CONTENTS
MANY ROCK ART SITES WERE SACRED
PLASMA FIGURES IN EGYPT & SUMER
PATTERNED BODY ANTHROPOMORPHS (PBA)
ACADEMIA.EDU, ROCK ART, PERATT
MANY ROCK ART SITES WERE SACRED
Many ancient rock art sites around the world are known to have been regarded as sacred by the people who created them. Evidence from archaeology, indigenous traditions, and ethnographic studies supports the sacred significance of these sites across different cultures and time periods.
Examples of Sacred Ancient Rock Art Sites
Petroglyph National Monument (New Mexico, USA)
The thousands of petroglyphs carved by the Pueblo people between 1300 and the late 1600s were not made randomly; they held cultural and religious importance. Experts note that these artworks were created by specialists and were considered sacred. The caves and rock art were believed to be portals to the underworld, serving as symbolic tributes or communications with spirits1.
Sanilac Petroglyphs (Michigan, USA)
The Sanilac Petroglyphs, carved by the Anishinabek people, are regarded as a holy site. The carvings document creation stories, daily life, and seasonal events, and the site continues to be preserved in collaboration with local tribes due to its sacred status2.
Jeffers Petroglyphs (Minnesota, USA)
This site contains about 8,000 petroglyphs and is sacred to many indigenous tribes, including the Dakota, Cheyenne, Arapaho, Iowa, and Ojibwe. The site has been used for centuries for ceremonial work, fasting, prayer, and teaching, and remains a sacred worship space today2.
Judaculla Rock (North Carolina, USA)
Local Cherokee legends tie this boulder deeply to spiritual stories, and it is considered a significant site within their cultural and spiritual landscape2.
Chumash Rock Paintings (California, USA)
The Chumash people created elaborate and colorful rock paintings, likely for religious reasons. Shamans are thought to have made these paintings to influence supernatural beings and forces. These sites remain sacred to the Chumash today, and their locations are often kept secret to protect them4.
Lower Pecos Pictograph Sites (Texas, USA)
The Lower Pecos region contains hundreds of pictograph sites, forming an ancient, sacred landscape used for ceremonial and spiritual purposes6.
Rock Art Sites in Finland
Prehistoric rock art sites in Finland, often located on vertical cliffs by lakes, were considered sacred spaces, gathering spots, or ritual places. They were not habitation sites, and the presence of images like drummers suggests ritual or musical activities. Offerings were likely made at these sites, indicating their spiritual importance3.
Petroglyphs of Pennsylvania (USA)
Archaeological evidence suggests these sites were almost certainly sacred places where people communicated with the supernatural, possibly used by medicine men for rituals7.
Côa Valley and Siega Verde (Portugal and Spain)
These UNESCO World Heritage sites contain thousands of Paleolithic engravings. The rock art is recognized for its spiritual and symbolic significance, providing insight into the social, economic, and spiritual life of early humans8.
Chiribiquete (Colombia)
Indigenous communities consider Chiribiquete, with its extensive rock art, a sacred place that should not be visited, underscoring its ongoing spiritual significance5.
Common Themes in Sacred Rock Art Sites
Spiritual Communication: Many sites were used for rituals, offerings, or as places to communicate with spirits or supernatural forces.
Ceremonial Use: Sites often served as locations for ceremonies, fasting, or teaching spiritual lessons.
Ongoing Sacredness: Many of these sites remain sacred to descendant communities today, who continue to protect and honor them.
In summary, ancient rock art sites across the world were frequently regarded as sacred by their creators, serving as focal points for ritual, spiritual, and communal activities1,2,3,4,6,7,8.
Africa
Kondoa Rock-Art Sites (Tanzania): Over 150 decorated rock shelters on the eastern slopes of the Masai escarpment, used for at least two millennia. Many shelters still have ritual associations and are regarded as sacred by local communities for their links to beliefs, rituals, and cosmological traditions5.
Chongoni Rock-Art Area (Malawi): Comprising 127 sites, this area features rock art by both hunter-gatherers and Chewa agriculturalists. The symbols are strongly associated with women and the sites are actively used for ceremonies and rituals, maintaining their sacred status today1.
Mfangano Island Rock Art Sites (Kenya): Ancient rock art, possibly 2,000 years old, created by the Twa people. These sites are regarded as culturally and spiritually significant by local communities3.
Drakensberg-Maloti Mountains (South Africa and Lesotho): Dense concentrations of rock paintings by San hunter-gatherers, many of which are considered sacred and are associated with spiritual beliefs and rituals2,4.
South America
Cueva de las Manos (Argentina): Famous for its stenciled handprints and hunting scenes, this cave complex is one of the oldest and most significant rock art sites in South America. It is believed to have been a sacred site for early hunter-gatherer groups, reflecting their spiritual and ritual life6.
Orinoco River Rock Engravings (Venezuela and Colombia): Monumental engravings, including giant snakes and human figures, are found along the Upper and Middle Orinoco River. These are linked to indigenous myths, especially creator deities, and are considered sacred by local communities who maintain a strong connection to the sites8,9.
Europe
Côa Valley and Siega Verde (Portugal and Spain): These UNESCO World Heritage sites feature thousands of Paleolithic engravings, including animals and abstract symbols. The sites are widely interpreted as having spiritual and ritual significance, serving as sacred places for prehistoric communities.
Alta Rock Art (Norway): This site contains thousands of petroglyphs dating from 4200 to 500 BCE, believed to have had ritual and ceremonial importance to the hunter-gatherer societies of the region.
Asia
Central Asia
Tamgaly (Kazakhstan): This UNESCO World Heritage site features around 5,000 petroglyphs dating from the Bronze Age onward. The area is divided into a sacred core with altars, cult areas, and images of solar deities, indicating persistent sacred associations from the Bronze Age to the present. The site’s layout-with a distinct sacred zone and outer residential periphery-reflects its ritual importance2.
Saimaluu-Tash (Kyrgyzstan): Located high in the Ferghana Range, Saimaluu-Tash contains thousands of petroglyphs created from the Neolithic to the medieval period. The site was sacred to Bronze Age and later peoples, used for sacrificial rites to the sun god, and remains spiritually significant to local Kyrgyz communities today2.
Mongolia
Petroglyphic Complexes of the Mongolian Altai: These complexes include thousands of petroglyphs and are recognized as UNESCO World Heritage sites. The rock art here is closely tied to ritual practices and the spiritual landscape of the ancient steppe peoples3.
China
Damaidi and Gujingou (Ningxia): These sites in Inner Mongolia and Ningxia feature dense concentrations of petroglyphs, often associated with springs, small shrines, and burial sites. The placement of petroglyphs on prominent hills and near water sources, along with the presence of worship areas, suggests a strong ritual and sacred function6.
Heishimao (Ningxia): The summit of this hill is dotted with petroglyphs, and the presence of shrines and sacred springs in the region points to the spiritual importance of the site6.
