Interesting post! I think you did a thorough job. I just did a talk out in Denver a couple months ago on exactly this topic. The talk was called
"Cosmic Connections of the Petroglyphs" and although about Petroforms in general I did sidetrack down the art side and looked at lots of religious
art and discussed it. It took me many months to write the talk and I visited Petroglpyh sites and talked to Petroglyph experts such as Ron Regher from
Moab Utah and various other folks. I never realized how many books on the subject were available until I started getting interested in it a few years
ago. Sadly when I went to present it, I found that I was given a much larger time slot to fill so I had to add more details on the fly that I had
originally culled out of the talk!
While I found many connections that indeed seem to be extraterrestrial, as you have pointed out, I also found many that were not in all likelihood.
And this raises one important caveat that I respectfully request you look over. In a number of the cases you show, the imagery that looks like UFO and
alien related anomaly can actually be better explained by the culture of the people that created it. Let me explain if I may... And by the way, no
disrespect is intended in any way! Please dont take it that way. As researchers, we always form an opinion when we think its time. Sometimes, as in my
case as well, I have formed an opinion that was missing important data that I did not realize was missing. So that said...
One of the images you discussed was the Abydos cartouche. A "cartouche" as you probably know but others may not, is essentially a royal identifier
of a king or pharoah. It takes the form of an oval frame so to speak usually meant to be a rope with powers that protect the king/pharoah whose name
is inscribed within. Also within the frame are symbols that provide a statement commensurate with the King/Pharoah's power.
I am not just trying to define the cartouche, but addressing those shapes found within the cartouche. The image from Egypt in the Temple of Seti I
shows what appears to be the helicopter and airship/submarine, yes. But, if you look at the history of that temple, you find that Seti I had a
cartouche that had symbols that translated were "Who repulses Nine Bows" in deference to his military prowess. His successor and son, Ramesses II,
REUSED that same cartouche location and put his own message into it. Ramessess II's message in the cartouche roughly translates to "Who protects
Egypt and overthrows foreign countries".
The way they did this new message in STONE, was to fill in the old and engrave new messages over the old [now filled in] message. This is called
palimpsest by the way. No big deal but that is techincally what you are looking at in that image. The problem with the palimpsest is that over time,
the filling fell out leaving a hybridized message which itself is meaningless.
Here is the image of the overlaid messages:
Note that the red and blue very nicely call out the difference. I wish I knew the author of this diagram to give the person credit. It was done by a
scholar though this much is known. But this is not the only suggestion that this was an overwritten cartouche segment. Here is another image showing
an untouched segment of another cartouche that uses the same symbology in the same exact way as the other but this one is NOT filled in and you see it
as it was originally seen prior to filling:
You can see how the Bow became a helicopter when corrupted by another symbol placed over it. Similarly you can much more clearly see the hand and how
it became a boat or submarine. So that particular image is interesting and intriguing but unfortunately not for the reasons that it originally
Another image you used was that of the Lolladoff plate. The Lolladoff plate has often been cited to indicate existence of alien visitation and show an
alien with a UFO at the center. The controversy surrounding this is legend. But, the plate is not in any museum as purported, the story has fallen
apart from a variety of angles and it is simply too fraught with complexities that seem to imply it is not a true artifact although the plate itself
probably existed. The alien appearing creature could be a poorly made human, and the central object does not remind me of a UFO but more a Solar
eclipse with the moon sitting in front of the Sun. If anything this piece of art was probably a depiction of the witnessing of an eclipse. But there
are faked images of the Dali Lama meeting with Professor Robin-Evans who authored a book including the plate, and so it casts suspicion on the entire
episode. I would love for the plate to be a real depiction of otherworldly visitation but I cannot currently make that leap across the void on the
basis of the evidence of the plate itself.
