This submission to the magazine is to supplement those already published in other
issues concerning the recorded covert images and symbolisms of alleged alien
intervention and dominion of our ancestors. These records have hitherto taken the
form of sculpted stone and metal artefacts such as pottery and royal seals which we
will also examine here. Naturally, paintings are included, such as one sees in
Egypt, but which we will not have available to us in this context. Nonetheless, the
same import of those symbols will still become apparent despite this lack of
painted data.
On a technical note, I must mention that these images were captured as bitmap on
my home PC, and annotated using its bitmap options. You ought to be able to do
the same and retrace the method of interpretation and annotation I have used with
your PC facilities. Indeed I urge you to do so, to verify my assertions. You will in
due course identify MANY more images than I have - and this is to be expected. I
have deliberately selected that which I consider salient and relevant to this theme of
alien intervention, but without, I hope, undue bias towards any particular deity or
so-called ' God ' by our ancestors. One image I would prefer to highlight,
however, is the upright ' Lizard ' I have also encountered elsewhere in my
submitted analyses of other ancient civilisations such as South America, South
Africa, Egypt, Ancient Israel, modern North America, England and now Ancient
India. I am certain there are many, many more examples to discover in similar
fashion from within other old and modern earth civilisations, alas time is my
constraint in investigating these further. The limits of my desk-top PC also prevent
me from highlighting the more subtler images concealed beneath those already
offered here.
Essentially, one has to look beyond the obvious to begin to discover the covert
images annotated here in this article. Why ? Well, from my research, I have begun
to recognise that the architects and sculptors illustrating hierarchy, dominion and '
badges-of-office ' , all seem to have devised and constructed the same but without
managing to draw attention to them unduly. That is to say, they are camouflaged
by the obvious overt images which most of us are intended to see. These covert
images of non-human entities represent a consistent group of individuals such as,
for example, the Lizard who is mostly depicted engaging in scientific or at least
technical manipulation of its environment and even humanoids - particularly
females.
Why this, then ? I have no data to substantiate the identity of the entity, other than
mythology referring to an overlord alien known as ' Anu ' with offspring called
'Enki ' and ' Enlil ' whom are regarded in the human sense as sons. The hierarchical
alien race of Anu were supposed to inhabit a world or planet in eclogical and
karmic decline, and this manifested in genetic reality for Anu's fellow creatures.
Being technically competent in sciences which we are still relatively primitive, the
Anu species foraged around space evaluating planets and lifeforms capable of
assisting their genetic revamping and provide lifestyle service in general. Earth
was visited and colonised and abandoned to this end, and the rest is non-official
history. Human hierarchical hybrids of all hues and descriptions ensued during this
occupation, giving rise to the remnant beasts of mythology which inevitably died
out over aeons of time due to inherent inviabilty of ' artificial creation ' in the ' true
creation '. Only indigenous humans survived because of our inherent natural
manifestation from creation's source, though we all still ought to contain
genetic and, if you will, karmic remnants of the impact of this original Anu
intervention and dominion - bearing in mind that the Anu species had instigated the
same effects with other species elsewhere, and with whom our ancestors might
have been hybridised with in addition.
That's the supposed mythological story with all its implications for you, I,
civilisation and the modern world we are living in. A ' Star Trek ' yarn perhaps, but
the more I research this topic, the less I am inclined to reject data which seems at
best outlandish and at worst plain ridiculous.
The images have reversed contrasts to aid recognition of the subtle details. Please
understand that every single notch and cut in the artefacts' stone surfaces comprises
the shape of something. Many images are used to from the basis of others, and
that's not without rotataing anything through 90 degrees or more to achieve yet
more of the same ! If you can, imagine you are observing a matrix which has these
images projected into it in 3D. Capture these images in ' 2D ' stone or metal and
this is what you get with the seemingly roughly hewn topographies beneath - only
these aren't so roughly hewn after all.
Magnifying the untouched base images by 2 or possibly 6 will demostrate this all -
again your PC ought to support this option. Its as simple as that. The difficult bit
is suspending judgement and conditioning when studying all this. What if its
proved to be true? Maybe our ancestors weren't so simple - or so free after all. Let
us begin.
These seals form the basis of this magazine analysis this month. In the upper two, I
have sketched the basic images apparent to me upon first inspection, and using the
principle of covert images hidden around and beneath the overt ones of the animals
and the curious script etc. Remember, every slight contrast in metal colour, and
scratch or line, isn't what it appears to be - these are the bases of the hidden image
outlines.
So what's the big deal about a couple of faces looking like rabbits, a blue pet
Labrador dog, a dubious-looking crocodile and an old green gas mask ? Isn't this '
faces-in-the-clouds ' wishful thinking ?
No.
First, a brief official history of the Indus Valley civilisation. It is the earliest known
civilisation in Southern Asia, lasting from 2500 to 1700 BC, and related to the
bronze age cultures of Mesopotamia, Egypt and Crete in this chronology. Modern
times, it is covered by Pakistan from seaward up to the Himalayas and bordering
Iran in the western extent. The main centres were Harappa and Mohenyo-Daro
characterised by large public buildings catering for all aspects of society, and the
use of governmental seals pictured above. There was a language script available ,
which remains undeciphered to this day. Other satellite centres were culturally
diverse, but observed the main governmental and hierarchical cultural orthodoxies.
I am prefacing each seal / tablet analysis here with a photograph of the different
geographical regions of the Indus in order to provide a general visual context.
However these artefacts are not specifically related to any cultural or locational
order. Its to provide a theme for this article - that is all.
The upper reaches towards the Himalayas first - nothing special I grant you, but an
attempt to provide contrast to the lowland photos following. Typical terrain.
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