• FATE Magazine

Zecharia Sitchin on Mars - by George J. Haas and William R. Saunders


Many people are aware of the extraordinary work of Zecharia Sitchin and his unraveling of the tangled story of human history with his series The Earth’s Chronicles. While numerous discoveries in Science and archaeology have validated many of his translations of Sumerian text, no one has vindicated his work more than NASA, which now provides the final confirmation of his work scattered across the planet Mars. On July 25, 1976, the NASA’s Viking I Orbiter, circling the planet Mars at an altitude of 1,000 miles, snapped the first picture of a mesa that had an incredible resemblance to a human face. A member of NASA’s imaging team at the Jet Propulsion Laboratory, Dr. Tobias Owen, noticed a gigantic, human-like head glaring up at him from the barren Martian surface. Over the next 33 years, this controversial structure known as “the Face on Mars,” has become the most photographed piece of Martian real estate. From that momentous summer day two camps in the scientific community emerged, those who claimed that the Face was nothing more than a pile of rocks and those who claimed it was the remains of artificial structure that resembled a human face. That was until 1984 when independent Mars researcher Richard Hoagland proclaimed that this Martian edifice was not a symmetrical replica of a human face, but actually a split-faced Martian sphinx, with one half represent- ing a humanoid visage while the other half represented a feline. This new revelation not only divided supporters, it pro- voked additional ridicule from main- stream science. Unknown to us at the time of our earliest research, a number of academics had also documented the unusual motifs of half images and composite art produced by the earliest cultures of Central and South American. Many of these complex Drawings by George J. Haas designs needed to be reversed, inverted or even duplicated to be resolved. Just as Hoagland had mirrored the Face, we dis- covered that archaeologists studying Mesoamerican and South American art have utilized this same concept of mir- roring partial images as an aid in image completion. After receiving the 1998 Mars Global Surveyor image of the Face on Mars we became aware of a Mesoamerican mask found on the facade of a two-tiered pyra- mid known as the First Temple at Cerros, Mexico, that highly resembled the hu- manoid side of the Face. The temple dis- plays two pairs of masks, one set featur- ing human faced masks representing the First Lord and a set of feline masks rep- resenting the Jaguar Sun God. The similarities shared between the masks ob- served at Cerros and the Face on Mars is remarkable. Both images of the human face present a triad crown emblem on the forehead and similar facial ornaments in the nose and chin area. Over the next few years we compiled a large archive of half and bifurcated ge- oglyphic structures from numerous areas on the surface of Mars, while at the same time uncovering similar counterparts in the art and sculpture of Mesoamerican cultures. As a result we built a convincing case that not only do these geoglyphic structures on Mars have a direct correla- tion with the art and iconography of Mesoamerican cultures but, they appear to adhere to the creation mythologies of the Maya as recorded in their sacred book known as the Popol Vuh. The consistency of the facial features of the Face on Mars as permanent forma- tions became quite evident with the 2007 high-resolution picture, from directly overhead, with the HiRISE Mars Reconnaissance Orbiter spacecraft. Not only did this new HiRISE image confirm Hoag- land’s split-faced hypothesis, it again con- firmed the feline side of the Face and its direct connection to the art and mythology of the Americas. So how does this all relate to Sitchin’s work? Well, as his readers know, Sitchin’s literal translation of Sumerian, Akkadian, Babylonian and Hittite texts reveals that a group of travelers known as the An- nunaki came to Earth from another planet nearly half a million years ago and even- tually established civilization here. While doing so, they also occupied our moon and set up a colony on the planet Mars. Those who were stationed on Mars were called the Igigi and were led for a period of time by Marduk the eldest son of EA (Enki), who commanded the first Earth expedition. EA’s youngest son, known as Ningish- zida, adopted his father’s symbol of twin serpents and was known as the builder of stepped pyramids or Ziggurats. Although highly eroded, the remains of a few of those Mesopotamian structures still exist today. Interestingly the Maya worshiped a god of the heavens called Kulkulkan, also known as Quetzalcoatl to the Aztecs. His symbol was also twin serpents and he was also known as the builder of pyramids, which were formed to venerate moun- tains. According to the Mesopotamian Creation text Enuma Elish our solar system once housed a planet called Tiamat, which was struck by a rogue planet called Nibiru (later renamed Marduk in Babylonian text). This event happened when the solar system was very young and still forming. This collision was so severe it caused the splitting of Tiamat. One portion of Tia- mat spun off and became the Earth, while the other portion of the planet broke up into small pieces and became the aster- oid belt that the Sumerians referred to as heaven. On the other side of the world in the jungles of Mesoamerica the Maya have a similar creation story of how the Earth was formed. To create the Earth, the god Quetzalcoatl and his twin, Tezcatlipoca, attacked a celestial monster known as Ta- laltlecuhtli that swam in the primordial waters of the cosmos. They grabbed the celestial monster by the left hand and the right foot and broke it in two. With its upper half they formed the Earth and with its lower half they formed the heavens. Besides the stark similarities observed between these two creation myths the cul-tures of Mesopotamia and Mesoamerica share additional artistic and iconographic parallels. Both cultures built step pyramids and produced feline-shaped toys with wheels. They both assigned numbers to the planets and depicted them as stars with numbered points, where Venus is seen as an eight pointed star, while the Earth star has seven points and Mars six. Besides proper names and titles they both assigned numbers to identify their gods and depicted various trans- formational creatures such as eagle men, feline men, fish men, and scorpion men.