South Asia
Bhimbetka Rock Shelters (India): A UNESCO World Heritage site with rock paintings dating back to the Paleolithic and Mesolithic periods. The shelters have long been associated with ritual and spiritual significance for local peoples.
Southeast Asia
Gua Tagut and Gua Tampaq (Malaysia, Borneo): These caves contain anthropomorphic and zoomorphic images. Their use for shelter and protection by the Bidayuh people during times of conflict, along with the presence of ritual imagery, suggests a sacred dimension7,8.
Rock Art of Southeast Asia (Various): Many rock art sites in Southeast Asia are found in rock shelters and cliff faces, often in locations that are difficult to access, further indicating their special, possibly sacred, status1,7.
Pakistan
Shatial to Raikot Bridge (Karakoram Highway): This 100 km stretch contains tens of thousands of ancient petroglyphs and inscriptions, including religious and ritual imagery spanning millennia. The presence of Buddhist symbols and ancient scripts indicates that the area was a significant religious and sacred landscape for multiple cultures over time5.
Australia
Kakadu National Park (Northern Territory): Home to some of the world’s oldest rock art, with paintings reflecting spiritual beliefs and Dreamtime stories. Many sites are still considered sacred by Aboriginal Australians.
Murujuga/Burrup Peninsula (Western Australia): Contains the largest concentration of petroglyphs in Australia, many of which are sacred and central to local Aboriginal cosmology and ceremonies.
Oceania (outside Australia)
Tongariro National Park (New Zealand): While not as famous for rock art as Australia, some Maori rock art sites in the region are considered tapu (sacred) and are protected as spiritual places.
ROCK ART MOTIFS IN EGYPT ETC
There is evidence that certain rock art motifs - especially geometric signs and abstract symbols - were transmitted across generations and possibly influenced early civilizations, but direct, unbroken lines of transmission to complex societies like Sumer and Egypt remain debated among scholars.
Evidence for Transmission of Motifs
Geometric Signs Across Time and Space: Research has identified 26 recurring geometric symbols (such as dots, lines, spirals, and grids) in Paleolithic cave art across Europe, which appear repeatedly over tens of thousands of years1. These motifs are not random; their persistence suggests a shared symbolic language or tradition that was passed down within and possibly between early cultures1.
Long-Term Cultural Transmission: Studies of rock art in Patagonia, Argentina, show that specific motifs (like comb patterns) were reproduced across 100 generations, indicating the deliberate transmission of symbolic knowledge and visual language over millennia2,5. This demonstrates that motifs could persist for thousands of years and be used to convey meaning across generations and communities2,5.
Rock Art as Proto-Writing: Some researchers propose that the geometric signs in Paleolithic art may represent an early form of visual communication, possibly a precursor to writing systems7. The idea is that these symbols, used consistently and meaningfully, could have influenced the development of later symbolic and written languages1,7.
Connection to Early Civilizations
Egypt and Sumer: While there is no direct archaeological evidence linking specific rock art motifs to the complex iconography or scripts of ancient Egypt or Sumer, the persistence of certain geometric and symbolic forms in prehistoric art suggests a continuity of symbolic thinking. Both Egyptian and Sumerian civilizations employed geometric and abstract motifs in their art and writing, which may reflect deep-rooted traditions of symbolic representation inherited from earlier societies1.
Transmission Pathways: The transition from rock art to the complex iconography of early civilizations likely involved many intermediate steps, including the development of proto-writing systems (like Sumerian cuneiform and Egyptian hieroglyphs) that used both pictorial and abstract signs. The recurrence of geometric motifs in both prehistoric and early historic art hints at a possible cultural memory or influence, though the evidence is circumstantial rather than direct1,7.
There is substantial evidence that ancient Egyptians regarded certain rock art sites as sacred, and this is demonstrated through both the content of the art and the archaeological context in which it was found.
Direct Evidence from Ancient Egypt
Ritual and Sacred Iconography: Archaeologists have identified rock art panels, such as the one in Wadi al Agebab, depicting ritual processions and scenes filled with sacred iconography. For example, a predynastic rock image shows a ruler’s boat being pulled by 25 people, which Dr. Morenz interprets as a depiction of the "great procession of the gods." This scene is not just art-it reveals details about the metaphysical and religious beliefs of people just before the rise of pharaonic Egypt. Dr. Morenz explicitly states that this image provides "insights into the sacred design of an apparently remote landscape," indicating that the site itself was considered sacred and used for religious ceremonies2.
Religious and Ideological Concerns: Dirk Huyge, a leading Egyptologist, notes that the majority of Egyptian rock art closely reflects the religious and ideological concerns of its creators. He emphasizes that the widespread presence of shared motifs, such as boats and ritual scenes, across hundreds of sites points to a "more or less uniform 'spiritual culture'" throughout ancient Egypt. Huyge concludes that the raison d’être of this graphic tradition was closely tied to religious and ideological motivations, implying that these sites were regarded as sacred spaces4.
Location and Continuity: Many rock art sites are located in remote deserts, wadis, and along ancient caravan routes-places chosen not for habitation but for their spiritual or ritual significance. The continuity of sacred motifs from predynastic rock art into the iconography of Pharaonic temples and tombs further supports the idea that these sites were not only sacred in their own time but helped shape the religious landscape of ancient Egypt2,4,6.
Archaeological Context: Excavations near the Qubett el-Hawa necropolis revealed rock art in areas already known for their religious significance in later Egyptian periods, suggesting a continuity of sacred use and perception2.
Broader Patterns
While explicit inscriptions declaring a site "sacred" are rare, the combination of ritual imagery, the choice of remote or liminal locations, and the integration of rock art motifs into later temple and funerary art all demonstrate that ancient Egyptians regarded many rock art sites as sacred landscapes2,4,6.
Summary
Ancient Egyptians demonstrated that they regarded rock art sites as sacred through:
The creation of ritual and religious imagery at these sites.
The use of remote, symbolically significant locations.
The continuity of sacred motifs from rock art into formal religious art.
Archaeological evidence of ritual activity and ongoing reverence for these places.
This evidence provides a strong case that rock art sites were not merely artistic expressions but were integral to the sacred geography and spiritual life of ancient Egypt.
PLASMA FIGURES IN EGYPT & SUMER
Anthony Peratt’s plasma apparition research identifies several recurring rock art motifs-such as the “squatter man,” “stick figure with arms raised,” “tree of life,” and trident or toroid shapes-as visual records of intense auroral plasma events witnessed by ancient peoples worldwide. According to Peratt, these motifs were not only widespread in prehistoric rock art but were also passed down and formalized in the iconography of early civilizations, including Egypt and, to a lesser extent, Sumer2,6.
Key Plasma Motifs and Their Transmission
1. Squatter Man (Stick Figure with Arms Raised)
This is the most iconic plasma figure Peratt identified: a human-like form with arms and legs splayed, sometimes with a bar or dots at the torso, and often a trident or branching shape at the base2,6.
Peratt found this motif in petroglyphs worldwide, from the Americas to Australia and Europe, and even on ancient pottery and carvings in Malta2.
