rat-like animal, a man in a coat of mail and a helmet, a man with a triangular head from which rays emanate, two faces, a wheel with a face peeping out of it, birds, snakes, bald and hairy heads, a face that grows out of another one, a snake with a face, two concentric circles with a face inside. A veritable riot! Paired together amid all the disorder are two strong gold “hinges,” which bring into prominence a face above a falling bomb!
What was the artist trying to convey?
Was he a predecessor of Hieronymus Bosch?
Has he perpetuated the moment of the annihilation of earthly chaos by the Star God?
----
THE minute fraction of the treasure from the patio of the Church of Maria Auxiliadora at Cuenca that I have illustrated here is a still more minute fraction of the precious objects which rest undisturbed in Juan Moricz’s tunnels, an orgy of human history in metal.
What were the Incas’ metal objects for, what was their purpose? Are they simply expensive primitive toys?
Or are they really messages from a very early age that we cannot decipher?
Professor Miloslav Stingl is the leading South American scholar in the Iron Curtain countries; he graduated in the ancient civilizations of America. Today he is a member of the Academy of Sciences at Prague and author of archaeological and ethnological books.
In versunkenen Mayastadten
(1971), for example, is highly acclaimed. Professor Stingl, who was a guest in my house, saw the photographs I had taken at Cuenca.
“If these pictures are genuine, and everything indicates that they are, because no one makes forgeries in gold, at any rate not on such a large scale, this is the biggest archaeological sensation since the discovery of Troy. Years ago I myself supported the view that the Incas had no writing in the alphabetical sense of the word. And now I’m faced with Inca writing! It must be very, very ancient, because one can recognize the transition from ideograms to writing.”
“What do you make of the engravings? How do you fit them into the existing system?”
“To be able to give a precise scientific verdict I should have to subject each plaque to a detailed and lengthy examination, and compare each one with material already available. For the moment I can only say that I am dumbfounded. The sun was often part of the scenery in known Inca engravings, but man was never equated with the sun, as I see time and again in these photographs. There are representations of men with sun’s rays round their heads and there are men depicted with star points coming from them. The symbol of ‘holy power’ has always been the head. But in these pictures the head is simultaneously sun or star. That points to new direct connections.”
“How would you interpret the bomb on the plaque?”
The famous scholar took out a magnifying glass and examined the photograph in silence for a long time.
“No interpretation is possible; all this is absolutely new. Explained in totemistic terms, I would say the radiant figures with the stars above and the snake symbols below indicate a connection between heaven and earth. And that means that the stellar beings and suns had a relationship with the inhabitants of the earth.”
“What else?”
“I cannot say any more. Of course, the solar wheel is well known, but here it is not clear whether it is a solar wheel, for there is a face inside it, which is quite contradictory. At all events, all the figures, birds, snakes, helmeted figures and everything else that can be seen on the plaque seem to originate from a dream world, from a mythology.”
“A mythology that is daily acquiring a more tangible and realistic background!”
The professor laughed: “I have to admit that you have arguments in your jigsaw puzzle that disconcert even an old fox like me and give me cause for reflection.”
Who is going to study the tunnels and treasures Underneath Ecuador, who is going to bring this sensational archaeological discovery into the
What was the artist trying to convey?
Was he a predecessor of Hieronymus Bosch?
Has he perpetuated the moment of the annihilation of earthly chaos by the Star God?
----
THE minute fraction of the treasure from the patio of the Church of Maria Auxiliadora at Cuenca that I have illustrated here is a still more minute fraction of the precious objects which rest undisturbed in Juan Moricz’s tunnels, an orgy of human history in metal.
What were the Incas’ metal objects for, what was their purpose? Are they simply expensive primitive toys?
Or are they really messages from a very early age that we cannot decipher?
Professor Miloslav Stingl is the leading South American scholar in the Iron Curtain countries; he graduated in the ancient civilizations of America. Today he is a member of the Academy of Sciences at Prague and author of archaeological and ethnological books.
In versunkenen Mayastadten
(1971), for example, is highly acclaimed. Professor Stingl, who was a guest in my house, saw the photographs I had taken at Cuenca.
“If these pictures are genuine, and everything indicates that they are, because no one makes forgeries in gold, at any rate not on such a large scale, this is the biggest archaeological sensation since the discovery of Troy. Years ago I myself supported the view that the Incas had no writing in the alphabetical sense of the word. And now I’m faced with Inca writing! It must be very, very ancient, because one can recognize the transition from ideograms to writing.”
“What do you make of the engravings? How do you fit them into the existing system?”
“To be able to give a precise scientific verdict I should have to subject each plaque to a detailed and lengthy examination, and compare each one with material already available. For the moment I can only say that I am dumbfounded. The sun was often part of the scenery in known Inca engravings, but man was never equated with the sun, as I see time and again in these photographs. There are representations of men with sun’s rays round their heads and there are men depicted with star points coming from them. The symbol of ‘holy power’ has always been the head. But in these pictures the head is simultaneously sun or star. That points to new direct connections.”
“How would you interpret the bomb on the plaque?”
The famous scholar took out a magnifying glass and examined the photograph in silence for a long time.
“No interpretation is possible; all this is absolutely new. Explained in totemistic terms, I would say the radiant figures with the stars above and the snake symbols below indicate a connection between heaven and earth. And that means that the stellar beings and suns had a relationship with the inhabitants of the earth.”
“What else?”
“I cannot say any more. Of course, the solar wheel is well known, but here it is not clear whether it is a solar wheel, for there is a face inside it, which is quite contradictory. At all events, all the figures, birds, snakes, helmeted figures and everything else that can be seen on the plaque seem to originate from a dream world, from a mythology.”
“A mythology that is daily acquiring a more tangible and realistic background!”
The professor laughed: “I have to admit that you have arguments in your jigsaw puzzle that disconcert even an old fox like me and give me cause for reflection.”
Who is going to study the tunnels and treasures Underneath Ecuador, who is going to bring this sensational archaeological discovery into the
Similar Books
Music From Standing Waves
Johanna Craven
Layers Crossed
Lacey Silks
The Canterbury Tales: A Retelling by Peter Ackroyd
Peter Ackroyd, Geoffrey Chaucer
The Devil Wears Tartan
Karen Ranney
Sweet Texas Fire
Nicole Flockton
Calder
Allyson James
Who's the Boss
Vanessa Devereaux
Creatures of Snow
Dr. Doctor Doctur
An American Son: A Memoir
Marco Rubio
Ponzi's Scheme
Mitchell Zuckoff