Wednesday, April 29, 2015
INSCRIPTIONS AT MORRO ROCK - DON FÉLIX MARTÍNEZ
Don Feliz Martinez inscritption, El Morro, New
Mexico. National Park Service photograph.
One site that has seen much history is El Morro rock in Cibola
County, in western New Mexico. This large rock outcrop has a permanent pool of
water in an arid environment, and pre-historically had a pueblo built on top of
the rock. Ancestral Puebloan rock art can be found on the cliffs and spires of
El Morro, as can the inscriptions and names of later comers. One of the
historic records found there is the Martinez inscription. This records that in
the "Year of 1716 on the 26 of
August passed by here the Governor Don Feliz Martinez, Governor and
Captain-General of this Realm to the reduction and conquest of Moqui and
(obliteration: possibly the word "conversion") by order of the
Reverend Padre Friar Antonio Camargo, Custodian and Ecclesiastical Judge."
(http://www.nps.gov/history/history/online)
This records an expedition sent against the Hopi in 1716. “In 1716, Gov. Don Feliz Martinez marched
against the Moqui (Hopi) villages. With him were missionaries who intended to
"convert" the Indians after they were conquered. Passing El Morro,
Martinez left the following inscription: "Year of 1716 on the 26 of August
passed by here the Governor Don Feliz Martinez, Governor and Captain-General of
this Realm to the reduction and conquest of Moqui and (obliteration: possibly
the word "conversion") by order of the Reverend Padre Friar Antonio
Camargo, Custodian and Ecclesiastical Judge."
"But the expedition was not successful. Meeting strong opposition from the Hopis, Martinez merely destroyed their cornfields and returned to Santa Fe. He was later relieved of his office as Governor."
“The residencia, or
judicial review of every governor’s administration upon leaving office, offered
the Pueblos a means of expressing their grievances, that is, when the
residencia judge was impartial, unbribed, or an enemy of the departing
executive. In the case of the controversial rags-to-riches opportunist don
Félix Martínez, whose residencia was held belatedly in 1723, there were
Spaniards, including the aging Pecos alcalde mayor Alfonso Rail de Aguilar, who
for one reason or another wanted the Indians to speak up. The Pecos demanded
compensation from Martínez for the personal labor that had caused them to lose
their crops, payment for two thousand boards he ordered them to cut, dress, and
haul to “his palace or houses he built,” and two horses, the agreed-upon price,
owed to Chistoe for an Indian boy acquired from heathens and sold to Martínez.
In this case, the judge ordered Martínez to pay.” (Kessell 1979:321)
"The agreed-upon price for an Indian boy," in
other words slavery. Another interesting record illuminating events from the
history of the American southwest.
REFERENCES:
Kessell, John L.
1979 Kiva,
Cross, and Crown, the Pecos Indians and New Mexico, 1540-1840, National
Park Service, U.S. Department of the Interior, Washington D.C.
Saturday, April 25, 2015
DINOSAURS IN ROCK ART - PERU’S ICA STONES:
Whenever the conversation on dinosaurs in rock art is
brought up one will invariably hear about the Ica Stones from Peru.
“The Ica stones are a
collection of andesite stones found in Ica Province, Peru that bear a variety
of diagrams. Some of them have depictions of dinosaurs and what is alleged to
be advanced technology, and these are easily recognized as modern curiosities
or hoaxes.
From the 1960s Javier
Cabrera Darquea collected and popularized the stones, obtaining many of them
from a farmer named Basilio Uschuya. Uschuya, after claiming them to be real
ancient artifacts, admitted to creating the carvings he had sold and said he
produced a patina by baking the stones in cow dung.
This is, by the way, also the method used to produce the black finish on the pots made by the famous potter Maria from San Ildefonso. It is not part of a natural weathering process at all.
This is, by the way, also the method used to produce the black finish on the pots made by the famous potter Maria from San Ildefonso. It is not part of a natural weathering process at all.
Some of the images are
of flowers, fish, or living animals of various sorts. Others appear to depict
scenes which would be anachronistic in pre-Columbian art, namely extinct
animals, such as dinosaurs, advanced medical works and maps.
Ica stone illustrating brain surgery. Internet.