In Egypt, similar stick-figure forms appear in early rock art and later in the formalized postures of deities and ritual scenes, often with arms raised in adoration or invocation-a gesture that became canonical in Egyptian religious art.
In Sumer, while less pronounced, the “arms raised” posture appears in cylinder seals and reliefs depicting worshippers or deities, echoing the archetypal gesture seen in plasma rock art.
2. Tree of Life
Peratt links the “tree of life” motif-a branching, axial form seen in plasma instabilities-to rock art and ancient iconography2.
In Egypt, the tree of life became a central mythological and artistic theme, depicted as a stylized tree or axis in temple and tomb art.
In Sumer, the “sacred tree” or “axis mundi” is a recurring motif, often flanked by gods or mythic beings, resonating with the plasma “tree of life” form.
3. Toroid and Trident Shapes
Plasma discharges often produce toroidal (donut-like) and trident (three-pronged) forms, which Peratt notes are carved in rock art globally6.
Egyptian art incorporates these as solar disks (toroids) and trident-like scepters or crowns, especially in depictions of gods.
Sumerian iconography features similar elements: the ring or rod-and-ring symbol (toroid) and trident-like implements held by deities.
4. Abstract and Geometric Forms
Peratt cataloged 84 plasma-derived shapes, including hourglasses, spirals, and “double-dot” motifs, all found in ancient rock art6.
Many of these abstract forms were absorbed into the symbolic lexicons of Egypt and Sumer, where they appear as hieroglyphs, divine emblems, or ritual objects.
Creative Synthesis
The squatter man and tree of life became archetypes, evolving into the standardized poses of gods, worshippers, and cosmic trees in Egyptian and Sumerian art.
Toroids and tridents, once plasma apparitions, transformed into solar disks, rings, crowns, and scepters-core symbols of divine authority.
The persistence and formalization of these motifs suggest that early civilizations inherited and reinterpreted plasma-inspired imagery, embedding them in religious, mythological, and artistic traditions.
In summary:
Peratt’s research suggests that major plasma apparition images-especially the squatter man, tree of life, trident, and toroid forms-were passed down from rock art into the iconography of early civilizations, notably Egypt and Sumer, where they became foundational symbols and motifs2,6.
PERATT PLASMA FIGURES
Neolithic rock art associated with intense auroral currents
PAI: Ancient Rock Art & Plasma Auroras Hypothesis
This interdisciplinary study proposes that Neolithic/Early Bronze Age petroglyphs (rock carvings) worldwide depict high-energy plasma phenomena observed during intense auroras caused by extreme solar activity.
Key Claims:
Morphological Match
84+ petroglyph patterns (e.g., spirals, concentric circles) mirror Z-pinch plasma instabilities observed in high-energy lab experiments.
Global distribution of these symbols suggests ancient humans witnessed intense auroras visible at mid-latitudes.
Solar Wind Hypothesis
A 10-100x stronger solar wind millennia ago could have caused extreme geomagnetic storms, producing auroras far brighter and more complex than today.
Reconstructed Auroral Form
Analysis of rock art orientation data from 139 countries suggests plasma currents converged at Earth’s south polar axis, forming a columnar structure.
Critiques & Challenges
Later research (2013) disputes the single-column South Pole model, arguing global petroglyph distribution better fits decentralized plasma events.
Some symbols may also reflect astronomical alignments or cultural ideologies (e.g., Indo-European cosmology).
Supporting Evidence:
Historical Records: Assyrian (680–650 BCE) and Chinese texts describe mid-latitude auroras, aligning with periods of heightened solar activity.
Cosmogenic Isotopes: Ice core/data spikes suggest major solar particle events ~660 BCE, correlating with auroral observations.
Significance:
The study bridges archaeology, plasma physics, and astrophysics, suggesting ancient art captured rare cosmic events that shaped early human culture. However, debates persist about the exact mechanisms and interpretations.
For deeper analysis, see the full paper: Neolithic Rock Art & Auroral Currents.
STICKMEN & BIGHORNS
Simply Scratching the Surface: Petroglyph Chronology in the Colorado Desert https://www.academia.edu/37938556 {Their dating: 3,300-2,200 BP}
There are several well-known rock art sites in California’s Colorado Desert, such as Mule Tank (CA- RIV-504), Corn Spring (CA-RIV-32), and McCoy Spring (CA-RIV-132). The petroglyphs at these sites are assumed to have been produced over the ages by Native American groups utilizing the predictable availability of water in an otherwise inhospitable environment. These better-known localities were part of a functional web of native trail systems, sections of which have been indelibly imprinted into durable desert pavements (e.g., Johnston 1980; Johnston and Johnston 1957; McCarthy 1993; Rogers 1966). A relatively robust level of long-distance trade existed between coastal and Peninsular Range groups and those on the Colorado River, necessitating replenishing waypoints. Resourcing forays into the desert by peripherally centered groups were supported by knowledge of these rehydration opportunities. In contrast, there are rock art localities absent significant occupation evidence or reliable water, suggesting more narrowly defined spiritual or corporeal functions for native people. The site discussed herein is such a place, possessing vibrant petroglyph expressions without obvious habitation evidence or placement along primary travel corridors between coastal and river based groups. The recently recorded Colorado Desert rock art site under consideration, CA-RIV-12421 ( Jespersen et al. 2018), resides within the Palen-McCoy Wilderness. The wilderness area, comprised of five xeric mountain ranges west of the Colorado River, was created in 1994 and is managed by the Bureau of Land Management, Palm Springs-South Coast Field Office.
… A particularly strong case can be made for bighorn sheep hunting as one specific use, the site’s opportunistic geomorphology and remarkable density of bighorn petroglyphs suggests as much. Therefore, it seems reasonable to infer that CA-RIV-12421 served a “spiritual foraging” role as well as a “logistical” one (Schaefer and Laylander 2007:254-255).
The rock art above is said to date to 3,300-2,200 BP. Either the dating could be too late, or some rock art themes were handed down through tradition. The plasma apparitions are said to require a strong electric field of kV/m minimum. Presumably, Saturn left Earth’s vicinity c. 2,500 BC, so the electric field should have diminished shortly after that.
PETRY ROCK ART
https://www.academia.edu/40989740
**{Note Crescents on 3rd image in 1st row. Crescents on left & on top look like boats with people sitting in them.}
Several- hundred-year-old Native American art — Rattlesnake Canyon pictographs as copied by Forrest Kirkland in 1936. Courtesy of the Texas Archaeological Research Laboratory, University of Texas, Austin.
**{Note 2 mirror image falling dogs atop central tall image.}
Left: Hatshepsut in front of Amun (From her fallen obelisk in the temple of Amun at Karnak, ca. 1500 BCE 1 ). Right: Zeus seated on a stool with Hermes and a youth, probably Ganymede. Attic black-figure lekythos by the Amasis Painter, 575–525 BCE (Gela. Regional archaeological museum of Palermo, Sicily). The ancient Egyptians had a top god, Amun.
