Alex Chionetti - Madrid, España
In 1952, the Peruvian investigator Daniel Ruzo reached the plateau of Marcahuasi, an arid plateau located to the west of the mountain range of the Andes. In her he discovered animals and human faces carved in the rock. Was it geologic formations of natural origin? Ruzo, convinced otherwise, passed the rest of its life investigating the identity of those sculptors. Their search led him until a remote civilization to which called Culture Masma.
Along the last twenty years, the mystery of the Culture Masma has become an obsession for me. Everything began with an ascension to Marcahuasi, Peruvian plateau discovered by the investigator and philosopher Daniel Ruzo in the decade of the fifty. But, what does he have of strange that place? Apparently, it is of kind of a cemetery of stones, but these possess unusual forms. In them they can be guessed, sculpted, the silhouettes of numerous animals and mysterious humanoides.
Who were their sculptors? Ruzo discarded the erosive factor as commendable explanation and it directed its investigations toward a civilization protohistórica that he wanted to leave us so particular legacy.
My initial scepticism disappeared when descending of the mountain. It had checked for myself that the chancy hypothesis of Ruzo could be certain.
Toward 1952, this investigator, in company of one of his children, arrived until the vicinity of a well-known valley as Santa Eulalia. In one of the hills that surrounded it he stopped in San Pedro of Breed, a small town frozen in the time. Above it awaited him a strange geologic formation of three square kilometers: Marcahuasi.
In a rocky scenery characteristic of the sagas of J. R. R. Tolkien, Ruzo noticed that many of the stones were not simple whims of the nature, but sculptures carried out by an unknown race whose origin got lost in the most remote night in the times.
He baptized her «Masma», denomination that connected with the concept that The return of the sorcerers gave to know in the entire world, about technically very advanced missing civilizations.
Underground worlds
Without Pedro's presence Astete (1871-1940) the discovery of Marcahuasi and of the Culture Masma had been unconcluded. To revise this writer's life and essayist is as fascinating as to reconstruct her best friend's complex existence and pupil, Daniel Ruzo.
In the years twenty, Astete was a mature intellectual bowed toward the occult topics. Their investigations attracted Daniel's attention Ruzo, a youth and award-winning poet interested in the hermetic circles of the new one and of the old continent, as well as in the search of a superior conscience and of the being's transmutation alquímica.
In their regular visits to the home of Astete, in the middle of center of Lima, Ruzo was invited to direct its look toward the Hill San Cristóbal, a formation with the appearance of a «lying dog» that incited the curiosity of both investigators. For that time, Pedro Astete had had a series of developing dreams.
In one of them penetrated in an underground enclosure of cyclopean walls. This vision impelled him to look for kind of a «Library of Gold» where they would be the spiritual treasures of a superior race.
Influenced by legends and local myths and, especially, for the reading of a story of Edgar Allan Poe, both friends concluded that that hill that intrigued them was the representation of the Dog of the Huancas, it figures canine associated with the cancerbero, custodian of the underground worlds and of a possible treasure bequeathed by a race seated in what today in day is the Valley of the Rimac.
For them, these mysterious formations were the first conducive hints to desvelar the mystery of the civilization Masma. But, what or who was the masmas?
«It is a prehistoric human culture, previous to the Sumerians and to all the sculptures of three dimensions that fill the museums of Europe». Ruzo used to define This way the concept of Civilization Masma.
Although, thanks to the discovery of Marcahuasi, in 1952, Ruzo checks the verisimilitude of its teacher's theories, these were sustained by themselves.
Astete tried to prove in its studies that the gods or semidioses - of equal it forms that the mythological or legendary heroes - they represent to the chemical bodies, to the elements of the periodic chart: they were the keys of a true alchemy.
The hidden treasures, the caverns, the underground cities, the buried temples, the lost cryptographies and the signs or indications that are shown to discover them, possess a common denominator: the presence of monuments that you/they help us to that the humanity's cultural treasures don't disappear.
«Stone arks»
Inside the Hill San Cristóbal could be the lost treasure of the races that you/they survived of the flood, Noé's descendants or of his equivalent ones in the diverse American traditions. «We always believed that Noé took refuge in a cavern, in a true stone ark - Ruzo wrote in the seventy -.
The sculptures protohistóricas are made to be appreciated from a certain perspective and when the sun is in an exact place of the sky; it is of 'squares' in two dimensions in those that the lights and the shades complete the figures. That technique and style have not been employees in the prehistory.
