Barren, inhabitable and wasteland are reasonable ways to describe the Nazca Plateau in southern Peru. This desert-coastal region receives virtually no rainfall, so a high concentration of people have never, nor will ever live in this area. However, this plateau is home to some of the best evidence for a long-lost advanced civilization the world has to offer in the form of geoglyphs dubbed the “Nazca Lines”.
This ancient art is mysterious for many reason outside of the obvious choice to make them on such a desolate area. According to the Untied Nations Educational Scientific and Cultural Organizations (UNESCO):
These lines, which were scratched on the surface of the ground between 500 B.C. and A.D. 500, are among archaeology’s greatest enigmas because of their quantity, nature, size and continuity. The geoglyphs depict living creatures, stylized plants and imaginary beings, as well as geometric figures several kilometers long. They are believed to have had ritual astronomical functions.
Main stream archaeology generally accepts this time frame for the creation of these geoglyphs, which they claim a primitive culture called the Paracas made them. However, one aspect of the “earth drawings” quickly and definitively disproves this theory- that the artwork can only be seen from hundreds of feet up in the air above the plateau! The latest date given from main stream archaeology is still some 1400 years before man invented flight. In fact, Da Vinci is widely accepted as the first human to seriously ponder using machines that would allow us to fly and that was still centuries after the primitive society know as the Paracas are given credit for creating these massive geoglyphs.
So…How is it possible that a primitive culture from antiquity could possibly sketch such zoomorphic and geographic shapes with extreme precision, that can only be seen from the air? Even if they somehow had the foresight to invision a future were flight was possible they would not have been able to create the massive glyphs without going up in the air to check the progress and make sure their were no mistakes!
A primitive culture making artwork that also seems to track astrological movements so big that it can only be seen from the air is simply impossible. Nevertheless: when we look at the earth drawing from Nazca Peru that is exactly what we find:
Graham Hancock’s 1995 book, Fingerprints of the Gods, spends a chapter giving us insight into just how mysterious they are, starting with the sheer size of the artwork. Taking a look at the size of some animals/insects above we find the following measurements: the spiders 150 ft long; the bird is 400 ft from tail feather to the tip of the beak; and the monkey is 400 feet long and 300 ft wide.It is important to note that the geometric shapes have lines even longer– the longest stretching more than 5 miles according to Hancock. Looking at these statistics it becomes blatantly clear that these drawings could only be meant for observation from the air. In fact, Hancock mentions that Luis de Monzon, the first Spanish traveler to bring back eyewitness reports of the lines to Spain, called them “marks on the desert”. Because from the perspective on the ground (picture below) it appears the area is full of numerous ruts cut shallowly into the ground; you simply have no hints that the lines actually make animals, insects, birds, sea creatures, trees and geometric shapes.
It was not until the 20th century, and the advent of flight, that anyone discovered the lines actually created zoomorphic and geometric shapes.
The mysteries involving the geoglyphs do not stop there. The spider sketched into Nazca is a Ricinulei or Hooded Tick spider, one of the rarest genera of spiders on the planet. In fact, the spider is so rare that they have only been found in remote parts of the amazon rain forest. The only problem was the Amazon is very far from Nazca Lines, with the Andes standing in the way. Simply put, it’s extremely unlikely that a primitive culture like the Paracas could have possibly found that particular species of spiders.
Moreover, the spider is not the only animal from far away locals that are found in Nazca. The depiction of a man (seen to the left) with an oddly shaped head with huge eyes and what looks like heavy-duty boots on his feet, is just as out of place in this coastal desert in Peru as the spider, whale or hummingbird etc.. In fact, in Hancock’s opinion, the only animal that was not completely out of places was the condor.
This means the Paracas would have had to travel vast distance to find these creatures. then decide to spend an insane amount of time accurately depicting these animals in massive artwork that can only be seen from the air… No part of this equation adds up!
Just how accurate are some of these geoglyphs?
Well, the level of accuracy is just one more example of how impossible it is for any primitive culture to create this artwork. For instance, in the picture of the spider above we see what looks like a foot extending to the right of only one of its leg. It just so happens that the leg in question (the middle leg on the right side) is where the reproductive origins are for this species of spider and what is clearly being depicted on the geoglyph. The only problem is in order so see the reproductive origins on this spider you need a microscopes because it is not visible to the naked eye!
And correct me if I am wrong, but primitive cultures did not have this level of technology… Right?
Additionally, Hancock explains that the evidence clearly shows the artwork was made in multiple phases. Many of the animals, birds insects etc..are intersected by the geometric geoglyphs at a later time. This phenomenon is seen in many pictures above, but most predominantly in the picture of the whale. Strangely enough, the older phases that created the zoomorphic figures is the more sophisticated artwork, needing a higher technical skills and more advanced equipment. This opens us up to a who lot of questions like:
- How could the artwork devolve if it were made by the same people who’s equipment and proficiency should be evolving with time?
- How much time eclipsed between phases?
- Since question one leads us to believe there had to be two separate groups making the glyphs, who were the earlier more advanced artist?
Sadly, mainstream archaeology refuses to even admit the art came from different phases and combine both culture calling them “the Nazcans”. You would think that main stream archaeology would stop saying primitive cultures created something when the evidence presented shows that only an advanced civilization could have. Nevertheless, we live in a word where main stream archaeology has lumped the two sets of artist into one group, all the while, calling them primitive despite the fact that aircraft, microscopes and the ability to easily travel the world were all needed to create the Nazca Lines.
So, who actually made these lines?
I could say with certainty that claiming a primitive society built these is unscientific, illogical and asinine. There is no way around the fact that a far more advanced society than the Paracas created the artwork. Moreover, the Paracas were not even advanced enough to create the later, more crude, geometric geoglyphs that intersect the older more sophisicated zoomorphic figures. The the oral traditions, passed down from generation to generation in this area of Peru, doesn’t even claim the Paracas (or any other culture from ancient Peru that they would be descendant of) are the creators. Instead, they claim that a race of demigods, called the Viracochas, made the earth drawing. Interestingly enough, Luis de Monzon told of the same oral traditions when he returned from Peru all those centuries ago. So, this is not a new oral tradition.
Therefore, it appears the key to unlocking the mysteries of Nazca lie with the Viracochas; a mysterious, highly advanced and long lost civilization of people who appeared god-like to the primitive cultures of early Peru. However, the mystery that is the Viracochas is one that will need to be addressed in another article all together.