Bangalore Shiva is 22 meters tall and is the largest statue of Shiva in India. It is set in a backdrop of the god’s mountain home Kailash. (Credit: Indianhilbilly)
The historic Vedic religion dates back in India to about 5500-2600 BCE. … Since Buddha was born in Nepal in 563 BCE…, … he can{’t}be the source of our figurative ‘God’
Above left is {a} … cave painting … from Lascaux, France (Lascaux, Albert Skira, 1955). At right is … geometrical rock art from Grapevine Canyon, Nevada, USA.
P. 6. “What I hope to achieve in this book is to use a small sample of our vast treasury of historical artifacts and documents to show just what our ancestors were trying to communicate to each other. In all probability **they did not write these things for us. I also seriously doubt if they ever thought that we, their descendants so far in the future, would misinterpret these events and warnings they so clearly left behind. They surely would find it difficult to believe that after all these years that we’re so resistant to try to understand the events they were sharing with each other.”
P. 11. “It has been recorded that **Chimpanzees, when storm clouds roll in, will sometimes climb trees, tear off branches and shake them while screaming at the clouds above as if confronting a ‘male sky chimp.’”
P. 24. The cattle deity Hathor at left is from Ancient Egypt (Book of the Dead, Papyrus of Ani, E.A. Wallis Budge, 1913). At right are two Mycenian acrobats toying with a bull. Both are circa 1500 BCE (Archaeological Museum, Heraklion).
P. 26. {Left} Marduk, with wings and thunderbolts, was a late-generation god from ancient Mesopotamia and the patron of the city of Babylon. He is with his ‘pet’ Mushushu (… “splendor serpent” in Akkadian) in the center. At right is the Assyrian god Ashur from 800BCE.
P. 27. Chinese dragons with the ‘red pearl’ between them (from the author’s collection). At the right is the ancient Chinese character (above) and modern character (below) for “dragon”.
P. 30. At left is “Venus” of Willendorf . c. 25,000-20,000 BCE. (H 11 cm, Naturhistorisches Museum, Vienna). In the center is a seated woman with two lions from Çatal Hüyük. c. 5,300 BCE (H 20 cm, Archaeological Museum, Ankara, Turkey). To the right is the death mask of King Tutankhamum {from} … some 3300 years ago.
P. 35. At the {left} is a solar halo with sun dogs leading and following on a frigid Arctic day (Credit: Alan Light). The cirrus clouds which give rise to the phenomenon are seen all over the world and are composed of ice crystals. Snowflakes can occasionally produce solar pillars but not halos. The moon can also have a halo and ‘dogs’ although they are much fainter. P. 53. At right is an artist’s conception of the aurora over the South pole (NASA).
P. 58. {Left} Earth’s North pole showing paths of in/out flowing ions (NASA). P. 60. The aurora {center} was painted by Hayes at Port Foulke, Greenland on Jan. 6, 1861. At the right is a modern photo of a red and green aurora borealis. (Credit: Mila Zenkova).
P. 66. At {left} is NGC 6751, a planetary nebula resembling our aurora from a pole-on view (HST, NASA). P. 67. The close-up in the middle includes a cross section of the plasma column (the rays flow around the Earth like a cage). At right is the planetary nebula M2-9 showing polar plasma development (HST, NASA). Although the nebula has a pair of stars orbiting horizontally inside the nebulosity, the forces and plasma structure are probably comparable.
P. 67. Depicted at {left} is the red aurora of November, 14, 1839, which was visible from South Carolina. P. 69. {At right} is a painting of the aurora by Capron from Guildford, England on Oct. 24, 1870.Notice the central star-shaped figure.
P. 69. Looking up into the high-current auroral column, the terminal rim would take on the appearance of a gigantic, translucent chrysanthemum. These petroglyphs from Wolombi, New South Wales, Australia (After Davidson, 1936), Kei (Arue) Island, SW of New Guinea in the Pacific Ocean (Mallery, 1893), and at the far right a gourd illustration from the Solomon Islands (drawn from a photograph in Folk Art of Oceania by Maurice Leenhardt published in 1950).
**{Note 2nd, 3rd & 4th images resemble Saturn Trio.}
P. 70. The drawing at the left above represents the double plasma funnel (with the Earth in the center, adapted from NASA). These drawings are shown with contour rings around the column, which are included just to show the shape of the column. In the picture of the pictograph from Horseshoe Shelter, UT, you can easily recognize the column features.
Above is a picture of a coronal form of the Aurora Borealis as observed on March 1, 1878, at Creston, Wyoming Territory, USA. (From The Trouvelot Astronomical Drawings Manual by E. L. Trouvelot, 1882.)
P. 72. Idealized time sequence (current intensity) of the development of the high-energy aurora (adapted from Peratt, 2003).
P. 73. During the initial phase of the formation of the auroral column, only the outside of the column is visible. This gives rise to the ‘Eye and Nose Masks.’ Tsagaglalal (She Who Watches), is a well-known rock engraving from the Columbia River Gorge, Washington State. She overlooks the Columbia River and the neighboring hills of the State of Oregon. At the right is an example of the diamond pattern (Grapevine Canyon, NV).
P. 74. The torus stack sheds its skin and begins its compression. The image at the far right displays what appears to be a head, {which} is probably the outer rim of the polar cusp. These images are from the American Southwest.
**{Note 4th image resembles Saturn Trio.}
Further compression of the torus stack results in the formation of what are commonly referred to as pipettes. Images are from the American Southwest.
As the intensity of the current rises, the column will further deform - losing the base and most of the flattened toroidal shapes. The intense pressure forces the toroids to merge and give rise to what are called ‘pipette’ shapes.
P. 75. Increasing energy flow forces the toroids to merge and give a decidedly ‘mushroom’ shape. Images from the Southwest US.
This common type of petroglyph is known as the ‘squatter man’. Center photo is from Sears Point, AZ.
P. 77. {Left above} Two ‘eyes’ are visible in the space between the torus and the axis. As the intensity of the event reaches maximum the eyes are just about the only feature discernable.
The two images at the left above are from Machias Bay, Maine depicting the ‘overexposed’ stage (redrawn from Diaz-Granados, 2004, and Lenik, 2002). The second from the right is a rongo-rongo character from the Small Santiago (Barthel G, verso) tablet at the Museo Nacional de Historia Natural, Santiago, Chile). The image at the far right is from Navajo Co., Arizona.
Above are three examples of the appearance of the outer rim - from the simple to the complex. Photo at left is from Grapevine Canyon, NV, center drawing from Three Rivers, NM, image 15 cm across, and at right from Coso Range, CA. Compare this image with the picture of the 1878 Aurora shown earlier in this chapter.
**{Note 1st image resembles Saturn Trio.}
P. 79. Various emanations of the plasma feature from the American Southwest (r: Redrawn from Schaafsma, 1980)
Out of the top of the plasma column, above the upper rim, is a structure that starts out to appear like a bird. One could imagine it as the proverbial Phoenix rising from the fire.