For it, they have to be works protohistóricos previous to the flood. The dream Masma takes to Astete to the prehistory. Accepting that remote antiquity in 1959 and studying during ten years the mystic chronology of Trithemius and the traditional of Nostradamus, we end up discovering the identity of the secret chronologies of Hebrew and Egyptian, indostanos and Chaldaic, corroborated by the Stone of the Sun of the Aztec calendar of Mexico, for the walls of Babylon and for a sentence of the Greek Hesiodo», he argues the browser and Peruvian philosopher.
But, which is it the reason that we find vestiges of the presence of those races in Peru? Beyond the theory of Gondwana or the continental drift, we should lean to think in kind of a «Race Matrix», generating or heiress of the Culture Masma.
The figure that more I get the attention of Ruzo in the plateau of Marcahuasi it was a well-known formation as Head of the Inca or «Gasha Sins» and rebaptized as Monument to the Humanity.
On their right flank (guided toward the southeast) they are perceived a series of faces that they challenge the erosive chance. One of the faces seems to represent to a negroid one and another sample to a stranger to be macrocephalic of appearance simiesca.
The plateau of the gods
Observed from the northwest, the Monument to the Humanity presents factions that oscillate between the indo-American race and the Semitic one. Seen from the south, the head acquires Caucasian features. The hair, formed by the mass of stony rubbles of volcanic bubbles, grants to the image certain similarity with the celebrated Lady of Elche.
Toward the west, as guarding the Southwest entrance to the plateau, we discover an African, lying lion, giving our back. This is another of the sculptures that resists the analysis of the sceptic. In my opinion, all these figures are designed by means of optic conceptions different to ours.
Another of the sculptural but important groups that Ruzo would not discover up to the seventy, is the Goddess's combined call Thueris. With hippopotamus form, it seems to be a symbol of the fecundity. What is developing in this monument, of fifty meters high, is that, the same as in some Egyptian engravings, the goddess appears accompanied by a crocodile.
The «Magic Foresta»
To less than forty kilometers to the south of Paris, in France, he/she is the forest of Fontainebleau. The visitor can find in this I/you/he/she pierces two elements of the mystic thing.
One constitutes it the abandoned property of Him Prieure of G. I. Gurdjieff, where it trained their pupils in the art of the «Fourth Road», as well as their tomb, only demarcated by a stone dolménica. Another is the foresta and the roquedales of Fontainebleau that he/she already makes thousands of years it was concentration place of Celtic and druidas and, with posteriority, it served from refuge to some templarios, pursued by Felipe IV the beautiful one.
Assiduous visitor of the «city of the light» during the years twenty, where he/she would end up knowing Gurdjieff and, later, to figures keys in their life like the egiptólogo and hermetista Schwaller of Lubicz, Daniel Ruzo would go on pilgrimage to Fontainebleau photographing her in extensive.
Many of the images captured by Ruzo submerge us in a world in gnarled stony ways. It was as well as, following the teacher's indications, I began to sense that this was in the certain thing. There were similarities and coincidences that challenged the chance. It was before works that married to the masmas with the origins of the European towns.
Traveling those approximately 20 square kilometers for those that expands the foresta, looked for some figure that it corroborated my suspicions. Finally I discovered a sculpture - that represented kind of a boar - and I began to convince me that the call Culture Masma had extended on the planet in remote times, probably before the 12000 to. C.
The other figure, to the entrance of the main park, suggests a monolith of rectangular stone at first sight. However, in one of their sides I observed a depression, a mark that he/she left me annihilated until today's day.
He had the form of those «you nail» typical used in the Andes, in particular in the monolithic blocks as those of Tiahuanaco and Puma Punku. This stamp was not natural, but rather it evidenced the setting in practice of technological knowledge that we ignore in its biggest part.
Another detail that he got my attention it was the presence of representations of rams and lambs in stony tables used for sacrifices. On these surfaces, the same as it happens in Marcahuasi, we find the canaletas that were good to eliminate the blood of the animals.
The sculptures of Fontainebleau are so much anthropomorphous as zoomorfas. Among the first ones we find figures with Euro-Asian and negroid features; among second o'clock there are elephants, horses, cetaceans, lions, bears, snails and it is notorious the prevalencia of simians. The recurrencia to the homínidos representations or «you link lost» it is common to the places where it seems to be had extended the Culture Masma.
