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Ancient

Why are these ancient images of the Lord of the Animals appearing all over the world?

So far, anyone who has even accidentally seen ancient art has noticed that the same patterns, symbols and motifs appear on the globe. Is it just a coincidence? Or were ancient cultures much more connected than we currently understand? You don’t have to be an academic or a professional archeologist to see ancient art and ask yourself questions.

One such example, by many, is the recurring motive of something that some call the “Master of Animals.” Also referred to as “Animal Master” and “Animal Master”, or Potnia Theron. These images date back to 4000 BC. As you like to call them, these are images of a human, god or goddess holding two animals or objects on each side.

According to researcher and writer Richard Casaro, these are icons of “bogoise” and represent universal knowledge. He analyzed hundreds of similar examples across the globe, along with similar ancient pyramidal structures.

After these motives are met again and again all over the world, it is interesting to ask ourselves how this is possible. Is it just a matter of reaching the same decorative symbolism by accident? Or do we see evidence of communication over thousands of miles when this was considered impossible in our time?

Aside from this mystery, what does this symbolism really mean? We can argue that these images show dominance over the animal kingdom of ancient heroes and heroines. Does this idea sound right? And maybe we are looking at images representing ancient high-intelligence creatures conveying knowledge of agriculture or technology, as some theories about the ancient astronaut suggest?

We cannot say anything definite here, but we make you wonder and enjoy these beautiful ancient works of art. The more we study them, the more questions arise and the more our true understanding of history is called into question.

One of the earliest examples is Turkey’s “Sitting Woman of Chatalhuyuk”. Made of baked Neolithic clay, the ceramic artifact was created in 6000 BC. It is commonly known as the Mother Goddess and was discovered in 1961.

“In one of the temples in a barn, a 12 cm statue of a large woman was found sitting on a throne with two leopards on either side of her. The statue depicts a woman giving birth when the baby’s head is visible. In addition to leopards and vultures, there are bulls next to the woman. Only the heads of bulls are depicted in the murals. “


The Sitting Goddess-Mother by Catal Hyuk: Head is Restoration, Museum of Anatolian Civilizations by Nevitt Dilmen

We see some of the first images of the motif on cylindrical seals of ancient Middle East and Mesopotamia. Below we see the Achaemenid print impression with the Persian king taming two Mesopotamian lamas who were protective deities.


“Contemporary Impression on Clay from the Achaemenid Cylindrical Seal, 5th c. A winged solar disk legitimizes the Persian king, who tames two rampant Mesopotamian figures of lamas. Finely decorated date palm at the end. “

This may represent the naked Enkidu with the god of flocks Shakan, as seen in another print below. Enkidu was a central figure in the ancient Mesopotamian “Epic of Gilgamesh.”


Protecting master of the harp found in Ur. Dated around 2600 BC


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In present-day Iraq, we see this object with a strange shape from 2500 BC. The shape looks similar to the object so often seen in the hands of ancient creatures in carvings around the world. It was sometimes called the ancient handbag, but what really was it? This object seems to combine the Master of Animals with the shape of an ancient handbag.


Chlorite, Giraffe culture, approx. 2500 BC, Bronze Age I


The Mysterious Handbag of the Gods: Depicted in Sumer, America and Goebbeck Tepe

We are now moving to the Indus civilization from South Asia. We see a Pashupati, or Animal Master, who is Pashupati in Sanskrit. The seated figure is surrounded by animals.


“A seal discovered during excavations at the Mohenjo-Daro archaeological site in the Indus Valley draws attention as a likely representation of a figure of a ‘yogi’ or ‘proto-Shiva.’ This seal of Pashupati (the lord of animals, in Sanskrit pashupati) shows a seated figure, probably iphiphaly, surrounded by animals. There are three faces to this figure, one on each side and this may be the four-headed Brahma, with the fourth chapter hiding behind. One can clearly see the long nose and the wide lips on both sides. “

Let’s take a look at the now famous ivory and flint knife called the Gebel el-Arak Knife from Abydos, Egypt. The site dates from about 3000-3200 BC. according to conventional knowledge. The question of why an apparently Sumerian king was found on an ancient Egyptian artifact puzzles the researchers. The figure may represent the “Animal Master”, the god El, Meskiagkasher (the biblical Hus), the Sumerian king of Uruk, or simply the “warrior.”