P. 80. {Left} R-71 Blackbird at take-off with afterburner switched on. Notice the ‘shock diamond’s in the exhaust (NASA). At the right is a photo of a Jet engine being tested at night (NASA). The image has been rotated left one quarter turn to show the shock diamond pattern in a vertical aspect. This is just about as good as it gets in realtime visualization of an auroral column look-alike. The central axis and rings are pinkish orange in color and the outer portions are a pretty blue.
BULGARIAN NEOLITHIC
https://www.academia.edu/18988682
{The “Sun” image with concentric circles and c. 28 rays and 2 eye resembles one of Peratt’s plasma images similar to Indian headdress.}
Tangarduk Kaya cave sanctuary is situated near the village of Ilinitsa, Kardgali district. The different parts of the cave are formed by the natural processes of the Karst formation and by human activity. At the level of the cave gallery floor, the entrance aperture is widened and its vertical section is in a special form as if they are seeing from the inside outward. The end of the gallery is obviously formed as an altar. The archaeoastronomical investigations show that Tangarduk Kaya cave sanctuary could be connected with the cult of the Great Goddess-mother. Once a year, solar rays penetrate into the altar, embodying the sacred marriage between the Goddess-mother and the God-Sun. In the period between c. 1000 BC and c. 2000 BC, the projection of the entrance aperture during the winter solstice reached 0.4 m from the base of the altar. Besides, this cave sanctuary could be used for determining the year’s duration (the time between two consecutive minimal culminations of the sun) and its beginning, with enough accuracy (Stoev et al 2001). This cave sanctuary is an example of observations of extreme solar meridian culminations (Fig. 137.7).
ROCK ART ASSOCIATED FIGURES
Globally, certain rock art figures and motifs are frequently found in association with one another, reflecting both local traditions and widely shared archetypes. The most common patterns of association include:
1. Humanoid Figures with Animals
In many regions, human or anthropomorphic figures are depicted alongside animals, often in scenes of hunting, ritual, or myth. For example, in southern Africa, hunter-gatherer rock art commonly shows humans interacting with antelope or other wildlife5,4.
In Kakadu National Park, Australia, figurative carvings depict humans, ships, and handprints together4.
2. Humanoid Figures with Geometric Motifs
Geometric shapes such as concentric circles, spirals, cup-and-ring marks, and lines are often found near or integrated with humanoid figures. These motifs can appear together on the same panels, suggesting symbolic or ritual connections1,4.
The "squatter man" or "stick man" figure, a globally recurring anthropomorphic motif, is sometimes depicted with dots, circles, or other geometric patterns, and may be combined with animal or insect forms, as seen in the "squatter mantis man" motif from Iran6,9.
3. Geometric Motifs Grouped Together
Abstract motifs like cupules (small depressions), cup-and-ring marks, and spirals are frequently clustered or arranged in association, sometimes forming complex designs such as the Camunian Rose in Italy or the rosette motif in Ireland1,4,5.
These geometric motifs can be found in proximity to animal and human figures, or as stand-alone groupings.
4. Animal Figures in Groups
Herds or groups of animals are common, especially in regions where hunting scenes were important. For example, Neolithic rock art in Eritrea shows rows of livestock.
Stylized animal figures, sometimes elongated or abstracted, are often painted or carved together, as seen in the Western Cape, South Africa8.
5. Composite and Hybrid Figures
Some panels feature hybrid creatures or figures that blend human and animal traits, or combine anthropomorphic and geometric features, such as the "squatter mantis man" in Iran, which merges a humanoid posture with insect characteristics6.
6. Handprints and Stencils
Handprints, both painted and stenciled, are frequently found in association with other motifs, serving as signatures, ritual marks, or symbolic gestures4.
Examples from Images
The Aboriginal rock painting from Kakadu National Park (Australia) shows elongated Mimi spirits depicted in groups, often holding implements, and sometimes associated with other motifs4.
The petroglyph from Bidzar, Cameroon, features concentric circles and spirals grouped together, a pattern seen in many parts of the world5.
The rock art at Chongoni, Malawi, displays concentric circles and vertical lines above a humanoid figure, demonstrating the association of geometric and anthropomorphic motifs9.
Summary Table
Common Figure Types; Frequently Associated With
Humanoid figures; Animals, geometric motifs, hybrids
Animal figures; Other animals, humans, geometric motifs
Geometric motifs; Other geometric motifs, humans, animals
Handprints/stencils; Figurative and geometric motifs
Composite/hybrid figures; Geometric motifs, animals, humans
In conclusion:
Globally, rock art panels often feature associations between humanoid figures, animals, and geometric motifs. These groupings reflect shared symbolic, ritual, or narrative purposes across diverse cultures and time periods4,5,9.
SAME
HALLUCINOGENS & ROCK ART
Some rock artists could—and did—create rock art while under the influence of hallucinogens. Recent research provides the first direct evidence of this connection:
At Pinwheel Cave in California, archaeologists discovered chewed plant material (quids) in the cave ceiling, which chemical analysis confirmed to be Datura wrightii, a potent hallucinogenic plant historically used in Native American ceremonies1,3,5,6. The presence of these quids, alongside the rock paintings, shows that hallucinogens were consumed at the site during the creation of the art5,6,7.
However, the research clarifies that the art at this site depicted the Datura plant itself, not necessarily visions or trance imagery induced by the plant. This challenges the long-held assumption that rock art always represents hallucinations or trance experiences1,3,5,6,7.
The cave was a communal space, with evidence of food preparation and other everyday activities, suggesting that the use of hallucinogens and the creation of rock art were part of broader social and ritual practices, not just isolated shamanic trances1,6.
In summary, there is clear archaeological evidence that some rock artists ingested hallucinogens while creating rock art. While the art sometimes depicted the plants used rather than hallucinated visions, altered states of consciousness were indeed part of the creative and ceremonial context for some ancient rock art1,5,6,7.
It cannot be easily or reliably determined which specific rock art was created under the influence of hallucinogens. Recent scientific breakthroughs, such as the discovery at Pinwheel Cave in California, provide the first direct evidence that hallucinogens were used at some rock art sites—specifically, chewed quids of the hallucinogenic plant Datura wrightii were found in the cave ceiling alongside rock paintings depicting the plant1,4,7. Chemical and microscopic analyses confirmed the presence of hallucinogenic compounds in these quids4,7,8.
However, even in this well-documented case, the art itself likely represents the hallucinogenic plant and its cultural significance, rather than visions experienced under its influence1,2,4,5,6. Researchers argue that the debilitating effects of Datura make it unlikely the artist was actively intoxicated while painting5,7. More broadly, there is no physical or visual marker in the rock art itself that definitively indicates it was made while the artist was under the influence of hallucinogens.
In summary:
Direct evidence for hallucinogen use at rock art sites is extremely rare and has only recently been confirmed at a few locations1,4,7,8.