As Sitchin pointed out in The Lost Realms it is beyond coincidence that two cultures on opposite sides of the world, whose civilizations supposedly peaked thousands of years apart, would produce similar art and architecture and have such a common pantheon of deities. In our first book, The Cydonia Codex, we uncovered three half glyphs incorpo- rated into a structure called the “main or city center pyramid” by early researchers. One of the images is a Geoglyph that we suggested could be a representation of the god Quetzalcoatl as depicted by the Aztecs.On the opposite page is a compar- ison of the completed (duplicated) image on Mars with an image of Quetzalcoatl from an Aztec Codex. Quetzalcoatl’s symbols were twin ser- pents and a bird, as he was of the sky and the earth, thus his epithet was the Feath- ered Serpent. Sometime after our publi- cation, we discovered that if the line of di- vision for the Mars image was extended further up, the extraordinary image seen above was obtained. Notice how the plums extend from the helmet and trans- form into serpents As you can see, there is no doubt about this image being that of the Feathered Serpent. One of the other geoglyphs we uncovered on the other side of the main pyramid is an image that may actually represent EA himself. EA is pictured here in his aquatic aspect where he is seen as the prototype for the Maya trio of gods known as the Palenque triad all repre senting different aspects of the original creation gods and their relationship to water. EA is a water deity with aquatic features who is in charge of the oceans of the Earth and is often surrounded by sea creatures such as dolphins and turtles. Al- though not included here, immediately to the north of this EA geoglyph on Mars is an incised profile of a bottle-nosed dolphin, while immediately to his south is a structure representing a turtle. Notice the aquatic features and the M on the nose. Sitchin states that M is a sign of water and Enki’s letter. We believe our findings on Mars support Sitchin’s stance that after Ningishzidda was banished by his old- est brother Marduk around 3113 B.C. he traveled to the Americas, with his African followers the Olmec. It was at this time that Ningishzidda took his epithet of the twin serpents and bestowed the knowledge of mathematics and pyramid building on to the people of Mesoamericans and became known as Quetzalcoatl. Over time the Maya and Aztec adopted the Olmec history as their own.

While digesting all of this, there still remains the question as to why and when these Martian geoglyphs were built. The “when” may remain a mystery for some time, until we go to Mars and perhaps the construction of these geo- glyphs may reveal a time-line that ticks in a lot sooner than one would think. The “why” may be answered by following Sitchin’s accounts of Ningishzidda, which provides plausible evidence that these ge- oglyphic structures found throughout Mars are the result of a blasphemous act by Ningishzida, who with the aid of the Iggi secretly recorded the sacred history of man across the surface of Mars. Just as Sitchin suggests in The Lost Book of Enki that the Face on Mars was constructed as a memorial to the great Anunnaki leader Alalu, the entire red planet may be viewed as an enormous clay tablet encoded with an analog to the sacred knowledge of Mesoamerica. The same knowledge be- stowed to the Olmec by Ningishzida was eventually recorded in the lost book of the Maya, known as the Popol Vuh.

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