As evidenced by his pastoral hat, one researcher writes:

“The king of Uruk seems to always be surrounded by animals. As explained in The King of Uruk, “The continuous presence of animals in the iconography of the Uruk king aims to establish his identity as a shepherd, guardian and protector of his flock, the people.” The Uruk king had to use paintings instead of writing. to show that he is the shepherd king. This is because the Sumerian letter was still in the process of being invented.”


Gebel el-Arak knife ivory handle (detail from front top)

Another example that draws references from both Egypt and ancient Mesopotamia is this gold medallion showing the Master of Animals. Although Egyptian, it is Minoan, dating from 1700-1500 BC. It is now in the British Museum. Note that the snake looks eerily similar to the one on the Gundestrup Cauldron from Denmark below.


Egyptian golden medallion showing the Lord of the Animals, Minoan, 1700-1500 BC. Aegina Treasure. (British Museum) by Jean-Pierre Dalber of Paris, France.

Moving to ancient Greece, we see a female goddess, portrayed as the “Mistress of Animals” or Potnia Theron on an archaic ivory meal.


A representation of the goddess Artemis in Potny Theron’s usual posture on an archaic ivory vault, (National Archaeological Museum of Athens) by Marcias.

Nearly 3,000 kilometers from here, we find another animal master in Denmark on the Goodenstrup Boiler, the largest known silver piece from the European Iron Age. The boiler was found in peat bog in 1891 and can be dated to the 2nd or 1st century BC. This time the “animals” in the hands of the figure seem to represent some more misunderstood technology than real snakes.


Detail of a deer-horned figure on the Hunderstrup boiler

The example below, Luristian bronze, dates from between 1000 and 650 BC. and comes from a mountainous region in western Iran.

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Ancient

Mysterious frescoes depicting fantastic creatures found in Sahara

The Tassilin-Ager National Park has long attracted the attention of many archaeologists with its cave paintings, as it depicts many drawings that are of particular interest to researchers.

10 thousand years ago on this territory, lived people of which little is known. Now archaeologists managed to open the veil thanks to the found cave paintings. However, there are a number of images that cause researchers a number of questions.

Back in the mid-19th century, in the Sahara, scientists began to explore illustrations on stone. So, thanks to the cave paintings, the researchers were able to conclude that in prehistoric times the Sahara was not a desert.

In those days there were rivers, the animal world flourished, there was vegetation, and even heavy rainfall fell.

Also, archaeologists came to the conclusion that the civilization that once lived in the Sahara was on a par with the mighty peoples of Ancient China, India, Egypt. Then the desert began to advance, which evicted people from their homes. Despite the fact that people left, the cave paintings remained. So, the earliest drawings are at least seven thousand years old.

Most of all, historians were interested in images of people. Since most of them were depicted with a non-standard large head size, the work of artists of that era was nicknamed the “round-headed style”. The figures of people changed over time, but their heads remained round.

“The murals are placed so thoughtfully, and the figures are depicted in such strange poses that they make a strong impression. Seeing one of them in the first grotto, we were scared. The figure was about three meters high. She held an egg-shaped object in her raised hand,” researcher Henri Lot wrote.

Henri Lot, an archaeologist from France, was the first to discover incredible murals in the Sahara. He managed to find one of the largest prehistoric paintings, whose height was 6 meters. Henri Lot gave named it the “Great Martian God.” Specialists who study UFOs, looking at the picture, came to the conclusion that it depicts an astronaut in a spacesuit. However, according to scientists, the picture does not depict an astronaut, but a priest in clothing characteristic of the rituals.

Researchers also found drawings of humanoid and fantastic creatures. So, in one picture, the artist portrayed a man in a helmet that comes out of a disk-shaped object.

In addition, on the cave paintings you can find hybrids – an ostrich with the head of a lion, an antelope with the body of an elephant. Now researchers can only guess where the artists of that time were so imaginative.

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Ancient

The mystery of the disappearance of Sanxingdui culture

In 1929, a Chinese peasant was digging a ditch. Suddenly, his shovel turned a layer of earth with jade figures. It was luck, there were many figures. Most of them went into private collections, and of course, archaeologists became more active. The area was studied for a long time, but there were no more finds.

However, in 1986 there was a sensational event. Workers at a local brick factory accidentally discovered two huge pits filled with artifacts made from various materials – clay, jade, bronze, gold – about 1,000 pieces.

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Archaeologists began an intensive search around, and at the end, there was a lucky strike. Just thirty meters from the first, a second cache was found.

