Petroglyph Sites





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Many people are trying to understand what petroglyphs sites represent. These sites can be found all around the planet and are understood to be up to tens of thousands years old in some cases. To understand what their function was we need to establish a direction of thought.

The first step is to recognize that most if not all of these sites were created by shamans. If you don’t agree with this then the answer would be - they are just ancient graffiti (that’s no joke, as there are some misguided academics that think this way). If you agree they were created by shamans then it is logical to recognize that the rock art is a recording of a shaman’s work or experience.

Here lies the problem, if you are not a practicing shaman you will never recognize the language of the teaching. The truth is without experience in the nonphysical realities there is no way someone could ever understand what has been experienced. The only ones that have the right to comment on what the cave and rock drawings are, is the practicing shaman. This is the only credential that counts in the interpretation of the meanings. Intellectual based interpretations are at the best, a guess.

From my research into various petroglyphs there appears to be two general categories of rock recordings.

The first is an account of a personal journey by a shaman, which can only be of interest to that shaman’s personal development.

The second type is a recording of a universal connection. This connection is to universal consciousness and that is a source that all have the ability to connect to. In other words this type of recoding is a teaching map for others to follow. This can be for healing (balance) or teaching of acquired knowledge. All understandings and knowledge from the past, present, and future are available here. There are no exceptions but there are limiting abilities. The ability to connect to unlimited universal knowledge is centered in the self limited profile of the person asking. Every human on this planet is culturally bound in one depth or another. The more we understand our reality, based on intellectual cultural teachings, the less likely we will be able to fully connect to the universal mind.     

Below are a series of pictures with captions of what the drawings represent to the individual shaman that created it. The captions are direct translations of the event and originate from the nonphysical aspects of the artist. I did not spend a lot of time with each picture during my session so if anyone wants more information about any of the petroglyphs they can follow up where I left off. This can be accomplished by giving more interest to the event than I did, or better yet, being at the site itself to absorb the energy. 

OBE Journeys

To some shamans an animal form was the carrier of their consciousness. There is no difference but their is a duality of realities, be it air to water or water to air  as seen in the beaver, fish, frog or seal.

Medicine bags held in the left hand is a combined energy of the bag and the contents. the bag in the two above comes from a “duality animal” and was a tool of great interruptive power for them. It was their protection, guide, and way of getting out of a situation that needed exiting. Both are reaching out with their “shire” in the medicine bag. The on the right shows this ability or power in the holding of the fish shape and the connection out of the crown chakra.

Rock Art can be found all around the world, and one of the main themes is the Dorajuadoik styles being. Interaction with the Dorajuadoik have been experienced by many shamans and on many different levels. This as you know, is all an interpretation within the shaman’s individual perspectives and belief systems. Hank Wesselman assigned this name to a being that resides in realities lowest levels (see article for more). In the Rock Art world you will see the variations of this theme but they are all the same entity. Not to get too complicated here, these different styled Dorajuadoiks are also real entities, but have different capacities depending on the angular flow towards this level. The style of image also becomes a co-creation of the shamans observational perception and the angle of flow towards this level of reality. In the below diagram “A B C” are all from the Barrier Canyon complex on the Colorado Plateau and “D” is from Tassili National Park, Algeria. In my work with the pictographs I have been shown parts of the process and some of the experiences that the artists are portraying. On the left “A” diagram it shows the teachers experience (large center one) and the students that followed record their experience as part of the group knowledge. In “B” the shaman is demonstrating the energy flow (snake shape and central axis flow at center of body) with the power animals being the guides to the experience. In “C” the energy felt is shown by a lightning bolt in the mouth. The bird in hand demonstrated the OBE. In “D” you can see a common theme in arm positioning. (No it’s not an alien!) Most petroglyphs show the Mudra or body position to connect to the desired energies and the proper angle of exit into specific realities. They are all maps to certain “terrains” in the nonphysical. For on mudras with this type of work see “Ecstatic Body Postures” by Belinda Gore.   






The Petroglyph below is from South Western USA and shows the workers at this site have achieved the highest semi physical experience possible. It is the opposite direction of the Dorajuadoik or towards the higher vibrational realities. This shaman’s introductory stage is represented in the figure to the left. As time and experience in these realms expanded the connection became more experiential or into the consciousness spectrum. This can be seen in the middle figure, followed in time by the last one to the right. You can see the progression of complexity as the shaman’s vibration began to match that of the contact entity. The shaman’s vision is now entering into a wider value of the energy that is supporting the experience. The right side is the completion of this one’s work. In the right side one, the shaman has drawn shells of energy and the top of a complete orb that surrounds the entity. The “wings” of “angels” are the energy flow connections to different vibrational reality shells. The word Shells in this context is a very complex understanding that evolves time, realities, and all physical creations. It has yet to be recognized by the academic world.   





