Where are the drawings in Peru? A. Belokon

In 1939, an American archaeologist Paul Kosok, flying over Nazca Desert, discovered strange lines and shapes. Previously, no one knew about them, because they can only be clearly seen from a sufficiently high altitude. From that moment on, the study of strange figures began. German doctor of archeology Maria Reiche dedicated her whole life to this. She also achieved protection of the lines from destruction at the highest level. Now lines And geoglyphs The Nazcas are a UNESCO World Heritage Site.

Thanks to the desert climate, the drawings have not disappeared over the centuries, although they are very easily destroyed: after all, they are simply the top layer of soil that has been removed. But there is something to protect the lines from. Lines that have lasted for centuries can easily be destroyed by humans, because both cars and people leave noticeable marks on the surface. And the route passing right through some geoglyphs Panamericana Sur poses an even greater threat.

Many lines extend over 8 kilometers in length, and the figures can reach 250 meters in size. In the photo below - circular (360 degrees) photo panorama Nazca desert in high resolution, taken from a hill near the highway.

Currently, about 30 basic and hundreds of lesser-known designs are known, about 700 geometric figures, most of which are spirals, and about 13,000 lines of various geometries. No less interesting geoglyphs were also discovered north of Nazca - near the city Palpa. Due to their obvious similarity, we will describe them together.

Major geoglyphs of Nazca

On the map below we have highlighted the most famous geoglyphs - drawings of the Nazca desert. You can also see numerous lines on the map. Please note: the “Astronaut” figure is made at a great distance from the others - on the map below on the right, moreover, on the slope of a hill and in a different manner, this may indicate a different nature of origin compared to other geoglyphs.

Types of Nazca and Palpa figures

Conventionally, all the figures of both the Nazca desert and the Palpa desert can be divided into 6 types according to geometry:

Mysteries of Nazca and Palpa

Overlay weirdness. Repeatedly intersecting and overlapping lines, figures and drawings refute the theory that the drawings were made later than the lines. Because somewhere the drawings are above the lines, and somewhere vice versa. But something else is strange: the drawings and lines located on top do not destroy the drawings and lines that are under them.
Passage through terrain. If you observe the view from space, then all the lines look absolutely even. But if you take pictures from an airplane, you can see that the lines often run through rough terrain. In this case, it is not clear how it was possible to complete the lines so accurately not from a height, but while on the ground.
The manner of drawing. Almost all the drawings are made with one line, which does not intersect anywhere. The manner in which the drawings are executed strongly resembles the manner in which zigzags, spirals and parallel lines are executed - as if they were drawn with one beam under the control of a computer program.
Location of drawings. Almost all drawings are located parallel or at right angles to nearby lines.
Incoming and outgoing drawing lines. Many drawings such as Hummingbird, Spider, Monkey, are drawn not as a closed line, but as coming from somewhere and returning somewhere, as if the drawings were drawn “at the same time” with the lines. Often such entrances and exits are located in the area of the genital organs of the animals depicted.
Location of drawings. Nazca and Palpa are not the only places of the lines. The lines are scattered throughout the desert part of almost all of Peru, many hundreds of kilometers from Nazca. Well known geoglyph " Chandelier", located in Paracas and clearly visible from the Ballestas Islands.
Interdependence of drawings. Thin lines suddenly turn into wide ones, the line can be continued by a pattern, and the wide line ends at the intersection of another wide one.

The lines represent a removed layer of soil from 20 to 50 cm. But there are no embankments nearby - only very minimal ones, and there are no piles of stones in the distance. And on smooth turns of wide lines when clearing, the sides on the outer circumferences of the sides should be wider than on the inner ones. In addition, it is worth understanding that in order to draw some large stripes, you need to remove thousands of tons of such rubble from the surface.

Dependence on relief. Thickening of the lines often occurs with a decrease in ground level. Thick lines often break at the base of mountains or rivers. And some wide lines are located on the mountains and seem to cut off their peaks, which are almost perfectly flat.
Rows of embankments. The purpose of the rows of points - embankments - is not clear. In some places they fill wide swaths.
Unexplored artifacts. In the area of the lines there are many strange formations - square and round depressions, geometrically evenly located rock formations, which scientists have not yet explored. Therefore, until this is done, it is difficult to give final versions of the purpose of the drawings.
There are no traces except lines. To draw such lines from the ground, you need to use some kind of equipment, you need the presence of people. All this would leave technological traces. Today you can see distinct traces of cars and people. Even, for example, after Greenpeace carried out its unsuccessful action and left traces, which greatly outraged the Peruvians. But the ancient lines have no traces except the lines themselves.

Versions of scientists

There are several main versions of the origin and purpose of the Nazca lines and geoglyphs. And they are all quite controversial.