Meanwhile, in 1966,
Peruvian physician Javier Cabrera Darquea was presented with a stone that had a
carved picture of a fish, which Cabrera believed to be of an extinct
species. Cabrera's father had begun a collection of similar stones in the
1930s, and based on his interest in Peruvian prehistory, Cabrera began
collecting more. He initially purchased more than 300 from two brothers, Carlos
and Pablo Soldi, who also collected pre-Incan artifacts,
who claimed they had unsuccessfully attempted to interest archaeologists in
them. Cabrera later found another source of the stones, a farmer named Basilio
Uschuya, who sold him thousands more. Cabrera's collection burgeoned, reaching
more than 11,000 stones in the 1970s. Cabrera published a book, The Message of the Engraved Stones of Ica on
the subject, discussing his theories of the origins and meaning of the stones.
In this he argued that the stones show "that man is at least 405 million
years old" and that what he calls gliptolithic man, humans from another planet, and that
"Through the transplantation of cognitive codes to highly intelligent
primates, the men from outer space created new men on earth." The Ica stones
achieved greater popular interest when Cabrera abandoned his medical career and
opened a museum to feature several thousand of the stones in 1996. In
1973 during an interview with Erich von Däniken, Uschuya stated he had faked
the stones that he had sold“. (Wikipedia)
What is so surprising to me is that some people take these
things seriously. We know the old inhabitants of this area as well or better
than we know the ancient inhabitants of anywhere on earth except possibly
Egypt. Not only are there Spanish colonial records of what they found when they
conquered their South American territories, we have a long running record of
archaeological investigations. Ica is found on the coastal desert of Peru along
the Pacific ocean. This is one of the driest regions in the world and
preservation of organic remains is better here than almost anywhere else known
to archaeologists. And in all of this there is a total lack of artifactual
evidence to back up the Ica stones. What concrete evidence could we expect to
find if
humans and dinosaurs had coexisted in Peru? You might examine burials for injuries
caused by dinosaur teeth, or for artifacts made of dinosaur teeth or bones, you
might even look for the remains of small pet dinosaurs in human burials, or
human remains in the stomach area of excavated dinosaurs. You would find
dinosaur bones and human burials in the same soil horizons during excavations
that could be dated and demonstrated to have been laid down concurrently, and
the truth is we find none of that. Indeed, I have been unable to find any reference to dinosaur remains found in that area at all.
In his book Encyclopedia
of Dubious Archaeology: From Atlantis to the Walam Olum, Kenneth Feder
(2010) stated: “There is, I hope needless
to say, not a shred of evidence for any of this positively crazy stuff.
Although he has been very difficult to pin down and while he has recanted just
about every version of the story he has told, Cabrera’s major source for the
Ica Stones, Basilio Uschuya, has admitted to being not the discoverer of the
stones but their fabricator. Basing the images on photographs, drawings, and
illustrations in magazines and books, he engraves the images onto and through
the dark surface of the stones using metal knives, chisels, and a dental drill.
Then, to add a patina of age to the stones, he bakes them in donkey and cow
dung, which seems poetically appropriate. The Ica Stones clearly are not the
most sophisticated of the archaeological hoaxes discussed in this book, but
they certainly rank up there as the most preposterous.” (Feder 2010:143)
Indeed, these are so obviously fakes I have to wonder why anyone
with any education or common sense at all would espouse their case. The only
conclusion I can reach is that their motivation is venality, material gain from
selling books, and speaker’s honorariums from giving travel speeches and
creationist symposia. To me, far from supporting the bible by their position,
they are dishonoring it by associating it with these prevarications and
falsehoods by the most vocal proponents.
And remember, far from reinforcing the Creationist’s belief that
humans have only existed for 6,000 years, the Ica stones convinced their first
investigator, Cabrera, that we have existed for 405 million years. Let’s see
you fit that into Bishop Usher’s dating scheme.
Now, if you take violent exception to my statements above and wish to discuss this in a rational manner, I will be happy to correspond about it. Those of you named Anonymous who wish to only insult and threaten me, please keep your frustration to yourselves, but to all others, conversation is an art. Let us practice it together.
Now, if you take violent exception to my statements above and wish to discuss this in a rational manner, I will be happy to correspond about it. Those of you named Anonymous who wish to only insult and threaten me, please keep your frustration to yourselves, but to all others, conversation is an art. Let us practice it together.
REFERENCES:
Feder, Kenneth L.
2010 Encyclopedia
of Dubious Archaeology: From Atlantis to the Walam Olum, Greenwood, Santa
Barbara, Denver, and Oxford.
Wikipedia
Labels:
brain surgery,
creationism,
dinosaur,
hoax,
Ica stone,
Peru,
petroglyphs,
rock art
Saturday, April 18, 2015
THE HOLLY OAK PENDANT - PALEOLITHIC ART, OR HOAX?