In your Summer's Triumph image, although I didnt use that one in my talk, I DID see it and noted with interest from other stylized work that the
'saucer' objects in the sky are probably depicting clouds. The Petroglyphs found around the world use similar but differently styled clouds. Some
depict rain some depict clear sky clouds. Of course anyone would ask "how can you possibly know these are clouds and not UFOs.." Well, only by
looking at other works of similar era. Looking at the next image you presented, from Soviet Georgia, on the left and right of the crucifixion are
shapes that using this same logic are most likely clouds indicating rain. But, as is typical of art of this time period, there is double duty here,
and dual message. The clouds ALSO represent the sun and moon in the sky. Usually the Sun is chasing the Moon across the sky. In this case though it
appears that the heavens are raining tears you see. This particular style of what I believe is meant to be a rain cloud is found nearly exactly the
same in rock language all over the Southwest interestingly. I guess from a distance rain clouds do look dome-ish with fingers of rain dropping out
underneath. This is perhaps where this came from. Without going through them, many of the rest of the religious pictures you showed I completely agree
that these indicate a strange occurrence that to date is unexplainable. Its neat.
In one image you did use an image that used the traditional Sun chasing Moon theme. This fresco, the "Crucifixion of the Christ" is VERY interesting
for its use of manned 'ships' for the two solar system bodies. But the theme of showing Sun and Moon is the way they chose to illustrate passage of
time and to set the stage. IT is very interesting. But I didnt talk about THAT so much as something else that is pervasive in this fresco and in
worldwide Rock art of all kinds, paintings, and pictographs. That something is the "halo". I did a section called "Halos and Helmets" because it
had struck me how prevalent these were in societies throughout thousands of years and thousands of miles of separation, even isolation. If you
notice, your imagery contains a worldwide collection of beings with halos. Why a spherical halo? Where did THAT come from? Note that your Wandjina
images, which were the cave paintings from the Kimberly region of Australia are also haloed. Why? That was curious to me how a society in the Kimberly
region of Australia thousands of years ago somehow came up with the supposedly Christian Halo on its own. This is not the only example. The Tassilli
Mountain imagery shows helmeted beings as well as the Val Comonica Italian 'warrior' image. Indian Pictographs [cave paintings] clearly show
helmeted beings as do South American engravings. Isnt that cool? That is something I found to be fascinating.
Incidentally, though I believe that Wandjina mythos [Kimberly Australia cave paintings] is possibly rooted in extraterrestrial origins, the actual
Wandjina myth arose according to Aborigine legend. The Wandjina were water gods. They were said to reside in the ocean and have come from the
skies/stars. THAT alone was incredible. Now look at how it is possible that a very Earthly myth gets tangled in an extraterrestrial visitation... The
Wandjina were said to control the rains the floods. If you notice, in many cases the Wandjina are shown with NO mouth. This is because the
illustration of a mouth indicates forever flowing waters, or ... great floods. Why was this the case? Because according to myth, two boys were
torturing an owl, which was SAID to have angered the Wandjina greatly and in retribution, the Wandjina sent tsunamis, and great floods to decimate the
Aborigine population. So the Wandjina when shown with a mouth are showing a time when the land was flooding and death was abundant. No Mouth, no rain.
But, the concept of the OWL is the interesting part too. I think if you look at the Wandjina depictions you can clearly see that these images can be
representative of the owl. And here is where the 'tangle' comes in between extraterrestrial and Earthly story: I postulated that it is possible that
the Owl was viewed by the Aborigines as an agent of the very extraterrestrial Wandjina. Why? Look at this image:
I see a resemblance or at least enough of a connection that if either of those two were staring at me it would be unnerving... So it is possible that
other Earthly myth is tied to extraterrestrial visitation as well.
Another set of images you showed were the ones where you showed the two images of the "classic saucer" done by Indians of the American Southwest,
and then the Itolo images of the seeming saucers dropping vertical "lines". This is more of what I was talking about when I was discussing rain
clouds and thunderstorms as depicted in rock language and painting. Several rock scholars including Dr William Lipe Prof Anthropology, Dr Alfonso
Ortiz, Native American Scholar, and Alex Patterson, author of Rock Art Symbols, all see convergence in the rock language that indicates that these
symbols are undoubtedly meant to represent clouds.
Petroglyphs are rock language as opposed to 'art' ... The images taken out of context remove their meaning. Taken IN context when scholars interpret
sequences they get things like the "Hunt was for Bighorn Sheep. They were on the Cliff. They fell. We killed them. It was raining". But each of
those requires a number of symbols so when seen over and over in may different sequences of language on rock, they realized with a high degree of
certainty that they were talking about clouds and rain. Sorry that was long and drawn out there but it is an important distinction.
All in all it is a good thread to bring to the board in my view. Thanks for that!