Evidence of the Gods (15 page)

The knockout argument put forward by the so-called serious authorities is always the same. After all, the sun, moon, and stars just happen to be located in the heavens, and therefore the naïve people had created symbols for these nature gods, they say. Anyone who advances those kind of arguments has no idea about ancient Indian culture,
¹⁹
,
²⁰
in which the flying machines of the gods are described in detail; knows nothing about what the Prophet Enoch said before the Great Flood,
²¹
who gives a first-person eyewitness account of his visit to the gods in the heavens; or has never heard anything about the
Kebra Nagast
.
²²
Various airborne journeys of King Solomon are described there in the
Kebra Nagast
, including the speed with which the flying king was able to manage the great distances: “…thus Solomon covered a distance of three months in one day on his flying machine, without sickness and suffering, without hunger and thirst, without sweat and exhaustion. (
Kebra Nagast
, Chapter 58)

Arabia’s most important geographer and encyclopedist, Al-Mas’udi (895–956) wrote in his
Histories
that Solomon had owned maps which showed “…the heavenly bodies, the stars, the earth with its continents and oceans, the inhabited regions, its plants and animals, and many other amazing things.”
²³
They did exist, these flying chariots of early times, and the people on the ground produced their large markings precisely for these flyers
in the sky—a salute to heaven. The prehistoric pilots landed in various places. After all, they needed fresh food and water. In doing so, they were observed by the Stone Age people, who engraved the gods they did not understand into the rock walls. This happened worldwide, of course, because the flyers of antiquity were globally on the move in their airworthy crates. Their traces can be found everywhere.

In the fifth century, India’s greatest poet, Kalidasa, lived at the court of the Gupta kings. In his epics, he draws on ancient Indian literature, to which he had access at the royal court. Thus he tells the story of the ancient rulers of Raghu in the
Raghuvamsa
, and in canto 13.1–79 there is a detailed and very precise account of a flight from Lanka to Ayodhya. There is a description of the panoramic view of the ocean from above, with its various depths, colors, and submarine mountains. The flying chariot sometimes flew between startled birds, then in the clouds, and even on paths “which are travelled by the gods.” The regions and places over which the flight passes are precisely listed: “The Godavari River…the Agastya hermitage…Chitrakuta mountain near Allahabad and the cell of Atri on the Ganges…past the capital of the King of Nishada to the territory Uttarakoshala on the Sarayu River…” The people gathered on the ground watched the heavenly vehicle with astonishment from which Rama disembarked on steps of flashing metal.
²⁴

All in all, according to the description, the prehistoric journey by air covered a distance of 2,900 kilometers from Lanka (Ceylon) to Ayodhya, via Setubandha, Mysore, and Allahabad. When King Dushyanta came out of the aircraft, he noted to his surprise that although the wheels were turning, they did not stir up any dust. Furthermore, they did not touch the ground, although Rama emerged from the heavenly vehicle on metal steps. Matali, one of the pilots, enlightened the king: the difference was that, on this
occasion, a heavenly vehicle of the gods had been used—and not one belonging to humans.

Precisely this remark highlights the essential difference. In those prehistoric times, there were a variety of flying machines: the flying crates of the human rulers and the high-tech flying vehicles of the gods, which were considerably more sophisticated than their earthly imitations. The mysterious Chi Kung people who built “flying chariots” for the founder of the Shang dynasty operated on the earth. The Indian King Rumanvat, who set off not only with his harem but also a crowd of dignitaries, engaged in human aviation, as did King Solomon and the Pacific god Rongomai. Selected, intelligent people were instructed by the gods in how to produce flying vehicles. That does not require any technical evolution or physical infrastructure. I could teach any Stone Age society how to make a hot air balloon and produce steam for a primitive drive. A propeller from hard wood would not represent any great feat either.