Negative image of the Holly Oak Pendant from the cover
of Science Magazine, 21 May, 1976. Note, the mammoth
image has been picked out from background details.
It is easy to see the lack of feet.
The Holly Oak Pendant is a fraudulent artifact created as a shell gorget bearing the image of a mammoth on the converse side. It was originally presented in 1889 as an authentic Paleolithic artifact from North America, given the image of the mammoth engraved on it.
Late in 1863, Edouard Lartet, the paleontologist, with Henry
Christy, his friend and benefactor, had turned a few shovels of earth in the
rock shelter of La Madeleine by the side of the Vezere River in France. They
found remains of stone, bone and ivory tools so they returned in the Spring of
1864. That May, Lartet’s dig crew recovered five fragments of an ivory plate.
When reassembled they displayed a wonderful engraved mammoth with almost all of
the details of its appearance clearly defined. All this engraving lacked was
the feet, which may have been on an un-recovered piece of the plaque or may have
never existed because of lack of space on the surface.
Illustration of the Holly Oak pendant
from www.museumofhoaxes.com.
In 1889, an archaeological assistant at Harvard's Peabody
Museum named Hillborne T. Cresson, announced that he had discovered a
prehistoric seashell pendant/gorget that bore the engraving of a woolly mammoth
on one surface. He stated that he had discovered it near Holly Oak railroad
station, in northern Delaware, in a layer of peat in the forest. This find was
suspected of being fake by some establishment figures. One reason for suspicion was the unusual circumstance of
its discovery. Cresson claimed he had discovered it in 1864, when he was a
teenager, in the company of his music teacher, Mr. Saurault. He offered no
explanation for why he had waited twenty-five years to share the discovery,
even though its significance should have been obvious to him — especially since
his music teacher was himself a student of archaeology. (http://www.museumofhoaxes.com/hoax/archive/permalink/holly_oak_pendant)
“The Holly Oak Pendant
was accepted as authentic by many when it was discovered in the middle of the
nineteenth century. The pendant, found in Delaware, appeared to be an incised
drawing on shell of a prehistoric woolly mammoth. It reminded many of the
Paleolithic cave paintings and carvings of the Europe of 20,000 years ago,
convincing some of the existence of a similar – and similarly ancient –
artistic tradition in North America.
The Holly Oak Pendant,
if genuine, should have dated to more than 10,000 years ago, since that is
about the time that woolly mammoths became extinct – obviously, people would
not have been drawing mammoths long after they had disappeared. In fact, the
shell turned out to be only about 1,000 years old. The artifact was a fake,
though cleverly carved on an old piece of shell. “(Feder 2010:139)
The 1864 Holly Oak Pendant/Gorget bears a very similar
engraved mammoth to the one portrayed on the ivory plaque from La Madeleine –
even down to the missing feet. That is the first detail that gave rise to
suspicion that the image was fraudulent. The mammoth on the Holly Oak
Pendant/Gorget had been copied from a published image of the ivory plaque from
La Madeleine and the feet could not be included, even though there was
sufficient room on the shell, because the forger did not know what they should
have looked like.
“Thus something is
terribly wrong with the context Cresson provided or created. Occam’s Razor
slices right through this one – the Holly Oak Gorget, with its wonderful wooly
mammoth, is not a genuine prehistoric artifact of any significant age. Indeed,
the shell gorget itself, with no engraving on it, may well be from the very
late Fort Ancient culture of Ohio. Cresson dug on one such site, and he was
fired for stealing artifacts in Ohio. A radiocarbon date recently run on the
shell gorget dates it to less than a thousand years ago. Even (Barry) Fell’s Epigraphic Society Occasional
Publication volume branded it a fake based on the carbon 14 finding!”
(Williams 1991:127)
This strongly suggests that the shell gorget in question was one of the artifacts stolen by Cresson, with the mammoth image later added to manufacture the evidence that would ensure his fame. The dating was carried out by Accelerator Mass Spectrometer
C14 analysis, and resulted in a date of AD 885 within a range of AD
750 to AD 1000. (Meltzer 1990:55) The irony of this all is, of course, that we
now know that not only were there also mammoths here in the New World, but
there were people here hunting and eating them – only somewhat earlier than
Cresson claimed, and just not carving their pictures on shells.
Note: Readers who find these subjects to be of interest will be well served to read the books referenced above, and listed below in my References list.
REFERENCES:
Feder, Kenneth L.
2010 Encyclopedia
of Dubious Archaeology: From Atlantis to the Walam Olum, Greenwood, Santa
Barbara, Denver, and Oxford.
