The Andean Connection


Archaeologists should not allow their religious convictions, or the ludicrous theories of charlatans, to steer them away from an objective evaluation of the evidence.

Quite a few Internet pages are dedicated to the Nazca Lines of Peru, and everywhere you see the same conclusion: the Nazca Lines are a great mystery or enigma. It makes me wonder if the people on this planet are lacking common sense, or else an aversion to any possibility of aliens is keeping them from seeing the obvious.

Simple observation of what you see on the desert floor in Peru is enough to determine why those lines were made. Dozens of figures of animals and the like, so large that they can only be viewed in their entirety from the sky, were clearly made for a creature in the sky who was intelligent enough to be attracted and entertained by those drawings. Dozens of arrow-head type pointers provide directional guidance, so this creature was not only in the sky but also flying through the air. Lines that run straight for kilometers, up and down hills rather than around them, were clearly made to be followed by a creature who could fly higher than the hills.

Nazca Lines Geoglyph: Lines and Hooks to Entertain Alien Astronaut

The purpose and motivation behind the Nazca Lines is not a mystery. Only a minimal understanding of the workings of the human mind is required to determine that the Nazca Lines were made to attract, entertain, and guide a creature who could fly, who had eyes, and who was intelligent. Whether or not such a creature really existed, or was merely imagined by the people of Nazca, is another issue. And if such a creature existed, whether or not it was an alien is still another issue. Meanwhile, why they made those lines is no enigma at all.

The central contention of this website is that the Nazca Lines were made, specifically, to be viewed by the alien astronaut of Tiwanaku, that is, Tiwanaku made the geoglyphs. Tiwanaku was a city in the Bolivian highlands about six hundred kilometers to the southeast of the Nazca. During the seventh century, Tiwanaku pushed its empire into Peru. It got at least as far north as Paracas, where they made a geoglyph of the alien's tail (go back to the Tiwanaku page for depictions of the tail and Candelabra geoglyph). As evidence of the expansion of the Tiwanaku empire, Aymara place names are still extant in central Peru.

Here, we will look at additional correlations between Tiwanaku and the Nazca Lines.


There are reputed to be some one hundred drawings of spirals on the Nazca plain, of which the most memorable is perhaps the monkey's tail.

Nazca Lines Geoglyph: The Spiral Monkey

Similar spiral drawings are also found in Tiwanaku.

Tiwanaku Engraving: Alien Descent Spiral Carved into Stone

It seems likely that the alien astronaut descended from the sky in a spiral motion, perhaps like water swirling down a drain.


The four fingers are significant. The city of Tiwanaku existed for perhaps some two thousand years prior to the arrival of the alien astronaut and the statues from those earlier epochs all reflect five clearly defined fingers. Four fingers only pertain to the alien astronaut. The artists of Tiwanaku used the surface of those ancient statues to make engravings of the alien, so they may have merged alien contact with old beliefs.

Nazca Lines Geoglyph: Contrasting Alien and Human Fingers

Tiwanaku drawings of their god always depict him as having only four fingers. In Nazca, the blob geoglyph depicts one hand with four fingers and one hand with five fingers, likely symbolizing a bond of friendship between the alien and the humans. Hands of four and five fingers, respectively, also appear in the monkey geoglyph.


The Nazca pottery drawing displays a type of loudspeaker attached to the alien's hand-held instrument, likely symbolizing his communicative capabilities. Sound is likewise amplified in Tiwanaku drawings.

Tiwanaku Drawing: Anthropomorphic Alien with Voice Amplifier

There is more of interest in this drawing than the voice amplifier. Head symbols for fish, bird, puma, and human are all easy to identify but it is less clear what the concentric circles represent. Consistent with the use of animal symbols, the concentric circles could represent shellfish. You have to image an open clam where the inner circle would be the living animal and the outer circle would be the outer edge of the shell. The shells in turn are representative of the hard outer surface of the astronaut's helmet and spacesuit.


In the Tiwanaku drawing where the alien astronaut is holding condor-pointed instruments, you may have noticed the image of a human head hanging down from each one of his arms. And in the Tiwanaku drawing where the alien is about to liftoff into the sky, you may have noticed that his helmet is surrounded with human head images. Like the fish heads and the bird heads, human heads are symbolic. Human heads symbolize intelligence. This was one intelligent fish, a very intelligent fish.