Astronomical version. German researcher Maria Reiche, who devoted her life to studying the figures, came to the conclusion that the drawings were made by someone who lived in this area about 2,000 years ago. The drawings on their ceramic dishes, similar to geoglyphs, also speak for this. Radiocarbon dating proves approximately this period of appearance of geoglyphs. The drawings, according to Reiche, represent a large astronomical calendar, an open-air observatory. The calendar served to determine the time of agricultural work. Doctor Phillips Pitlugi, for example, claims that the image of the spider and the lines diverging from it resembles a cluster of stars in the constellation Orion. Modern scientists (starting with the American Gerald Hawkins) dispute this version, citing the fact that there are so many lines that of course you can find those that resemble the arrangement of stars. But what to do with the rest is not clear.
Religious version. This version does not dispute the version of origin, but considers release rites to be their purpose. For example, shamans walked along these stripes and called out to the souls of the dead. Or the inhabitants of Nazca tried to appeal to the gods in this way so that they would give water in the form of rain. After all, the Nazca civilization presumably died out precisely because of climate change, which gradually dried out previously fertile lands.
Alien scanning. This version assumes that the lines and drawings, except for the clearly anthropomorphic ones ("Family", "Llamas"), were drawn from a great height - only in this case they could be so even. It is also assumed that a computer program was used that could draw such perfectly calibrated figures. Perhaps alien creatures took soil samples, the zigzags and spirals indicate this. And thick lines may indicate the collection of minerals from the surface. For example, iron ore is present in the rocks on the desert surface. There is another interpretation of this version. An antediluvian civilization, not aliens, was looking for cities buried under layers of mud, scanning the area from above. The fact that there was a mudflow in this area is indicated by the composition of the desert soil: rounded stones in clay, and in some places the peaks of former mountains stick out. Also, the destroyed buildings of the city speak a lot about the flood.
Alien ships. This version says that the lines were runways. However, it is not clear why there are so many of them, why in such viscous soil, and why then the patterns and zigzags. And no traces of a possible takeoff and landing were found. But it can be assumed that the numerous lines in the sand are scanning to find a place for ships to land or take off, and since the soil is soft, the scanning continued further until the ideal place was found - in the solid mountains of Palpa. This version is supported by the fact that it is there that the stripes do not represent the removal of a couple of tens of centimeters from the surface of the soil, but as if the top of the mountain was deliberately cut off and leveled.

How to observe

The best way to observe the Nazca and Palpa lines is, of course, from an airplane. If you have purchased a tour to Peru, please note that a flight over the Nazca Lines is included. Then you don't have to worry about organizing it. Those traveling on their own should note that you must register for the flight at least a day in advance. At the same time, you can spend the night in Nazca, Ica or Paracas - they are closest to the geoglyphs.

The second option is economical. When you drive through Panamericana Sur, there are two sightseeing spots you can't miss. If you come from the south, then the first place is Hill, next to which there is a parking lot. Our panorama photo was taken from the hill (at the beginning of the article). Plus, observing from a hill - unlike flying on an airplane, you can see the lines very close. In addition, some lines are very clearly visible from the hill.

Well, the third option is a little further north along Panamericana Sur. This was done on purpose, even under Maria Reichel. tower, from which you can see 3 figures. On the one side hands And tree, and on the other - from afar the tip reptiles. Near the tower, various souvenirs dedicated to the Nazca lines and geoglyphs are sold. Entrance to the tower is paid.

You can visit the Palpa drawings; we’ll drive a little further north, but to see them it’s better to leave Panamericana Sur.

Nazca- 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. This desert is one of the biggest mysteries of archeology, history, anthropology and many other related sciences.

The surface of the Peruvian Nazca desert, covering an area of approximately 500 square kilometers, is covered with countless land figures, gigantic in our imagination. 12 thousand stripes and lines, 100 spirals, 788 patterns were discovered on the plateau, among which are 50-meter hummingbirds, a parrot and a spider, an 80-meter monkey, a condor extends from beak to tail feathers for almost 120 meters, a lizard has a length of up to 188 meters ., finally, a 250-meter bird. Some of the geometric shapes are formed by straight lines over 8 km in length. There is an image of a flower, like a tree. But there are just over three dozen such informative drawings, that is, they make up approximately 0.2% of the total number of figures. Everything else is geometric shapes: lines up to 8 km long, elongated rectangles (the largest is approximately 80x780 m), arrow-shaped triangular and trapezoidal platforms. Scattered among them are the so-called “decorations” in the form of countless whip-shaped figures (a triangle with a line emerging from the top at an angle), rectangular and sinusoidal zigzags, and spirals. In addition, on the plateau there are more than a dozen so-called “centers” - points from which lines extend in different directions.