Most rock art cannot be linked to hallucinogen use without supporting archaeological evidence (like plant remains or residue).
The content or style of the art alone does not reliably indicate hallucinogen use4,5,7.
Thus, it is not easy to determine which rock art was created under the influence of hallucinogens without direct, site-specific archaeological evidence.
Most hallucinogens known from ethnographic and archaeological contexts—such as Datura, peyote, ayahuasca, and psilocybin mushrooms—produce significant alterations in perception, cognition, and coordination, often making focused, detailed work like rock art difficult or even incapacitating during peak effects5,6,7. The recent direct evidence from Pinwheel Cave in California, where Datura was consumed, supports this: researchers concluded that the plant’s effects were likely too debilitating for artists to create the paintings while fully intoxicated. Instead, the art depicted the plant itself and marked the location as significant for ritual use, rather than being created during a hallucinogenic trance5,6.
There are, however, some psychoactive substances that can induce mild alterations in perception or mood without causing full incapacitation, especially at lower doses. For example:
Low doses of some hallucinogens (such as certain mushrooms or mescaline-containing cacti) can cause heightened sensory awareness or mild visual changes without severe impairment. In such cases, artists might have been able to work while under the influence, but this would depend on careful dosing and individual tolerance.
Stimulant plants (like coca or khat) are not hallucinogenic but can increase alertness and stamina, and have been used in some cultures during artistic or ritual activities.
In summary:
Most classic hallucinogens, when taken at ritual or trance-inducing doses, would likely incapacitate artists and make rock art creation difficult. There is no strong evidence that ancient artists routinely created rock art while under the full influence of such substances5,6. However, it is possible that very low doses, or use of milder psychoactive plants, could have allowed some altered states without complete incapacitation, though this remains speculative and is not directly supported by current archaeological evidence.
Ancient rock art was created by both individuals and groups, depending on the context, culture, and purpose of the art.
Evidence for Individual Creation
Many rock art motifs, such as hand stencils and simple line drawings, could be and often were created by individuals. For example, handprints and stencils typically show consistency in size and style, suggesting a single artist at work3,6.
Some prehistoric artists developed personal techniques and tools—like blowing pigment through a bone tube or using their hands to apply paint—indicating individual craftsmanship and planning5,6.
Evidence for Group or Communal Creation
Large panels covered with hundreds of motifs, such as cupules or carvings on boulders, often required significant time and effort, likely accumulating through repeated contributions by many individuals over generations. These accumulations are sometimes interpreted as records of communal ritual or social events3.
Ethnographic and archaeological evidence suggests that in many cultures, the act of creating rock art was itself a ritual or communal event, possibly involving multiple participants or even entire communities1,3.
In some traditions, especially where rock art marks territory, records stories, or enacts rituals, the process could have involved group participation, either through collective creation or through repeated visits and additions to the same panel over time1,3.
Artistic and Archaeological Interpretation
The distinction between individual and group creation is not always clear-cut: some panels may have started as individual works and then expanded as others added their own motifs.
The presence of similar motifs across wide regions suggests shared traditions and knowledge, often passed through communities or clans, further supporting the idea of group involvement in some cases7.
Visual Example en.wikipedia
Aboriginal rock painting of elongated, stick-like Mimi spirits in white and reddish-brown with implements, at Anbangbang gallery, Nourlangie Rock, Kakadu National Park
Panels like the Aboriginal Mimi spirit paintings at Kakadu National Park, Australia, show numerous elongated figures, likely created over time by multiple artists, reflecting communal or ritual significance.
Conclusion
Ancient rock art was likely created by both individuals and groups. Simple motifs and some paintings were produced by single artists, while larger, more complex panels and accumulations of motifs often resulted from group or communal activity, sometimes spanning generations1,3,5. The context—ritual, social, or personal—often determined the scale and manner of creation.
There is strong evidence that shamans who used hallucinogens were involved in creating some ancient rock art, but the relationship is complex and varies by site and culture.
At Pinwheel Cave in California, researchers found chewed quids of Datura wrightii (a powerful hallucinogenic plant) in the ceiling alongside rock paintings. Chemical analysis confirmed the presence of hallucinogenic alkaloids, providing the first direct evidence of hallucinogen use at a rock art site1,3,5,6. The Chumash and other Native Californian groups historically used Datura in spiritual and initiation rituals.
However, the latest research at Pinwheel Cave suggests the art itself likely depicts the Datura flower and related ritual symbolism, not necessarily visions experienced under the influence. Archaeological evidence from the site points to communal activities rather than isolated shamanic retreats, challenging the idea that all such art was made by shamans during trance states1,4,5,6.
Earlier theories, especially for North American sites like the Chumash region in California and the Lower Pecos River in Texas, proposed that shamans created rock art while under the influence of hallucinogens such as Datura or mescal bean, based on the similarity of some art motifs to trance visions and ethnographic parallels2,8. However, these connections were largely circumstantial until the recent direct evidence from Pinwheel Cave.
In summary:
Some ancient rock art was likely created by shamans who used hallucinogens, as supported by both ethnographic accounts and direct archaeological evidence (e.g., Pinwheel Cave). However, not all rock art was made this way, and new findings suggest a broader communal context for both hallucinogen use and rock art creation, rather than a strict association with shamanic trance alone1,4,5,6.
KRONOS VIDEOS IMAGES
PATTERNED BODY ANTHROPOMORPHS (PBA)
Expression: Messages from Prehistoric Rock Drawings, By Alan Garfinkel https://www.academia.edu/33972417 {Their dating: 8,000-40,000 BP}
… These decorated animal-human figures are often classified as PBAs. … The possibility exists that PBAs contain visual components that evoke intense, though transient, reflex states. These responses of subjects towards their visual characteristics serve to demonstrate that the prehistoric drawings of anthropomorphs in particular were perhaps meant to sensitize and prepare an individual with what Boyer called counterintuitive experiences, in which common memory combines with unexpected properties and facilitates emotions of transcendence, fear or strangeness. These data support the thesis that such visual images communicate somewhat independently from their social value and utility to create and deliberately nurture an impression of atemporal numinosity. The latter suggestions perhaps help in deducing the symbolic message of these ancient religious symbols.
ROCK ART BLUEPRINT
ARROWHEADS IN ROCK ART
REVISITING THE COSO RANGE PROJECTILE POINT PETROGLYPHS - CHRONOLOGY, GENDER, AND METAPHOR https://www.academia.edu/64016872
{Their dating: 3,300-2,200 BP}
Abstract
Corner-notched and Basal-notched projectile point petroglyph images are found in the Coso Range of eastern California. These points are repeatedly depicted in association with composite animal-avian-human petroglyph figures. The points are also portrayed in singular or grouped images, and are most often illustrated as hafted configurations. We argue that these points are symbolic representations of Elko and Humboldt Series dart points dating from the Middle Archaic Period (2000 B.C. to A.D. 1) as represented in the southwestern corner of the Great Basin. Supporting this estimated age are direct measurements of rock art panels using experimental, pXRF (portable x-ray fluorescence measurements) of desert varnish (Lytle et al. 2008). The pXRF dates provide a mean age of 2,750 BP, with a sigma of 20% which calculates to a calendar age of about 3,300 to 2,200 years before present. We explore symbology surrounding animal-avian-human petroglyphs depicted with these types of dart points. Several alternative models help contextualize the petroglyph panels studied, illuminating implied cosmological content and visual metaphor, including gender. We suggest certain parallels and patterns that appear to connect Coso petroglyph panels with later cultures in the American Southwest and Mexico.