Nazca Lines Geoglyph: Fish with Human Head Attached Representing the Alien as an Intelligent Fish

The concept of intelligent fish was not unique to Tiwanaku. Here you see a Nazca geoglyph (photographs available on Google Images, search for nazca lines fish). Notice a human head attached to the head of a fish. For sure, this is an ordinary fish and not a evolutionary-advanced fish like the Tiwanaku alien, but still we are looking at a concept that undoubtedly originated in Tiwanaku.


Establishing a connection between Nazca and the Tiwanaku alien is not alone sufficient to explain the geoglyphs. It is still necessary to show that this creature could fly.

Tiwanaku Drawing of a Flying Fish

It seems that the world's archaeologists have joined the global conspiracy against Nazca by proclaiming the geoglyphs to be a mystery. It's a real shame that no honest and intelligent people have been inspired to become archaeologists. So, what's the mystery? Can't anyone recognize wings attached to this fish, giving us a flying fish? The key word there is flying. How hard is it to figure out that, if the thing can fly, it would be able to view the geoglyphs from the sky?

Needless to ask: Why in the world would they make the geoglyphs if the creature was incapable of flying overhead to view their drawings?


On the preceding page, we discussed a Tiwanaku drawing that depicted their god with his arms raised up, holding in his hands instruments that had suddenly contracted and split apart, possibly creating an anti-gravitational field around him as evidenced by the tail, lighter than the body, seen rising first. Here's a closeup view of the right-hand instrument:

Tiwanaku Drawing: Flight Instrument of Alien Astronaut

Also noteworthy are the puma-head symbols, which may indicate that the instruments made an audible roaring sound upon liftoff.

Tiwanaku Drawing: Anthropomorphic Alien with Wings

Other Tiwanaku drawings confirm that they believed the alien's power of flight rested in those hand-held instruments. One drawing places bird heads on each end of the instrument.

Tiwanaku Drawing: Alien Fight Instrument with Enclosed Birdhead Symbol

And another drawing encloses a bird head inside the instrument. Bird heads are the symbol of flight.

The concentric circles near the bottom may again be a shellfish, symbolizing that the instrument had a hard surface.

It's a bird, it's a plane, it's Superman! That is how the Tiwanaku alien flew about, freelance style, just like Superman. It is only because of human inability to imagine any technology more advanced than ours that most people believe ancient astronauts needed to use landing craft.


In northern Chile, the Atacama Giant faces the sea and has his hands raised, to welcome the creature as he emerges from the sea and takes into flight over land. In Nazca, the Astronaut Geoglyph faces the sea and has his hand raised, to welcome the creature as he emerges from the sea and takes into flight over land. Evidently, because of the aquatic nature of the alien, the people of Tiwanaku believed he lived in the sea, so they made the geoglyphs in coastal regions to attract his attention and direct him back to Tiwanaku.

Nazca Lines Geoglyph: Directional Pointer for Flying Alien Astronaut

We have ruled out direct contact between the flying alien and the native people of Nazca because the triangular trapezoids are pointing away from Nazca and toward the mountains. However, some of these pointers are directed closer to Cuzco than to Tiwanaku, which makes us suspect that Cuzco (or whatever was there during the 6th century) was another place of contact with the alien astronaut.


The historian Pedro Sarmiento de Gamboa (in his Historia de los Incas, 1572) gives us the range AD 565 to AD 665 for initial appearances of "el pajaro Indi" (Inti), the sun bird. The sun bird flew through the air, spoke with humans, and accurately predicted future events. Sarmiento verifies his dates by correlating them with European kings and popes of the epoch. For us, the major point is that here we find historical evidence of a flying deity during the time of construction of the Nazca Lines.

Essentially, Sarmiento confirms contact with the sun bird in Cuzco, specifically in the spot where they built Indicancha, House of the Sun, today called Coricancha. There would therefore be two places of contact with the alien astronaut: Tiwanaku and Cuzco.

Note that, though the Incas did not have a European writing system, they were able to record dates and historical events by means tying knots into strings.

Citations from Sarmiento's original Spanish can be found at La Historia del Sol.


It is maintained that the alien astronaut of the Andes was literate and that he knew how to learn and utilize human languages. Alien literature comes to us in two forms:

1) prophetic literature as evidence of time travel

Of the dreamer Merlin and his prophecies

2) religious literature as instruments of behavior modification

Muhammad and the Angel of Light

Evidence does not constitute proof, but the combined archaeological, historical and literary evidence is overwhelmingly in favor of an alien astronaut.