The lines of the drawings are grooves twenty-five centimeters deep and sixty-five centimeters wide, exposing lighter (non-oxidized) scatterings of pebbles covering the entire plateau.

One of the features of Nazca drawings is that they are all made with one line that does not intersect anywhere. The painting of the plateau was carried out in several stages: many geometric figures intersect more complex figures, partially crossing them out.

HISTORY OF DISCOVERY AND RESEARCH OF THE NAZCA DESERT

Mysterious drawings in the Peruvian Nazca desert, the largest work of art in the world, one of the most outstanding and at the same time inexplicable creations of man, were few known to anyone until 1939. That year, pilots flying over a desert valley in a small airplane noticed a strange pattern of randomly intersecting long straight lines, interspersed with strange convolutions and squiggles, which was noticeable in certain lighting.

This discovery aroused great interest. Initially, archaeologists assumed that these were the remains of an ancient irrigation system. American archaeologist Paul Kosok from Long Island University went to Peru to study them.

From the air, the patterns looked immense, but on the ground, due to the uneven surface, Kosok could barely find them. “The lines could only be distinguished if you looked at them lengthwise. A few yards to the side and nothing could be seen.” After the first careful studies, Kosok’s surprise knew no bounds - according to his drawings, it turned out that it was a clear image of a large bird, which was impossible to distinguish from the ground. Kosok explored the valley and discovered the outline of a huge spider, followed by dozens of other drawings that depicted either animals or geometric patterns. He could not understand who this mysterious artist was and what kind of people it was that left behind such works of art.

In 1946, Kosok handed over his notes to Dr. Maria Reich, a German mathematician interested in ancient observatories, whose name is associated with almost the entire “canonical” history of the mysterious drawings of the Nazca desert. Since then, Maria Reiche, who has become the world's leading expert on the Nazca problem, working almost alone, has learned a lot about how to create these paintings. She hurried to record the exact dimensions and coordinates of all the drawings and lines before they were destroyed by tourists and cars. As Reiche established, the drawings were made in a fairly simple way; a thin layer of dark stones was laid out in lines on the yellowish soil. But, although such work does not seem physically difficult, the project was extremely complex. Reiche believes that the authors of the drawings used a fixed unit of measurement equal to 0.66 cm, similar to the megalithic yard of Alexander Thomas. Then the figures were laid out according to a specially constructed plan to scale, which was transferred to the surface of the earth using ropes attached to marker stones, some of which can still be observed today. The length and direction of each segment were carefully measured and recorded. Approximate measurements would not be sufficient to reproduce such perfect outlines as we see in aerial photography; a deviation of just a few inches would distort the proportions of the design. Photographs taken in this way help to imagine how much work it cost the ancient craftsmen. The ancient Peruvians must have possessed equipment that even we do not have and which, combined with ancient knowledge, was carefully hidden from the conquerors as the only treasure that could not be stolen.

Erich von Däniken and other searchers for traces of space aliens brought fame to the Nazca drawings. The desert was declared to be nothing more than an ancient spaceport, and the drawings were declared as navigational signs for alien ships. Another version said that the drawings in the desert are a map of the starry sky, and in the desert itself there once existed a grandiose ancient observatory.

The famous astronomer who solved the mystery, Gerald Hawkins, arrived in Peru in 1972 to find out whether there were signs among the drawings of the Nazca desert indicating a connection with astronomical observations (these signs were not there). He was surprised that the lines were unusually straight - the deviation was no more than 2 meters for every kilometer. “It would be impossible to create such a figure even with the help of photogrammetric measurements,” he believes. “These lines are really absolutely straight; we would not have gotten such a result even using modern aerial photography. And this straightness remains for many miles. Due to the thick fog spreading across the ground, the lines sometimes become invisible. But they continue in exactly the same direction on the opposite side of the ravine, and they are as straight as the trajectory of a fired arrow.”

Maria Reiche is confident that she has only touched upon an ancient secret: “What is most impressive about these ground drawings is their enormous size combined with perfect proportions. How they could depict animal figures with such precise outlines and precisely calibrated dimensions is a mystery that we will not solve soon, if at all.” Reiche, however, made one reservation: “Unless, of course, they knew how to fly.”

This is exactly what Bill Sporer, a US resident in Peru and a member of the International Research Society, tried to prove. The people who created these patterns likely came from two similar peoples, known as the Paracas and Nazca cultures, who practiced agriculture during the period before and after the Common Era. But these peoples are also known for their success in the art of weaving and decorating clay products, and this gave Sporer a clue. Four pieces of Nazca cloth from a looted grave discovered near the Peruvian paintings were examined under a microscope. It was found that the ancient Peruvians used a better weave in their fabrics than we use in the manufacture of modern parachute fabric, and stronger than in modern balloon fabrics - 205 by 110 threads per square inch compared to 160 by 90. On clay In the pots, images of objects resembling balloons and kites with fluttering ribbons were found.

