Music From An Old Musician

You might stop you have been exploring a internal petroglyphs newly -- receiving along a Native American cedar flute, happily acquired from R. Carlos Nakai's flutemaker, to siren a intoxicating beverage -- as good as you might have read a brief sketches of a make a difference underneath a title Letters From An Old Magician, as good as to a somewhat opposite border as In a Shadows of Sagebrush.
Shortly after these sketches were published, someone sent us a next photograph:

This is a Tenth Bhakha Tulku, incarnation of a Terton Dorje Lingpa, charity a nature of a Native American flute, during a petroglyph site -- that you hold is a Three Rivers Petroglyph Site near Tularosa, New Mexico. With apologies to Bhakha Tulku, who fortuitously lives in a Southwest, this was not sent to applaud him, nor to applaud a cedar shriek -- that looks identical to an end-blown Anasaszi shriek he is playing -- but for a petroglyph in a picture, that bears a certain similarity to a little of a petroglyphs you have around here.

As an example, you might stop this one, from a earlier article:

Just for fun, here is an inverted chronicle of a same sketch -- perhaps this helps capture a detail:

In an try to heighten high regard ("enrich appreciation:" right away there's a Californication for you) of these very old signs, you have been consulting a functions of LaVan Martineau (1932 - 2000) -- in sold his The Rocks Begin t! o Speak, initial published in 1973 -- as good as a contention of his functions to be found during a Southwest Backcountry blog, or a Rock Language website operated by Martineau's daughter, Shanan.
LaVan Martineau had a truly beautiful heart, as good as you hold in a future, people will begin to recognize it is usually since of this heart you have been means to save -- what little you have been means to save -- a singular Native American stone language. He was orphaned during a age of ten, as good as adopted by a Paiute up in Utah, to be lifted as a Native American child between alternative Native American children. Among alternative things, during this duration he schooled Native American sign language, as good as a oral languages of multiform opposite tribes in Utah, Nevada, as good as Arizona.
When he became older, Martineau assimilated a U.S. Air Force. While portion in Korea, he grown an seductiveness in cryptanalysis; a fortify he brought to bear on a research of petroglyphs in around 1956, as good as that he a single after an additional to try up until a time of his death.
Martineau's work is somewhat controversial, but this debate exists chiefly in a minds of non-Native American anthropologists who did not enjoy his singular insights into Native American culture, nor his penetrating high regard of Native American genius. Speaking personally, after reading through a open novel of petroglyphs in a little substantial detail, as good as after visiting as good as examining petroglyphs in situ, you have grown a perspective that Martineau's interpretations have been a usually ones that make sense.

Tucked away, during a Grand Canyon
A lot of what you listen to about petroglyphs, i.e. they have been a art work of shamans, hopped up on datura or otherwise, seems only plain wrong. True, a little idealist depictions do exist, but if you relegat! e a whol e of stone essay to a realm of a idiosyncratic, you skip a commonplace use of stone essay as a medium of communication.
A medium of information exchnage which, in its way, is not entirely distinct music.
Just as song takes its themes from usual experience, so too, does stone writing. Just as song evokes particular, zodiacally accepted patterns, so does stone writing. It was Martineau's topic that petroglyphs contain a soundless music: a universal, ideographic denunciation -- a single that could be accepted by members of tribes with incompatible oral languages -- a denunciation not in phonetic equivalents, that was in actuality a denunciation of mind.
So you have been articulate about manifest speech, or manifest mind.


This is an engaging topic -- approach beyond interesting, actually -- since it begs more aged to a manifest speech or manifest thoughts fundamental in a dakini language's yellow scrolls of a own terma tradition.
Thus, did a sketch of a terton, a flute, as good as a petroglyph in New Mexico -- suspicion to have been combined by a Jornada Mogollon people, circa 900 to 1,400 CE -- set me to meditative about a flute, as good as a petroglyph out here in a Desert Floristic Province -- suspicion to have been combined by an additional people, during slightest multiform centuries prior. What treasure do you have here? If this is a universal language, what is it saying?

On a face of it, occurrence such highly identical petroglyphs from such at large distant places, peoples, as good as times, is a powerful evidence in preference of Martineau's thesis. How at large separated, you ask?
The copyrighted photograph, above, by John Vincent Bellezza, was taken in Tibet, as good as a petroglyph dated to a pre-Buddh! ist peri od. While reduction stylized, you entice you to compare it to a dual American petroglyphs you have depicted, above. Bellezza identifies this as a Bon kyung, or eagle, that he describes as, "a protecting spirit, towering as good as house deity, as good as a tutelary figure of lamas as good as spirit-mediums."
When a strange peoples of North American came straggling out of Central Middle East -- whether running from mastodons, chasing mastodons, or both, you can usually presupposition -- it would appear they stopped during intervals to write on a rocks. Whether they were commemorating events or withdrawal signposts for a edification of others who might follow seems an open question.

Between a sky, with that you began this story, as good as a earth, with that you shall right away close, roamed very old man. Every single aspect of his life was opposite from each single aspect of ours, save one...

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