. And in order to find a solution to the riddle of geoglyphs, they need to be considered together with a whole host of other, seemingly completely extraneous facts. Geoglyphs cannot be separated from the rest of history.

Just not the history that is written in textbooks. And history, rejected by modern academic science, but which finds a colossal amount of confirmation both in the form of real artifacts (no matter how archaeologists and historians reject them), and in ancient legends and traditions (no matter how many of them the same historians and archaeologists write off as empty fantasies our ancestors).

Will we ever be able to unravel all the secrets of geoglyphs?.. I don’t know.

So far, only one thing is clear - we cannot isolate ourselves within the framework of any one version. And even more so, one cannot neglect real facts for the sake of some pre-selected hypothesis.

If the facts indicate that the geoglyphs on the Nazca plateau, Palpa and other regions were created by different “authors”, then we need to look at this matter in dynamics - taking into account the development of the process over time (which does not necessarily have to be a development from simple to complex). It is necessary to separate some “authors” from others. And taking this into account, the main question in trying to understand the chaos of drawings on earth becomes the question of who created what from this. By lumping everything together, you certainly won’t be able to figure out the mystery of geoglyphs...

“So what is this... is Nazca?.. Nazca is like a hundred thunderclaps on the mind. If eyes could scream, they would do it in Nazca. The message of Nazca is veiled and confused, any theory about it is contradictory... This landscape seems unreasonable, insoluble, meaningless and shifts the brain to one side” (Erich von Däniken).

Detailed diagram. Part 6

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Gone civilizations have left riddles for modern man, which the best minds of historians and archaeologists have been tasked with solving. A number of mysteries have an explanation, but some remain a mystery for centuries, which scientists are unable to explain. One such mystery was the giant paintings in the Nazca Valley in South America.

The Nazca Plateau is located in the southern part of Peru and occupies an area of ​​approximately 7 by 50 kilometers. Since ancient times, local residents have paid attention to the stripes stretching along the valley for tens of meters, believing that they were made to help travelers navigate. Some stripes were straight, some had a different shape - one way or another, until humanity invented air transport, no one could examine the patterns in their entirety.

When the American archaeologist Paul Kosok saw the stripes in 1939, an amazing thing was revealed to the world: various figures were drawn on the plateau, both geometric and depicting animals, plants and people.
On the plateau there are 30 drawings - images of humans, plants and animals, 700 geometric figures - mainly triangles and trapezoids, as well as 100 spirals and about 13 thousand straight lines. All of them were created no later than the 8th century AD and can only be recognized and seen from the air.

Most of the lines are perfectly straight furrows passing through hills and dry river beds, without the slightest deviation from the straight line. The width of the furrow reaches 135 centimeters, and the depth is 50, the average depth is about 30 cm. The length of the lines ranges from 50 to 190 meters.
Patterns, geoglyphs, placed on the ground raise a large number of questions for researchers - who made them, how, when and why?

History of the study of the Nazca Lines

The Nazca geoglyphs were reported back in 1553 by the Spanish traveler, geographer and priest Pedro Cieza de Leon. He considered them signs to determine the path.

The study of the lines was started by Maria Reiche, an archaeologist who learned about the existence of geoglyphs from Paul Kosok. Over the course of several decades starting in 1941, Reiche explored the Nazca Plateau, manually measuring more than 700 figures and mapping patterns and images. Among the drawings were discovered a “monkey”, “hummingbird”, “spider”, as well as a figure called “astronaut” - about 30 meters long.

Geoglyph "Hands"

An amazing coincidence - one of the geoglyphs depicts hands, with one of them having five fingers and the other having four. Maria Reiche was missing one finger on her left hand.
In the process of studying the phenomenon of Nazca geoglyphs, researchers now and then encounter facts that are difficult to explain. For example, the fact that next to the lines there are no traces of their creators, trails, or evidence of the use of tools. In this regard, a version has been expressed that they were scratched from the air by some special object resembling a giant pencil.

Geoglyph "Astronaut"

Currently, large-scale studies of Nazca geoglyphs are not being carried out due to material reasons - the Peruvian authorities do not finance the work. A nature reserve has been created on the plateau to preserve ancient patterns.

Versions

Maria Reiche assumed that the purpose of drawing multi-meter patterns on the plateau was astronomical (as well as astrological) predictions. Ancient peoples could determine the position of the Sun and stars using lines and thus maintain a calendar. Currently, the version of the astronomical purpose of lines and patterns is disputed by scientists.

A certain strangeness is also represented by the fact that the attention of the German researcher was completely deprived of the neighboring Palpa plateau, located 20 kilometers north of Nazca. Meanwhile, this territory also contains many drawings on the surface of the earth, and, unlike the images of Nazca, it boasts not just one “little man,” but a whole dozen.
Scientists agree on one thing - the lines were created before the arrival of the Inca civilization to these lands, that is, before the 8th century, and most likely, the creation of geoglyphs is the result of the activity of the disappeared Nazca civilization, which existed until the 6th century AD.

Whether the unknown creators of the patterns addressed their deity, or communicated with some extraterrestrial civilization, new generations of scientists will have to find out. Among them is Victoria Nikitsky, a former assistant to Maria Reiche, who continues to work on the study of Nazca geoglyphs.

Other ancient civilizations left behind a lot, which scientists around the world are struggling to explain.