UFO Conjecture(s)

Friday, October 11, 2013

Ancient UFO Visitations?

Copyright 2013, InterAmerica, Inc.

In Peter Kolosimo’s extravagantly illustrated and documented book, Spaceships in Prehistory [University Books, Inc., Secaucus, NJ, 1976] are some drawings gathered by Aimé Michel from various caves in the Franco-Iberian (France/Spain) region of Europe.

These drawings show, as far as they can be interpreted, UFOs and/or alien beings, from our current perspective, and within the context of modern UFO lore.

Click HERE to see Page 14 from the book of the drawings, close up.

Click HERE to see Page 15 from the book, of the drawings, close up.

Mr. Kolosimo also provides identification of the drawings, their locales and dates:

Click HERE to see locales/dates close up (from Page 16 of the book)

Click HERE to see locales/dates close up (from Page 17 of the book)

Kolosimo notes the “Rouffignac manikin” at the bottom of the second page of drawings [S-9]: a modern-looking humorous sketch of a man, but from about 13,000 years ago.

Mr. Kolosimo is not quick to attribute the drawings to extraterrestrial visitations, although Aimé Michel surely did, as does the Ancient Astronaut theorists. And such an interpretation is not irrational.

Professor André Leroi-Gourhan, however, who made the drawings, and is considered, Kolosimo writes, as the greatest living (at the time) authority on Western prehistoric art, sees men in beast masks and the drawings as imaginative renderings of prosaic things which were part of the cave-drawers' existence.

But are the drawings prosaic renderings? Is it not possible that what was drawn is what was actually seen – strange objects in the sky, and strange people debarking from them?

What’s your take?



  • A year or so ago I was on vacation in the South of France and stopped by the cave at Niaux (in the foothills of the Pyrennees) where some of the most famous examples of paleolithic cave art are accessible to anyone willing to walk the 1 km or so back through the cave from the entrance.

    The first thing to realize is that this one cave is simply a single example of a large body of art created by a culture that occupied most of the accessible caves on both sides of the Pyrenees over probably a 500 year period. This was at a time during the last glaciation period when the Pyrenees themselves were covered with a solid ice sheet. I intend to go back some day and circumnavigate the Pyrenees through Spain and France to visit as many of these sites as is possible.

    I was impressed because, the style of the paintings was, in some ways, as sophisticated as some of the medieval paintings that can be seen hanging in the Cathar monasteries in the surrounding countryside. First of all, the cave paintings intend to be realistic--they portray only real subjects (usually animals). In this regard, they are noticeably different from, say the Anasazi culture petroglyphs that can be seen in slot canyons throughout the American Southwest or the aboriginal petroglyphs that I've seen in the Australian outback. Those latter two often portray imaginal or shamanic images.

    The Niaux cave artists had not mastered true perspective, as shows up in Renaissance paintings, but were starting to utilize shading and other techniques to give their art 3-dimensionality.

    This was in the paleolithic era, when knapped flint blades and axes were the highest tool-using technology.

    I’m not a big fan of ancient astronaut theories, in general, but Aime Michel’s theories do need to be taken in context. If the images he has collected can truly be shown to be contemporaneous with Paleolithic times, then they appear to depict objects that the Paleolithic artists’ culture did not know how to make.

    By Blogger Larry, at Saturday, October 12, 2013  

  • "then they appear to depict objects that the Paleolithic artists’ culture did not know how to make."

    Because imagination is a modern invention

    By Blogger William Mercado, at Monday, October 14, 2013  

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