Meltzer, David
1990 In Search of a Mammoth Fraud, New Scientist,
July 14, 1990, Volume 127, No. 1725, p. 51-55.
Williams, Stephen
1991 Fantastic
Archaeology, The Wild Side of North American Archaeology, University of
Pennsylvania Press, Philadelphia.
Labels:
Delaware,
earliest art.,
engraved shell,
France,
hoax,
Holly Oak Pendant,
La Madelaine,
mammoth,
paleolithic
Saturday, April 11, 2015
PLANTS IN ROCK ART - SPROUTING SEEDS?
Sprouting bean petroglyph? Petroglyph Park,
Albuquerque, Bernal County, New Mexico.
Photograph Peter Faris, Sept. 1988.
There are petroglyphs on the West Mesa at Albuquerque, that
some people identify as arrow fletching, but others tend to see sprouting
seeds, particularly beans, in their shapes. The agricultural Ancestral Puebloan
peoples relied to a great extent on the three important crops; maize, beans,
and squash. We do know that maize or corn is portrayed in rock art, and squash
blossoms are an occasional subject in southwestern U.S. rock art. As one of
these three staples of their diet, it makes a certain amount of sense that
beans would also be included in the catalog of subject matter in rock art of
the Puebloan peoples.
Sprouting bean petroglyph? Petroglyph Park,
Albuquerque, Bernal County, New Mexico.
Photograph Peter Faris, Sept. 1988.
Not only were beans an important food source, they had a
role in the ceremonial life of the Puebloan peoples of the American southwest.
Sprouted beans play a role in the important ceremony of Powamu in February
during which the kachina reappear to the villages. "This ceremony is
referred to as the Powamu, or the Bean Dance. The significance of this ceremony
is the hope for a successful germination of the crops to be planted later in
the spring. During this ceremony dancers distribute bean sprouts that have been
grown in heated kivas prior to the ceremony." (www.meta-religion.com)
The Powamu ceremony is opened by the Hopi kachina Ahola, one
of the chief kachinas for First and Second Mesas, by rituals inside a kiva
before going with the Powamu chief to take prayer feathers to Kachina Spring at
the dawn. Afterwards, they visit all of the kivas giving sprouted bean and corn
plants. (Wikipedia)
When a
bean seed germinates and sprouts the two halves of the seed split apart and the
sprout emerges from between them. This is a fairly good description of the
petroglyphs on the West Mesa at Albuquerque, New Mexico, leading to the
possibility that they were intended to represent the bean sprouts so vital to
this important yearly ceremonial occasion, as well as an important food source to the people who created this rock art.
REFERENCES:
inhabit.com
Wikipedia
Labels:
Albuquerque,
beans,
New Mexico,
petroglyph,
plants,
Powamu,
rock art,
sprouts,
West Mesa
Wednesday, April 1, 2015
EXTINCT PREHISTORIC GIRAFFES PICTURED IN NINE-MILE CANYON, UTAH:
Petroglyphs of Aepycamelus, an extinct giraffe/camel
relative have been identified in Nine-Mile Canyon, Utah. The creature lived
during the Miocene epoch, between 23 and 5.3 million years ago.
Long-necked quadruped #1 in upper left.
Long-necked quadruped #2 on left side.
Aepycamelus, formerly called Alticamelus,
Wikipedia
Aepycamelus, formerly called Alticamelus,
Wikipedia
“Its
strange body structure gives us plenty of information on its mode of life and
habits. Aepycamelus obviously
inhabited dry grasslands with groups of trees. It is presumed
to have moved about singly or in small groups, like today's giraffes, and like
them, browsed high up in the trees. In this respect it had no competitors. It
survived a relatively long time, through most of the Miocene epoch, and died
out prior to the start of the Pliocene,
possibly due to climatic changes.” (Wikipedia)
The Miocene epoch covered the period of roughly 23 to 5.3 million years ago. So, could there have possibly been a rock artist back in the Miocene who carved these images of Aepycamelus at that time? Perhaps there was a relic population of Aepycamelus that lasted longer in northeastern Utah, until the great extinction of North American megafauna at the end of the Pleistocene period 13,000 years ago. How else can we explain these pictures?
Well, we could explain them by pointing to the fact that it
is April 1st – APRIL FOOL’S DAY!
(NOTE: The rock art is real, it is the explanation that is bogus.)
SOURCE: Wikipedia
Labels:
9-Mile canyon,
April Fool's Day,
petroglyph,
rock art,
Utah
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