As Sporer began his investigation, he came across an old Inca legend about a little boy named Antarqui, who helped the Incas in battle by flying over enemy fortifications and reporting the location of their troops. Many Nazca textiles depict flying people. These legends arose a long time ago, but it is known that even today some Indian tribes of Central and South America make balloons for their ceremonies and release them during ritual celebrations.

Another mystery lies in the so-called “fire pits” that end many straight lines. These are round pits approximately 10 meters in diameter with charred stones. Sporer, along with several other researchers, examined these stones to see if they were craters from the fall of celestial bodies, and made sure that they were blackened by exposure to a strong heat source. Perhaps a large fire was built at this place, which warmed the air inside the ball?

In November 1975, this theory was put to the test. Only from those materials and technologies that could be available to the Nazca Indians was the balloon built. A fire was lit beneath it, and the balloon took flight with two pilots in a reed basket. Of all the hypotheses regarding the origin of such a perfect pattern, the idea with the ball was the best. But the purpose of all this is still unclear. Perhaps this was a unique form of burial, and the bodies of the dead Nazca leaders were sent on black balloons - into the arms of the sun god? Maybe birds and other huge creatures symbolize the eternal life of these leaders? But why did they need such straight lines? No answer…

But there is evidence that among the ancients such a desire for accuracy was very widespread. There are clear similarities between the Peruvian designs and finds on the other side of the globe: Stonehenge and many famous megaliths are distinguished by extraordinary geometric precision. By the time the Peruvian patterns were laid out, the tradition of megalithic buildings had already died out, so there is no direct evidence of a connection between the two cultures. But it would not be too rash to assume that the levels of development of these cultures, in which illiterate people used mainly stones, were similar; and that the art of making land drawings died with the advent of writing and civilization.

Peruvian paintings are one of the wonders of the world. However, the final solution to their mystery is still far away. Except that the version about runways for spaceships has disappeared. Reiche categorically rejects the possibility that the Nazca paintings were alien landing signs: hypothetical space aliens are unlikely to be at such a primitive level as to lay out figures in stone. In addition, “if you move the stones, you will see that the ground underneath is quite soft,” says Maria Raihe. “I’m afraid that the astronauts would get stuck in such soil”...

HYPOTHESES ABOUT THE ORIGIN OF DRAWINGS IN THE NAZCA DESERT

Since the discovery of the mysterious drawings, scientists have been haunted by questions about their creators and purpose. The theories put forward are varied and fantastic - from space aliens to a system for controlling the earth's population. Each new enthusiast for solving the Nazca mystery adheres to one theory: astronomical, geometric, agricultural or irrigation, utilitarian-geographical (roads) and creative (art and religion). Other hypotheses have been put forward, but so far none of them has a significant advantage. Even in determining the age of the desert paintings, researchers cannot come to a consensus: some believe that they were created around 200 BC. e., according to others - in 1700 BC. e. There are more than 30 hypotechs in total.

The very first one is astronomical , it came to the mind of the discoverer of the drawings, Paul Kosok. On June 21, 1939, the scientist took the first step towards solving the “mystery of Nazca.” At sunset, he saw the sun setting exactly at the intersection of one of the straight lines with the horizon. Observations in the following days convinced Kosok that his guess was correct: he found the line of the winter solstice (in the southern hemisphere, winter corresponds to our summer) solstice. In addition, Kosok noticed that the drawings and lines indicate the presence of certain cosmic bodies (stars and constellations) in the sky on astronomically significant days (full moons, etc.).

But to strengthen the hypothesis, it was necessary to identify all the figures of the Nazca desert with celestial phenomena. This daunting task required great effort, time and complete dedication. Paul Kosok was lucky. He found such an assistant in the person of a modest translator from Spanish, who accompanied him on trips to the countries of South America, Maria Reiche, a German by birth. It was to her that the scientist entrusted the fate of his extraordinary discovery and never subsequently repented of it. It took seven years to compile the first rough maps and topological plans of the plateau.

Only in 1947, with the assistance of the Peruvian Ministry of Aviation, Maria was able to use a helicopter. The first time she flew, hanging overboard: she was tied with ropes, and she was holding the camera in her hands. Then an engineer I knew designed a special suspension for her - it became relatively safe. She worked alone, and therefore things went slowly. Maria completed the first detailed diagram of images in the Nazca desert only in 1956.

“For ancient peoples, the positions of the Sun and Moon served as a calendar,” said Maria Reiche. “It was used to determine the arrival of spring and autumn, seasonal fluctuations in water regime, and, consequently, the timing of sowing and harvesting. That's why we found so many lines. It is difficult to talk about the exact meaning of animal images. I only know that some of them represent entire constellations. Most of all I want to penetrate into the way of thinking of the ancients who left us such unusual writings. And it is also extremely important to understand how people who did not know how to fly over the pampa (the local name for the desert) could design and transfer to its surface a many times enlarged picture of the starry sky?..”