Below is a diagram of Earth Shells (a very complex teaching that will have to wait for a book as it would take more than this website has room for). On the left of the picture is a line with some circles on it. This was referred to as a stacker and I was informed that it represented the order of North American people at that time period. These shamans are seeing the connections to different peoples, Earth, its Shells, animals, and Time Shells – they are connecting in very deep ways. (All realities are composite of layered vibrational shells as can be seen in the center “jawbreaker” diagram).  



Earth and Time Shells



A great a site on other US Petroglyphs:

The “Olmec” pictograph to the left is form an older culture (that I will not comment on in this website). It comes from a very advanced shamanic order or what we would call a religion. The diamond pattern is too advanced a teaching to get into here, but it is the true design of the universe, from the galaxies to the atom itself. This pattern can be seen in petroglyph sites all around the planet as it is the basic structural design of the physical universe – diagram to the right is from the Blombos Cave in South Africa and has been dated at 70,000 BP.

Back to the left diagram, the center figure is of a balance physical representation with the nonphysical aspects of creation to its sides – higher vibratory aspect on one side and the lower vibratory level of oneself on the other side. Each creates the push pull of center balance and ascension. In all orbs there is a central flow or axis (see book Schematic of God for introduction). Also, in all orbs there is an event horizon that runs at 90 degrees. The event horizon and axis create the 8 pack (8 smaller orbs) or inner orb structure. It is at the center of the axis crossing with the event horizon that octahedron is formed. The physical reality is a creation of this octahedron structure and with its energetic shape, the organization of all of the elements that form physical. This 90 degree event horizon is a balance state of flowing energy as represented by the birds in fight symbol. Birds in fight are a balance between realities or the capacity to “float above” the physical restrictions of earth. The central figure has the axis energy flow, as see in comparison with the garments of the three figures.  The main or central figure is standing on two Braid’s Tapir heads, a sign of the shaman. The Tapir is capable of walking on the bottom of a flowing river or on dry land, a powerful symbol of being able to live in two realities.     

For practising shamans: To create a bond with the artwork - look into the eye(s) and focus here as this was the center focal point of the artist. Meditate with eyes open or closed - with the pictograph eye in your mind, connecting to teaching. Also, only use photos or the real site as drawings are of little value.

Nanaimo, BC

Nanaimo, BC, Canada

Sassaginnigak Lake Rock Painting

Sassaginnigak Lake, Manitoba, Canada


The above pictograph is a classic reason why one should not do shamanic work from a drawing. The photo overlay on the left is represented by a modern sketch on the right. This sketch was done to preserve the rock art and was published in a Manitoba archaeological publication. Unfortunately the artist is not a shaman as they would recognise the quartz vein to the left of the frog figure. This vein was is a source of power for the figure as seen by the energy tentacle coming from it. The rock cracks are also used as entrances and exist from realities. Without these things being recognized behind and to the sides of the painting only half the information is recorded. Use only the photos as the drawings are a waste of time, and that doesn’t include the encapsulated energy of the image.


Taken from Don’s Maps Website:

Subject - The Chauvet Cave in France

"Like bemused gallery goers, Clottes's team spends long hours staring at a painting and asking, what - does it mean? One clue comes from how the images are integrated into the walls. In the "Goldilocks" chamber, the missing hindquarters of a cave bear drawn in red ochre seem to lie within rather than on the rock. "The bear seems to come out of the wall," says Clottes. And last week Clottes's team discovered two painted ibexes in the same chamber. The horns of one are actually cracks in the wall which the artist scraped and enlarged. "To these people's way of thinking, those animal spirits were in the walls," says Clottes. Painting them, the artists may have believed, allowed the power within to seep into the real world."



The frustrations in science:

From The New Scientist, 15 April 2003

"There is good reason to doubt chronologies based purely on style, admits Chris Witcombe, an art historian at Sweet Briar College in Virginia. He explains the difficulty with an analogy: "Imagine you are living in the distant future and only two objects survive from a lost and forgotten past: a painting by Picasso and a painting by Michelangelo. Which is the earlier work and which the later?"

But archaeologists must also be wary of radiocarbon dates, argue Pettitt and Bahn in a paper that appeared in Antiquity last month. Bahn's suspicions were aroused when he translated the latest coffee-table book on the Chauvet cave into English. Around 30 radiocarbon ages are presented in this book, but the measurements were all made at the same French laboratory. Using results from only one team, however skilled, just is not scientific, says Bahn.

Worse, the same laboratory is currently embroiled in an argument over the age of the artwork in another cave, Candamo in Spain. They dated black dots on its walls to 30,000 years ago, but Geochron Laboratories in Cambridge, Massachusetts, estimated the age of a second sample to be just half that.

The point is that carbon dating rock art is difficult. Because the samples tend to be incredibly tiny, it is difficult to measure the number of carbon-14 atoms relative to other carbon isotopes - the key ratio for pinning down the age.

"Everybody agrees there are problems," says Marvin Rowe, who heads a radiocarbon-dating lab at Texas A&M University in College Station. Contamination from groundwater or rock scrapings may further confuse the results."


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Also see Interpretive Misconceptions of Petroglyphs PDF file

April 11 2011©