The differences between “gods from space” and earthly kings, between flying chariots built by humans and the “heavenly designs,” is clearly established in the ancient texts. Typical in this respect is Arjuna’s journey to heaven. Arjuna is the hero of the story, and he flies off with Matali, the pilot. Even before they set off, Arjuna notices chariots that were lying on the ground unable to fly, as well as others hovering over the ground:

…Arjuna wished that Indra’s heavenly chariot would come to him. And the chariot suddenly arrived in a blaze of light with Matali, driving darkness out of the air and illuminating the clouds, filling the regions of the world with noise, like thunder…. He joyously drove upward with the magic construct toward the sun-like chariot. When he neared the area invisible to mortals, inhabitants of earth, he saw
heavenly chariots of wondrous beauty, thousands of them. There the sun does not shine, nor the moon, there fire does not sparkle, but in their own brightness shine what are seen on earth as the stars. Because of the great distance, they do so look like lamps, although they are large bodies.
²⁵

I could really conclude this excursus about flying chariots—which, I am convinced, are the only reason for the giant markings on the ground and rock drawings of the gods (those with the rays)—with this comment: what more do you want? But cross-connections are like flashes of lightning in the memory. What was that about the heavenly vehicle?
“…filling the regions of the world with noise, like thunder….”
Just the same as in the Prophet Ezekiel in the Old Testament. There the noise of the heavenly chariot is compared with the noise of a host, the rushing and thunder of many waters. I know what that is about. After all, I have written 30 books on the subject.

And what did these “gods” actually want on earth? The answer is written in Chapter 11, verses 1–4 of the “Sabha Parva” (part of the Indian
Mahabharata
).
²⁶
There it is reported that those gods had come in ancient times from a far distant place in space
to study human beings
. Interstellar ethnologists were at work.

But it was not just human beings who left rock drawings in honor of the gods and markings on the ground pointing toward the heavens. The gods themselves put a stamp on the earth’s surface in a few places. Why on earth would they do that? It was probably for their heavenly “colleagues” or as messages for future generations. There might have been something important at specific locations to which the flying gentlemen wanted to draw the attention of other members of the airborne establishment.

Such messages can be viewed at a mountain slope near Palpa in Peru. Palpa is actually a part of the Nazca desert. The difference between Palpa and Nazca is academic more than anything else. In Palpa, there is a rectangular “chessboard pattern” on the ground which only becomes visible under certain conditions of daylight. A second one extends from the first. (
Image 138
) Somehow the image is reminiscent of binary code. Then there is a giant “mandala,” a geometric shape, whose message could never have been invented by Stone Age people. It was human hands which did the work—but under the guidance of a genius of geometry.

From the air, the first thing that becomes visible is a large circle with innumerable little dots on the circle line. In the middle, there are two superimposed rectangles divided into eight squares. (
Image 139
) These squares are subdivided by crossed lines and in the center there is a bundle of 16 lines raying out. The large geometrical figure is flanked on the right and left by two circles. The image as a whole produces a gigantic triangle consisting of three circles (two smaller
ones and one larger one), a square, and the base lines around the geometrical message.

Why is this incredible image ignored in the specialist literature? Why do no mathematicians dare to think about the solution? It is claimed that the whole thing is a forgery created in our time. What led to that conclusion?

Two small wooden pegs were found at the edge of the mandala-like shape and dated using the C-14 method. The result suggested wood from our time. Case settled. Furthermore, someone had—intentionally?—left a small piece of cloth torn off some blue jeans lying about. That was sufficient for the supporters of the forgery theory. Sorry, friends from the other faculty: your rejection is premature.

In the 1960s, two teachers from Nazca attempted to measure out the mandala, which has been resting in the ground for an eternity, in order to draw a copy. They stumbled about the burning-hot stone desert with small sections of branch. The string for making the measurements was to be attached to the wood. The work was soon abandoned. The task was too enormous and too complicated. Today such measurements could be undertaken from the air.

The proportions of the whole diagram argue against a forgery. All three circles in the triangle have a side length of several hundred meters. Furthermore, and this is something that the critics should really have noticed, an ancient cut in the terrain runs right through the middle of the image. (
Image 140
) It starts at the edge of the inner rectangle, widens, goes through the inner and outer circle and beyond the frame of the encompassing square. Here—and this is the crucial point!—the circle and lines also pass through the cut in the terrain. For the unknown creators of the diagram, that seems not to have mattered—for today’s forgers, in contrast, it would have represented a serious problem.

It is true that there are figures and messages in Peru which originate in our time, including in the area around Nazca and Palpa—for example, the emblems or initials of political parties. But they are created in places which are easy to reach, not on mountain slopes with cuts in the terrain.