ARROWHEADS COMMON
AI: Arrowheads are indeed common in rock art worldwide, not just in California. Rock art depicting arrowheads and hunting scenes has been found across various continents, including the Americas, Africa, Asia, and Europe1,7. This widespread presence of arrowheads in rock art reflects the universal importance of hunting and archery in ancient cultures.
While there isn't specific information about types of arrowheads depicted in ancient rock art worldwide, we can infer some information from the rock art styles and arrowhead types mentioned:
Triangular projectile points: These smaller points were likely depicted in rock art, as they were commonly used as arrowheads1.
Animal and human shapes: Rock art often included illustrations of animal and human shapes, which may have included depictions of hunters with arrows and arrowheads1.
Barrier Canyon style: This ancient rock art style (approximately 2,000 years old) often featured anthropomorphic forms, which might have included depictions of hunters with arrows3.
Fremont style: This more recent rock art style commonly featured petroglyphs with intricate depictions of human figures, which could have included hunters with arrows and arrowheads3.
While the search results don't provide explicit information about arrowhead types in rock art, it's likely that the art reflected the arrowhead types used by the cultures creating the art, such as flint, chert, obsidian, or jasper arrowheads2.
ARROWHEAD MORPHING
Did arrowhead symbols undergo changes in interpretation?
While the search results don't provide direct information about arrowheads morphing into other designs in ancient rock art, we can infer some possibilities based on the available information:
Bird and animal shapes: Arrowhead designs in rock art may have been incorporated into or evolved from depictions of birds and animals. Some petroglyphs feature bird effigies with sharp, triangular shapes reminiscent of arrowheads3.
Human figures: Rock art often included anthropomorphic forms, and arrowhead shapes might have been integrated into these human figure designs, possibly representing hunters or warriors1,3.
Symbolic representations: Arrowhead shapes in rock art could have evolved into more abstract symbols or geometric patterns over time, as cultures developed more complex symbolic systems1.
Sun or eye motifs: Some rock art features large circular designs with radiating lines that could be interpreted as suns or eyes. These might have evolved from or incorporated arrowhead-like shapes3.
Awareness symbols: In some ancient belief systems, arrowhead shapes might have been associated with awareness or consciousness, potentially morphing into more elaborate eye-like symbols3.
ARROWHEAD MEANINGS
The oldest ancient arrowhead depictions in rock art did indeed represent concepts beyond just arrows or directions. These representations had symbolic and cultural significance:
Peace symbol: Two arrowheads with their points facing away from each other were used to symbolize peace, representing "no conflict, no fighting, no shooting"2.
Hunting and warfare: Arrowhead depictions were often associated with hunting scenes and shield figures, possibly recording male activities and important events3.
Temporal markers: The presence or absence of certain weapons in rock art, such as atlatls (throwing sticks) versus bows and arrows, helped archaeologists date the artworks and understand cultural transitions1,3.
Ritual magic: Some scholars speculate that depictions of archers and arrows might have represented a form of ritual magic, visualizing successful hunts to improve real-life outcomes4.
Non-verbal communication: In Native American cultures, arrows were used as part of a symbolic language. For example, crossed arrows meant friendship, while a broken arrow symbolized peace4.
Cultural and spiritual significance: Arrowhead shapes might have been incorporated into more complex symbols or figures, such as thunderbirds or turtles, which held spiritual importance in Native American cultures1.
These diverse representations show that arrowheads in ancient rock art were not merely depictions of tools, but carried deeper cultural, spiritual, and communicative meanings for the societies that created them.
LADDERS, ROPES
The motif of a ladder with series of rungs leading to the sun comes from Alaikkalu, in the Palani hills Tamil Nadu (Fig. 10). It is interesting to note that an almost similar motif is found in the Chumash rock art sites of S. California, USA, thousands of kilometres away (Figs. 11 and 12).
I sought info on vertical chains of arrows in rock art, since Ev discussed such chains in his writings. No luck, so I moved on to ladders & ropes.
Ladders and ropes are indeed common motifs in ancient rock art, particularly in Levantine rock art from eastern Spain. However, there is no specific mention of chains being common in ancient rock art.
Ladders and Ropes in Rock Art
Ladder motifs:
Rope depictions:
Significant Findings
Barranco Gómez site (Teruel, Spain):
Geographical concentration:
Technological insights:
Cultural significance:
Honey and beeswax collection were important activities, warranting the effort to create long ropes and depict these scenes in art4.
While ladders and ropes are well-represented in ancient rock art, particularly in the Levantine region, the search results do not provide specific information about chains being common in ancient rock art depictions.
CONNECTION TO HEAVEN
I sought info on any kind of connection between heaven and Earth.
Here are symbols that indicate connections between Earth and Heaven in ancient rock art:
Ladder motifs: These are commonly found in rock art across various cultures and are often associated with religious beliefs and death rituals, symbolizing access to heaven4.
Spiral symbols: These are prevalent in rock art and may have represented the sun or a portal to a spirit world, potentially indicating a connection between earthly and celestial realms3.
Tree-like petroglyphs: Some rock art includes complex petroglyphs resembling trees, which could symbolize a connection between earth and sky7.
Vertical lines and symbols: The search results mention symbols like columns of smoke above native houses, which could represent a connection between the earthly dwelling and the sky1.
Bird figures: Some petroglyphs depict bird figures, which might symbolize creatures that can move between earth and sky2.
While the search results don't explicitly mention ropes, paths, bridges, poles, stairs, or roads as common symbols for Earth-Heaven connections, the presence of ladders and tree-like symbols suggests that vertical or ascending motifs were indeed used to represent such connections in ancient rock art. The interpretation of these symbols often requires understanding the specific cultural context in which they were created1,4.
PERATT
Searching for Rock Art Evidence for an Ancient Super Aurora https://www.academia.edu/50052043
PERATT’S PLASMA LADDERS
An Appraisal of Ladder Symbolism with special reference to rock art https://www.academia.edu/13412725
The earliest historical document defining the concept of ladder in mortuary practices and the solar imagery comes from Egypt. The Pyramid itself was considered as sun’s ray to ascend and join the sun (Mieroop 2011: 2). The earliest Pyramid Text from the Old Kingdom (2686-2160 BC) spells the concept of ladder to heaven as "the stairway in order to reach the heights." In the Book of the Dead it is stated that ‘the ladder is set up that I may see the Gods’, ‘Gods made him the ladder so that by making use of it he may go up to the heavens’. The hieroglyphic pictograph for the Stairway to Heaven was sometimes a single stairway (which was also cast in gold and worn as a charm), or more often a double stairway, as a step pyramid (Eliade 1961: 50).
