By Graham Hancock
Lower than fifty thousand years in the past mankind had no paintings, no faith, no subtle symbolism, no leading edge pondering. Then, in a dramatic and electrifying swap, defined through scientists as "the maximum riddle in human history," the entire abilities and features that we price so much hugely in ourselves seemed already absolutely shaped, as if bestowed on us by way of hidden powers.
In Supernatural Graham Hancock units out to enquire this mysterious "before-and-after moment" and to find the reality concerning the impacts that gave delivery to the fashionable human brain. His quest takes him on a detective trip from the stunningly attractive painted caves of prehistoric France, Spain, and Italy to rock shelters within the mountains of South Africa, the place he reveals notable Stone Age paintings. He uncovers clues that lead him to the depths of the Amazon rainforest to drink the strong hallucinogen Ayahuasca with shamans, whose work include photos of "supernatural beings" just like the animal-human hybrids depicted in prehistoric caves. Hallucinogens comparable to mescaline additionally produce visionary encounters with the exact same beings. Scientists on the leading edge of realization study have began to contemplate the chance that such hallucinations might be genuine perceptions of different "dimensions." might the "supernaturals" first depicted within the painted caves be the traditional academics of mankind? may it's that human evolution isn't just the "meaningless" approach that Darwin pointed out, yet whatever extra purposive and clever that we have got slightly all started to appreciate?
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Additional info for Supernatural: Meetings with the Ancient Teachers of Mankind
43 The ceremony begins It is always night when the ceremony begins, around nine or ten in the evening. The rich velvet darkness of the rain forest envelops everything. The setting may be a small, simple hut out on the far edge of Iquitos, or the temple at Sachamama established by Francisco Montes Shuna, or a homestead beside a stagnant creek on a remote tributary of the Amazon, or just a clearing in the jungle. Sometimes I’m alone with the shaman; usually my wife Santha is there as well; frequently people from the local community who also want to drink join in.
Above us – I would estimate three meters above my head at this point – M. Zimmermann shows me an expanse of ceiling decorated with what looks at first like a meaningless scrawl of crudely inscribed lines but resolves on careful study into pattern and form. “The ceiling is very soft,” M. Zimmermann explains, “and they made the drawings with their fingers. ” A second mammoth looms nearby, and to its right hovers an exaggerated, cartoon-like figure of a naked woman with immense buttocks and breasts and a very tiny head – a classic Upper Paleolithic “Venus,” one amongst many such voluptuous representations of the female form that have been found in the painted caves of old Europe.
They’re rectangular, outlined in black, like windows. There’s a circle in the center of each rectangle. Zoom in again. The circles are purple, spinning like fireworks, glowing with the otherworldly dark light that I’m already getting used to here. Here? Where is here? Why is it a place where I see colors that do not exist in everyday life? Closer still. Focus on a single one of the spinning circles. What is it? A sense of familiarity dawns before all becomes clear. It’s the iridescent eye from the display feathers of a peacock .