The hypothesis of the astronomical calendar was shared by most scientists around the world for decades, until the famous American astronomer Gerald Hawkins, author of the monograph “Unraveling the Mystery of Stonehenge,” began testing it. With the help of a computer, Hawkins brilliantly proved that the famous Stonehenge - a mysterious structure on Salisbury Plain - is nothing more than an astronomical observatory. Using the same technique, adjusted for the latitude of the Nazca Plateau, Hawkins was convinced that only less than 20% of the lines on the Nazca Plateau point to the Sun or Moon. As for the stars, the accuracy of the directions generally does not exceed the random distribution of numbers. “The computer smashed the theory of the stellar-solar calendar to smithereens,” J. Hawkins was forced to admit. “With bitterness we abandoned the theory of the astronomical calendar.” However, Hawkins' research also yielded a positive result, since it was he who first noted the strange feature of the Nazca drawings: they were all made in one line without a break, which did not intersect anywhere.

The next version of the mysterious Nazca drawings is alien , it is now the most common. And it was first put forward by Erich von Däniken (he was also involved in research on the English Stonehenge). He is sure that these drawings served as runways for interplanetary alien spacecraft. His confidence in the cosmic purpose of the signs is based on the fact that the drawings have regular shapes and the lines are perfectly straight, and can only be detected from the air.

Why are these drawings in places where no one can see them from the ground? Or were they intended directly for gods unknown to us?

Those who watched the worldwide documentary “Memories of the Future” remember the landing of a sports plane on one of these runways. But since they are visible only from an airplane, a natural question arises: “Did the ancient inhabitants of the Cordillera - the Incas - know how to fly?” Here it is appropriate to recall the ancient Inca legend, which speaks of a “golden ship” that arrived from distant stars: “It was commanded by a woman named Oryana. She was destined to become the foremother of the earthly race. Oryana gave birth to seventy earthly children, and then returned to the stars."

This legend talks about the ability of the “sons of the sun,” the Incas, to “fly over the earth in golden ships.” Perhaps there is some connection between these legends and reports of the English anthropological journal Maine, which, in particular, says: “Analysis of the muscle tissue of the surviving Inca mummies showed that in terms of blood composition they differ sharply from the local population. They were found to have a blood type of a rare combination. Nowadays, such a blood composition is known only from two or three people in the whole world.”

Developing further the discovery of J. Hawkins, who was the first to discover the continuity of lines in drawings, scientists drew attention to strange additional lines. Being completely alien to the main image, they were, however, connected to the beginning and end of the contour (groove), as if connecting the drawing to a certain Nazca megasystem. The conclusion suggests itself that the drawings resemble electrical circuits made by one conductor, which can neither be crossed (short circuit) nor interrupted (open circuit).

Paying attention to the connection lines, the scientists clearly saw parallel and serial connections of the patterns and suggested that the line-grooves of the Nazca Plateau were apparently filled in ancient times with some kind of phosphor. This substance was capable of glowing under the influence of electric current, similar to the inscriptions and drawings of modern gas-light advertising. Thus, in confirmation of the alien theory, the “runways” did their job, and the luminous patterns, visible from the air tens of kilometers away, did theirs.”

Another version with an alien basis . The key to solving the mystery of the Nazca Desert may be a huge drawing painted on a 400-meter mountain slope on the Paracas Peninsula (Peru). The design is known as the "Paracas Candelabra", or "Andean Candelabra". Its branches point in the direction of the Nazca Desert. Like the Nazca Desert figures, the lines of this image are indentations that reach into the bedrock - red porphyry. The age of the “Candelabra” dates back at least two thousand years, and the history of its origin is completely a mystery behind seven seals. According to the bold hypothesis of some Russian researchers, the “Candelabra of Paracas” is nothing more than a “passport of the Earth.” This picture contains all the information about our planet. The left part of the picture represents fauna, the right – flora. And the entire drawing represents a person’s face. Near the top of the mountain there is a mark shaped like a nail. This is a scale showing the “level of modern development of civilization” (there are six in total). If the “Candelabra” is speculatively rotated 180°, you get a crucifix. This is a kind of symbol - a warning that our planet may die from unreasonable human activity.

Further, the authors of this idea try to explain that this information was delivered to us by a certain super-civilization from the constellation Leo. Referring to a large number of sculptural images of a lion on Earth and in all earthly religions in particular, the authors prove that modern earthly civilization is the work of aliens from the constellation Leo.

