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Friday, March 27, 2015

The Ascending Sheep Explaination

Ascending Sheep Panel



First let me say that you will never find me referring to the Native American Petroglyphs and Pictographs as "Rock Art," I find the term as diminishing, insinuating that the Native people were to stupid to write and yet here we have a form of communication which holds the keys to the most complex hieroglyphic systems known to man. Don't make me explain that... 

So… For the few...  who inquired to know more, I offer the following with some explanation. To understand the basis of my comments in whole, one would have to have a foundation of study in the symbol base meanings not created by, but rediscovered and used by LaVan Martineau, understand his hypothesis and those things which I have discovered as a result of hundreds of examples which I have encountered of the last near 30 years. You can get a copy of my findings upon request, maybe... a chapter from one of my books which I believe will help you to understand this more clearly.

I can't tell you everything about the following images, and what I say certainly does not make it so; however I can tell you what I see based on my observations over the many years. I have panels that I have studied for over 25 years that I still only have a small part of, whereas others seem to flow.


To begin with, the quadruped which many always see as a goat, dear or some animal such as this panel we call them sheep, actually have nothing to do with an animal whatsoever. The quadruped was designed to give example of lateral movement. It is a fictitious animal used solely for this purpose, unless other forms of incorporation are included. In the case of this panel it is the lateral movement and some characteristics of "The People"

To get clarity from a panel, the main objective is to learn the subject of the panel as this helps to attribute the correct or intended derivative words to the many symbols and we can only apply their base meaning when the subject is unknown. Because I have in part a subject in mind I can at least identify some things, however all must be taken as a hypothesis as I can think of no way to prove it, just as I cannot prove that Wallace Budge had a distorted view of Egyptian hieroglyphs, nor any more than he or his faithful followers can prove that I am incorrect.


The main figure on the left I can see right off is the great deceiver, not because it looks like it with first impressions, but because of a few things I see. First impressions are good to note, but until the panel is understood to a degree I advise not to let it be your guide, other wise all Native American glyphs will be come the works of ancient aliens, and we don’t need another Giorgio A. Tsoukalos, Wallace Budge or Francois Champollion. If you detect a hint of animosity, you are correct, but I try to keep it at bay. The people who WROTE these things upon the rocks for future generations are my ancestors be it in a small way, and I have grown weary of unsupported criticism by those who cannot provide evidence to the contrary and do nothing but take pictures chanting "ooow... aaah... isn't that pretty" while bringing your attention to the delicate dirt.

Now we can start with some analysis. First and foremost, note the entire panel is painted in red. Red denotes a spiritual concept rather than the material or physical one. An example might be a simple line which carries a base meaning of path, trail or go. If pecked it is a physical path or trail, if painted red it is a spiritual path or trail, Red being representation of “Not of this physical world” or of a spiritual nature,

Now take note of the main deity’s head which takes the shape of an oval or egg with a bit of a pointed side. This denotes “Objectionable” and this is only its base meaning. However if we are correct in our impressions of this figure, I cannot think of a better way to identify the individual it represents, his intent, disposition and/or character, by using this symbol as his head.


We also find the symbol for crooked [path] which is an extension of the straight line meaning path, yet in this case is a crooked path and coming from the mouth tells me with his intent is to give crooked words to find the crooked path of life.


We see his left hand in the position of the symbol which represents beckoning or to receive and with this behind his back (effortless or hidden intent) and the straight line of  sheeple coming to him with out his effort (arm extended to receive behind back) shows their wiliness to receive the crooked deeds (hand and crooked line downward). Those in front of him however took some effort but notice they do not come to him directly in a straight line, it took the deceiving tongue and notice the fat bodies, those fat from life or guided by the material things, But the spiraling or wavy line they come by, denotes either the crooked path they took or the slow process of causing one to go back and forth from the straight path to the crooked path.


The figure standing in the main figure's right hand with his arm some what in the position of speaking, the main entity has the small figures attention, It shows that the fat figure in the hand has been received by the deceiving tongue and has become fat (wealthy, rich, or like concept) having not turned aside (head of figure). His arms are in the position of doing nothing or barring as well as his legs which to me signifies his inability at this point to do anything of his own will.


We also see the legs of the main deity in the position of Commencing and having incorporated into it the meaning of veering to one side (curved line). We also see what most would see as a tail of this deity, and taking the form of a path leading downward and coming from his back (not where a tail would be) shows the true intention (that which is behind), of bringing the people down.


One last thing I see is what LaVan Martineau gives the meaning of “Good Journey or Nothing there to inhibit the way” and this is what most would call horns on the main deity. This is the symbol of the double line or parallel lines (Path) with nothing in between. And I can see why LaVan gave this base meaning. However I feel there is a bit more to it when used on deities and quadrupeds. I think it shows intent. In the case of the deity the lines extend from the back of the head which again shows hidden intent or what is NOT the intent. His intent would be displayed on top of the head (such as is the case with the small figure in his hand), where as that which is in the back of the mind (head) is NOT the intent. I cannot think of another way to put it.

This is as much as I am compelled to say concerning this panel, at this time I cannot comment further. I hope this at least gives some ideas.

In closing, let me remind the reader, this is considered as a hypothesis, although very much my truth and my proof due to hundreds and hundreds of examples and testing arriving at the same results, I cannot offer any other evidence. If nothing more I hope you enjoy...



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