There have been reports from various places in the world of full sized and small sized ladders being placed in/ on graves to assist souls in their heavenly ascent (Werness 2003: 117).
The second mode of ascending the heaven was using a tree ladder. It also happens to be the widely distributed variant of the symbolism of the cosmic tree which is believed to be situated in the middle of the universe. In Vedic India, ancient China and Germanic mythology as well as in the ‘primitive’ religions they have version of the cosmic tree whose root plunged down to the hell and whose branches reached heaven (Eliade 1961: 44).
There is also a rope or creeper like element towards the right of the figure and it has already been observed Shamans use rope or cord also as means to ascend heaven and here possibly was an added aid in the shaman’s ascendance (Eliade 1952: 48).
I suppose the ladder-like images were plasma apparitions.
AI: Peratt did find evidence of plasma "ladders" in ancient rock art. His research revealed several key points related to this:
Peratt observed a transition from a "ladder phase" of plasma instability to toroid vortices in petroglyph collections6.
He classified rock art images into 84 categories corresponding to quasi-stable forms of laboratory plasma discharges, which included ladder-like formations1.
The rock art patterns studied by Peratt included various abstract figures and shapes that appear in both ancient carvings and high-energy plasma discharges2.
Peratt's analysis showed that these rock art images were likely representations of events visible in the sky above prehistoric humans, appearing as an "enhanced aurora" stretching from pole to pole2.
The plasma formations observed in ancient skies would have featured abstract figures, stick men, and strange animal-like shapes, some of which could have resembled ladder structures2.
Peratt estimated that these ancient plasma displays would have lasted "for at least a few centuries if not millennia," allowing ample time for their recording in rock art2.
These findings suggest that ladder-like plasma formations were indeed observed and recorded in ancient rock art, as part of the larger phenomenon of plasma instabilities witnessed by our ancestors.
PLASMA LADDER CONNECTORS
Based on Peratt's research, some of the plasma formations observed in ancient rock art did appear to depict connections between heaven and earth, though not explicitly described as "ladders":
The Peratt Column, a plasma formation stretching from the South Pole into space, was recorded in rock art worldwide and could be interpreted as a connection between Earth and the celestial realm1.
This column of plasma was seen as a pathway for the deceased, with many ancient cultures believing that life after death involved traveling along these plasma streams to destinations in the sky1.
The plasma formations often appeared as abstract figures, stick men, and strange animal-like shapes, some of which could have resembled ladder-like structures1,5.
While not directly attributed to Peratt's work, other researchers have noted that ladder-like designs in rock art may represent paths to the spirit world after death - essentially a "stairway to heaven"4.
The plasma phenomena observed by ancient humans lasted for centuries or millennia, allowing ample time for their recording in rock art and potentially influencing religious and cosmological beliefs about connections between Earth and the heavens1,5.
Though Peratt's research focused primarily on the physical characteristics of these plasma formations, the cultural interpretations of these phenomena often included concepts of connecting the earthly and celestial realms.
CHINVAT CONNECTOR
I heard of Chinvat long ago as a bridge to heaven, so I sought more info on that.
Chinvat Bridge is a mythical bridge in Zoroastrian tradition that souls must cross after death to reach the afterlife1,2. Key aspects of the Chinvat Bridge include:
Location: It stretches from the North Pole of the heavens to the North Pole of the earth2.
Shape: Described as "beam-shaped" with varying widths - broad sides are 27 reeds wide, while narrow sides are as thin as a razor's edge2.
Function: It serves as the final judgment point for souls1,3.
Crossing experience:
Guardians: The bridge is guarded by divine entities:
Symbolism: The Chinvat Bridge represents the concept of accountability, reflecting how one's actions in life have consequences in the afterlife8.
This concept of a bridge between the world of the living and the dead has parallels in other religions, such as the Bifröst of Norse mythology and the As-Sirat Bridge in Islam2,3.
ACADEMIA.EDU, ROCK ART, PERATT
Advanced Plasma Computations and Experiments
Anthony Peratt | Los Alamos National Laboratory - Academia.edu
(PDF) Antiquity of Iran's rock art: pre-History or Historic-Islamic time
(PDF) Ashes of Atlantis - part 1
Astromorphism and the Influence of Prehistoric Astronomy on the Origin of Religion
Astronomical Petroglyphs – Searching for Rock Art Evidence for an Ancient Super Aurora
Aurorae in Australian Aboriginal Traditions
Background To Historic and Prehistoric Resources of the East Mojave Desert Region
Birkeland Currents: A Force-Free Field-Aligned Model
Characteristics for the Occurrence of a High-Current, Z-Pinch Aurora as Recorded in Antiquity
Current Research on the Rock Artat Gua Tambun, Perak, Malaysia
A Geomagnetic Approach to Traditions of Axes Mundi; Part I
Geometry of an Intense Auroral Column As Recorded in Rock Art
MESS0035: A Guide to the EPEMC Trip Reports
Lightning Induced Remanent Magnetization at the Buffalo Slough Burial Mound Complex
Marinus Anthony Van der Sluijs
(PDF) Neo-Eneolithic Literacy: Key References
Neolithic rock art associated with intense auroral currents
61 Nights of Sacrifice -The Vratya Form of the Gavamayana Ceremony Volume 3 on the Vratya; Part 1
(PDF) Perattian Thunderbolts and Megafauna Extinction
Petroglyphs in Your Pocket 2021
Plasma Petroglyphs (Plasmaglyphs), Earthworks, and the Megafauna Extinction
Plate tectonic issues, the influence of electricity in rock forming processes
Pleistocene megafauna Research Papers
A prehistoric praying mantis petroglyph in Iran
Ten Reasons to Consider Switching to Extended Plasma-electromagnetic Cosmology
(PDF) review of L. Piccardi & W. B. Masse (eds.), Myth and Geology
(PDF) Revising Old Testament Chronology and Context
Rock Art Images - a global perspective.pdf
(PDF) Rock Art of the Owens Valley
Searching for Rock Art Evidence for an Ancient Super Aurora
Semiotics and Meaning of Rock Art
The Semiotics of X: Chiasmus, Cognition and Extreme Body Memory
Shifu Careaga | University of Kentucky - Academia.edu
Sky Spirits A Search for Meaning in Ancient Rock Art Part 1
Sky Spirits A Search for Meaning in Ancient Rock Art Part 2
Strong Letter Response to Mr. Ben Davidson, Suspicious 0bservers, et al
Studies on the popular reception and misconceptions of contemporary theoretical physics
(PDF) SYMBOLS OF THE STILL FAMILIAR SKY
(PDF) Uchell, the High Lord, and Shang Di
When the Aurora Went Global; A Summary of 'On the Origin of Myths in Catastrophic Experience'