To the cosmic hypotheses, we can add the cheerful thought that perhaps star tourists simply left a trace of their visit to Earth in this way, like “Vasya was here.” It should be noted that similar interpretations of Nazca drawings are born in all corners of our planet every day, if not every minute. But even the craziest of them should not be dismissed without examining them in detail.

I want to tell you about another version that appeared relatively recently - this is an artificial system of underground water channels , located in the depths of a mountain plateau. In the city of Nazca, with a population of 10 thousand people, the river of the same name flows. In its composition and “fragrance” it is not inferior to the sewer canals of large cities, but at the same time, the residents of Nazca do not lack fresh and clean water. It is taken from a system of wells, which are located exactly along the lines of mysterious drawings. And what is especially striking is that two of these underground canals pass directly under the bed of the Nazca River. And the general system of Nazca irrigation canals simply cannot but arouse admiration - it is so perfect and productive. It should be noted that the source of prosperity for the people who inhabited Nazca was agriculture, so this version has a real basis. But who, when and how could build such canals?

It is curious that the drawings were discovered from an airplane that flew over the plateau in search of water sources. And only after some time they found wells with water. Thus, the pilot coped with his task brilliantly, although he offered historians one of the most difficult puzzles of the 20th century - the Nazca drawings.

A gigantic work done with extraordinary ease Yu

Lines and stripes stretch straight like rays, regardless of the relief and soil and leave a simply stunning impression.
IN There are triangles arranged in a chain along the tops of the mountains.
Back in 1947, Paul Kosok published the article “The Mysterious Markings of Nazca,” in which he included a number of photographs of ground figures taken from the air. In the preface, he stated that he was trying to "challenge" academia. However, the article has not received the proper response to this day. It is no coincidence that the author called the stripes and triangles the word “markings” - imprints, traces, marks. What is this: a figurative comparison or an intuitive guess? Most likely, this is an attempt to draw attention to something that, in terms of technique, exceeds the level of modern human capabilities. A gigantic job, but done with extraordinary ease!
Yes, all this could be done manually, if we consider each figure separately. But according to my estimates, based on measurements from the J. Hawkins expedition, the total amount of manual work to create the entire Nazca desert complex is more than 100,000 man-years, even if the Indians worked 12 hours a day. But the desert is located between two valleys that could feed only a few thousand people. Such costs in the conditions of labor-intensive irrigated agriculture must be explained by a powerful incentive, but it is difficult to distinguish it in the chaos of lines, especially among the endless decorative zigzags and whip-shaped figures. How many people could be engaged not in getting their daily bread, but in clearing stones on the plateau, without even seeing the results of their labor? And how long did it take them to do this? 100 people - 1000 years, 1000 people - 100 years or 50 people - 2000 years? Any set of numbers contradicts objective reality.

The Nazca Desert paintings were not created by humans.

Firstly, due to the characteristics of the soil and desert climate, human or horse footprints remain here for centuries. Visits to the Nazca Plateau by tourists over the past ten years have created a threat to the safety of the drawings. Therefore, the desert was declared a nature reserve, and nowadays you can see the figures by renting a small plane. How could such a labor-intensive activity not leave traces on the ground?Indeed, in photographs taken from the air in the forties, traces of human activity are visible in the form of wide, uneven spots only along the sides of the Pan-American Highway and dirt roads crossing the desert.
Secondly, there is no evidence or memories of such titanic work among the local population, who, suspecting nothing, sometimes open the figures. At supposed "sanctuaries" the Indians build pens for cattle, unaware of their existence.
Finally, one more very important question. How can one explain from the standpoint of manual execution of figures the fact that when applying (often multiple) stripes or areas, the visibility of each contour is preserved? What if you just clear the soil surface of stones? Attempts to explain this fact by time differences are untenable. If you carefully follow the course of the stripes in the complex in the image on the left, it turns out that the figures are intertwined and interconnected, and not just superimposed on each other!
Another detail that few people think about. The appearance of geoglyphs, which along their length intersect rock outcrops, does not fit into the picture of manual labor at all, while in aerial photographs this transition is invisible, although the nature of the soil clearly changes. Here the surface of the figure is no longer cleared sandy soil as in the desert, but small crushed rock with dumps along the edges. But even in this case, the visibility from above is identical to the figures made on the empty surface yni.

The scale of the work as a whole, the huge number of purely geometric figures on the Nazca plateau and the surrounding mountains, as well as on the entire South American continent - all this allows us to make the assumption that the Peruvian ground figures are indeed marks, or, more precisely, traces of an unknown OTHER MIND, left where accidentally, and sometimes intentionally.