The artistic style in which bronze, ivory and gold objects were made was completely unknown to connoisseurs of ancient Chinese art.

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The contents of the caches turned out to be so unusual that from that moment, the name of the carried out locality was forever inscribed in the history of Chinese archeology.

The artistic style of these works has struck the whole world.

There were gold masks, axes and jade knives, many shells … and mysterious bronze heads with large slanting eyes and sharp ears.

Especially a lot of them were cast bronze products, and the manufacturing technology was amazing. For large objects, the ancient metallurgists used stronger alloys, for this, lead was added to the amalgam of copper and tin, at that time they already knew such subtleties.

Among the large artifacts there is a 4 m high tree and the largest bronze statue in the world, the height of which together with a pedestal is 2.62 m. The statue weighs 180 kg and has an unusual tiara on its head.

The carbon analysis which was carried out, allowed us to determine their age – it ranged from 3 to 5 thousand years.

What is Sanxingdui? Now that archaeologists have been working in these places for many years, it is clear that people lived in Sanxingdui long before Qin Shi Huang established the first imperial dynasty and created the famous terracotta army, and even before the era of the Battle of the Kings.

The settlement appeared here at the end of the Neolithic (the earliest finds date back to about 2800 BC) and continued to exist during the Early Bronze Age.

It reached its heyday in 2100-1400 BC, which corresponds to the so-called “kingdom of Shang-Yin” in traditional Chinese historiography, located in the Yellow River basin, that is, northwest of Sichuan, where Sanxingdui is located.

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In 1992, the Sanxingdui Museum was opened, where you can see all these artifacts.

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Ancient

Researchers will determine the age of the ‘Giant of Cerne Abbas’ geoglyph

Phillip Toms of the University of Gloucestershire and his colleagues will study samples taken from the elbows and feet of the Giant of Cairn-Abbas, the famous geoglyph located in the English county of Dorset. Scientists want to clarify the age of this image.

The Giant was carved on a hillside near the present village of Cerne Abbas. Due to the removal of the surface soil layer, the Cretaceous rock was exposed, and as a result, an image of a naked man appeared. Its height is 55 meters, width – 51 meters (due to arms apart). In his right hand he holds a club with a length of 37 meters. Studies have shown that the giant had a cloak draped over his left hand.

The first mention of the Giant of Cerne Abbas in written sources dates back to November 4, 1694. In the “Reports of Church Ministers from St. Mary’s Church in Cerne Abbas” on this date it is indicated that three shillings were spent on the “restoration of the giant”. In 1734, the Giant was described by the Bishop of Bristol, who examined the local landmark during a visit to Cerne Abbas. Four years later, the giant was mentioned in a letter by the antique dealer Francis Wise, and in 1764 he was discussed at a meeting of the London Society of Antiquaries.

Scientists have not yet agreed on whether it appeared in the 16th century or was created earlier. There are currently three main theories. According to one of them, the Giant was carved in a hillside on the orders of the local Lord Denzil Holles and is a caricature of Oliver Cromwell. Halls and Cromwell, although both sided with parliament, were fierce political opponents, and Cromwell even put forward charges against Holz of clandestine ties with King Charles I, who was in besieged Oxford. The version of Halls’s connection with the Giant of Cerne Abbas is based on a report from the 18th century antiquary John Hutchins, who mentioned in a letter that the estate manager told him that “the figure was modern, carved in the time of Lord Hall”.

Proponents of another theory believe that the Giant dates back to Roman times. They note the similarity of the figure with the traditional images of Hercules , which became especially noticeable after the discovery of traces of the cloak (in this version the “cloak” is considered the skin of a Nemean lion). Finally, the third version connects the Giant of Cerne Abbas with Celtic culture. Its appearance is caused by the similarity of the Giant with the image of the Celtic god on the handle of the pan found in Hod Hill in Dorset, which dates from about 10-51 years of our era.

Current researchers intend to use optically stimulated luminescent dating, which allows us to establish how long ago sunlight was exposed to minerals for the last time. “It is likely that the tests will give us a range of dates, not a specific age, but we hope that they will help us better understand and take care of this famous landmark,” says archaeologist Martin Papworth.

Gordon Bishop, chairman of the historical society of Cerne Abbas, said that although some villagers “would prefer the age and origin of the Giant to remain a mystery,” most would like to know at least if he is ancient or only a few hundred years old.

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