This last he makes us meditate in relation to if the last representatives of this «race mother» - or the heirs of knowing - they had some contact with our humanity in the beginnings of this. Could it maybe influence this culture in the jump in the evolutionary scale of ago half million of years, the one that differentiated us of the inferior primates?
The Humanity's origin was not maybe in África, but rather it is necessary to look for it in some place of America, such and like he suggested the Florentine paleoantropólogo Ameghino when locating it in a period different to the quaternary one and in the Andes patagónicos, as for the geographical environment.
But our itinerary that drives us again until the American continent continue. In the years seventy, Ruzo settles definitively in Mexico, concretely in the town of Tepoztlán, where it would die, almost centennial, in September of 1991.
What he was attracted by of this it pierces, located in the valley of Cuernavaca - that of the Eternal Spring -, it was a series of rocky-sculptural formations to those that he baptized as «sacred wells». In him he discovered similar figures to those of Marcahuasi, symbols that he interpreted as indications to consent to the interior worlds and a treasure represented by the dualism between the gold and the knowledge.
Ascent to the Tepozteco
When I visited Ruzo, this insisted me in that observes the presence of two sculptures that they represented two dogs cancerberos, located in the accesses to Tepoztlán. I was several times in the place and I ascended the Tepozteco, the statue that he presides over the whole complex. From the distance the figure of an enthroned character can be perceived. Until details they are appreciated in their face, as the eyes or the mouth. Already in the peak we discover a pyramid, with characteristics that escape to a regional architectural interpretation.
Another of the figures that they got the attention of Ruzo was that of the «flying plate». A rocky formation where it also highlighted the humanoides presence, to those that the investigator baptized as «the escafandristas». was it remote extraterrestrial visitors? Ruzo didn't share this explanation.
Contrary to the Peruvian sculptures, the presence Masma in the Mexican valleys desdibujando has left. In opposition to Marcahuasi, the figures tepoztecas much more erosionadas are. It is tempting to think that perhaps is part of an extremely primitive sculptural complex, where the old ones left their impronta before in other places.
More to the north, in the state of Querétaro, we trip us with another location, dominated by the Stone of Bernal. In the professor's opinion Sánchez Briones, this sculptural group, as well as the near one to the neighbor San Juan of the River, they would be part of a projection of the sacred geometry that extends toward Tepoztlán and Marcahuasi.
The most fascinating thing of this it pierces it is to be able to contemplate the appearance of kind of an arrow in the peak of the stone. This is manifested during the winter solstice, by means of a fascinating game of lights and shades.
On the whole, the summit offers several surprising images, although the repeated resemble each other to condors. In the left hillside (toward the south) we discover félidos images and two lions.
Already in San Juan of the River we meet with what Ruzo called «false doors», similar to entrances that were walled by the same geologic constitution of the mountain. In one of the walls, Briones found a horseman that seemed to change position thanks to certain solar effects.
Continuing with our upward itinerary, we arrive to California, centering us in an area considered as «lemuriana» for astroarqueólogos and local ufólogos. However, this area, located in the crests of Santa Mónica's mountains, where the Indian gabrielinos resided, it didn't show the marked anomalous characteristics of the other sculptural complexes that I visited.
This way, I reached the conclusion that the particular configuration of some of the rocks in those «Walls Lemurianas» he/she was due to casual factors or the erosion.
Solstitial altars
Carrying out investigations in connection with the exits and on of the sun, and to the search of astronomical observatories or solstitial altars, I could discover an interesting one it pierces beyond those denominated «Walls Lemurianas».
In an area rural call the Canyon of the Virgins found a figure with leonine appearance accompanied by other mysterious sculptures. One of them was a formation with triangular form, maybe a goddess Thueris. To consent until the same ones it was necessary to go by an opening under a gigantic crag that was incrusted walls between two.
As in the valley of Marcahuasi, next to this figure I discovered other very significant ones. Two of them seemed to be symbols of the fertility, as a phallus and a stony vulva. In front of these formations a leonine sculpture that he looked toward the west. However, see from the opposed side he acquired the aspect of a feline - perhaps a jaguar -, and it was guided toward the exit of the sun.
Although they repeated some of the characteristic reasons of the plateau of Marcahuasi again, I had the same sensation that assaulted me in Mexico: conform to it directed toward the north, the sculptures lost contours and definition. They seemed more erosionadas, maybe to be near at the level of the sea. I have returned to this place several times with other specialists of the unusual thing. All they were shown convinced that the particular morphology of these stones could not be attributed to a simple chance.