INTELLECTUAL POTENTIAL OF NASCAN DRAWINGS

It is difficult to understand who created these figures and why without understanding how they were made.
In the creation of any mind, a certain INTELLECTUAL POTENTIAL is accumulated, reflecting both the level of development of the mind itself and the level of technological means that it possesses. What is remarkable about the technique of constructing figures in the Nazca desert?

Similarity of geometric patterns with the path of rays in optical circuits

First of all, let's see what geometric shapes are, of which there are many times more than drawings.
The lines cleared of stones are 15-20 cm wide, and the stripes or “roads” are over 60 cm. These geoglyphs stretch in a straight line over distances of tens of kilometers. “Platforms” are triangular, trapezoidal and rectangular shapes with stone ridges along the edges. Their width does not exceed 80 m, while the length of the largest rectangle is 780 m, and the ray-shaped triangles are over 2 km. Whip-shaped figures look like small triangles with a line coming out of the top, and zigzags have a wide variety of shapes: sinusoidal e, rectangular, triangular, pipe-like. "Centers" - places from which lines radiate out in different directions - are often found on the surface of the sites, and sometimes they look like a small pile of stones.
Geometric shapes are found not only on the surface of the plateau, but also on its weathered slopes, on neighboring plateaus, and on the steep spurs of the mountains surrounding the desert. Sometimes the figures stretch in a chain along the tops of mountains. Here are their features:
- straightness: the average deviation in direction does not exceed 9 minutes (or rather, this is the limit of accuracy of the photometric survey method), i.e., the figures are drawn more accurately than can be verified using modern aerial photography methods;
- the edges of the triangular areas have the form of rollers, the dimensions of which do not change in proportion to the width, and the accuracy of the edges of lines and stripes is 5 cm with a length of many kilometers;
- the figures maintain an ideal rectilinear orientation on rough terrain;
- multilayer overlay of figures does not negatively affect the visibility of all contours, which allows you to trace the sequence of their execution (how to explain the visibility of multilayer figures - one of the key issues in solving technological problems);
- the visibility of the stripes is maintained when the nature of the soil changes;
- there is a limitation in the width of the figures with an almost unlimited length; this limitation determines the radial nature of the triangular figures (there is no figure with a divergence angle of more than 17 degrees);
- there is not a single circle or square, but there are many sinusoids and spirals - figures formed by adding oscillatory or rotational motion with translational one, and this indicates dynamism in the process of creating figures;
- the location and configuration of the ray-shaped figures are similar to the diagrams of geometric optics: the triangle at some point seems to bend and stretch to the side, while maintaining the divergence angle (this is how the law of light reflection is demonstrated in optics); the “bending” lines of stripes or trapezoids are always straight, like the boundaries of reflection or refraction of light; there are triangles with a changing angle of divergence, which is also similar to rays of light when the aperture of the radiation source changes;
- geometric shapes made on complex terrain retain their correct shape in photographs taken from the air from above; on the contrary, when shooting from the side, the figures have a distorted shape;
- on the plateau there are lines whose direction is astronomical: some indicate sunrise or sunset on the solstices or equinoxes, others are located strictly in the north-south direction. This suggests that there may be information embedded in the location of the figures.
Thus, the geometric figures of Nazca are characterized by a rectilinear orientation, independence from the relief and dynamism of the execution technique. The layout of lines and areas in general are very similar to the path of rays in optical circuits.

What miracles does ancient history contain? How many mysteries have not yet been solved, and how many of them will never be solved! However, as people step into the future, they understand the past more and more deeply and replace guesses and myths with real history. Thus, it is believed that archaeologists have already finally solved the mystery that the Nazca Desert concealed. The outskirts of Peru became famous back in 1947, when the first scientific publications about strange lines and mysterious drawings appeared. Later the idea arose that these were alien runways. Many inhabitants of the planet perceived this idea with interest. This is how the myth was born.

The Mystery of the Geoglyphs

For decades, scientists and amateurs have tried to explain the origin of geometric patterns in the desert, which occupy an area of almost 500 square kilometers. Although at first glance the history of their origin in Southern Peru is quite clear. For several centuries, the Nazca Desert served as a canvas for the ancient Indians, on which for some reason they painted mysterious signs. There are dark stones on the surface, and if they are removed, light sedimentary rocks will be exposed. This sharp contrast of colors was used by the Peruvians to create geoglyph drawings: the background for the images was the dark color of the soil. They decorated desert areas with straight lines, trapezoids, spirals and huge animal figures.

Nazca Desert. Coordinates of the drawings

These signs are so huge that they can only be seen from an airplane. However, anyone today can admire the mysterious symbols without leaving home; just run any program on your computer that displays satellite images of the Earth. The coordinates of the desert are 14°41"18.31"S 75°07"23.01"W.

In 1994, the unusual drawings were included in the list of monuments that constitute the World Cultural Heritage. And then the whole world knew where the Nazca Desert was. People wondered who the mysterious gallery was intended for. To the gods in heaven who read human souls? Or maybe in this ancient country aliens once built a cosmodrome, and so the markings remain? Or is this the first astronomy textbook where the course of the planet Venus represents the wing of some bird? Or maybe these are family signs that clans used to mark the territories they inhabited? It was even suggested that in this way the Indians designated the flow of underground streams, supposedly this was a secret map of water sources. In general, there were a great many hypotheses, the best minds competed to interpret the meaning of what was written, but no one was in a hurry to select the facts. Almost all assumptions were made speculatively - rarely anyone dared to go to the utter distance. So the Nazca Desert (photo below) remained one of the most mysterious places on the planet, and its ancient inhabitants remained one of the most interesting cultures of pre-Columbian America.

The path to the solution

From 1997 to 2006, scientists from a variety of disciplines conducted extensive research in the Peruvian desert. The facts that they collected completely debunked all the explanations of the esotericists. There are no cosmic secrets left! The Nazca desert turned out to be quite earthly. Her drawings also speak of the earthly, even too earthly. But first things first.

Expedition to Peru

In 1997, an expedition organized by the German Archaeological Institute began to study geoglyphs and the culture of the Nazca inhabitants in the vicinity of the settlement of Palpa. The place was chosen based on the fact that it is located in close proximity to the villages where the ancient Indians lived. “To understand the meaning of the drawings, you need to look closely at the people who created them,” the scientists said.

Landscape exploration

As part of the project, the climatic features of the area were studied. This clarified the origin of the symbols. Previously, in the place where the Nazca Desert now lies, there was a flat steppe area. It was formed from a basin separating the Andes and the Coastal Cordillera (another mountain range). During the Pleistocene, it was filled with sedimentary rocks and pebbles. Here comes the ideal “canvas” for applying all kinds of drawings.

A couple of thousand years ago, palm trees grew here, llamas grazed, and people lived as if in the Garden of Eden. Where the Nazca Desert stretches today, there used to be even heavy rains and floods. But around 1800 BC. e. The climate became much drier. The drought burned the grassy steppe, so people had to settle in river valleys - natural oases. But the desert continued its advance and came close to the mountain ranges. Its eastern edge moved 20 kilometers towards the Andes, and the Indians were forced to leave for mountain valleys located at an altitude of 400-800 meters above sea level. And when the climate became even drier (around 600 AD), the Nazca culture disappeared completely. All that remained of her were the mysterious signs inscribed on the ground. Thanks to the extremely dry climate, they survived for thousands of years.

Nazca Desert. Drawings

Having studied the living environment of the creators of the mysterious geoglyphs, the researchers were able to interpret them. The earliest lineages appeared about 3800 years ago, when the first settlements arose in the area of the city of Palpa. Southern Peruvians created their “art gallery” in the open air, among the rocks. They carved and scratched various patterns on the brown-red stones, chimeras of both people and animals. The “Revolution in Art” took place in the Peruvian desert around 200 BC. e. Artists, who previously covered only rocks with paintings, began to paint the largest canvas given to them by nature itself - the plateau stretching before their eyes. Here the masters had room to expand. But instead of figurative compositions, artists now gave preference to lines and geometric shapes.

Geoglyphs - part of the ritual

So why were these signs created? Certainly not for us to admire them today. Scientists believe that the drawings were part of the “sanctuary”; these are so-called ceremonial figures that have a purely mystical meaning. Geophysicists examined the soil along the lines (their depth is almost 30 centimeters) and found that it was highly compacted. 70 geoglyphs depicting some creatures and animals are significantly trampled, as if crowds of people had been walking here for centuries. In fact, various festivals related to the cult of water and fertility were held here. The drier the plateau became, the more often the priests performed magical ceremonies in order to call for rain. Of the ten trapezoids and lines, nine are facing the mountains, where the saving precipitation came from. Magic helped for a long time, and the clouds carrying moisture returned. However, in 600 AD the gods became completely angry with the people who settled in this region.

Debunking the myth

The largest paintings in the Nazca Desert appeared at a time when the rains almost stopped. Most likely, people thus asked the stern Indian god to heed their suffering; they hoped that at least he would notice such signals. But God remained deaf and blind to the prayers. It didn't rain. In the end, the Indians left their native land and went to look for a prosperous country. And after a couple of centuries, when the climate became milder, the Nazca desert regained its inhabitants. People settled here who knew nothing about the previous owners of these lands. Only the lines on the ground stretching into the distance reminded us that once here a man tried to speak to the gods. However, the meaning of the drawings had already been forgotten. Now only scientists are beginning to understand the reason for the appearance of these writings - huge signs that seem ready to survive eternity.

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 constituent 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 a light plane into the air 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, the time has come 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 over 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...