An Overview of the Symbolic and Artistic Implications
Surrounding a Two-Faced "Face on Mars"


1- The Quandary

3- The Encounter and the Language of Symbols

2- Artistic Historical Traditions Echoing the Face on Mars

4- The Inherent continuity of the Face and the Cydoinia site

2- Artistic Historical Traditions Echoing the new dual-image Martian "Face"

Perhaps at 14,000 feet, high in the Andes mountains of Peru -- at a mysterious ancient place called "Marcuasi" -- lies a clue to the lineage of Cydonia's enigmatic Martian "face." On that plateau, there is a large, eroded "great stone face" staring up into the heavens ... much like its distant cousin on the planet Mars. Originally thought to be about 10,000 years old, its most recent dating (from the immense degree of rock erosion of its surrounding images) puts it at over 200,000 years ... That is eerily close to the time of Richard Hoagland's postulated "last great catastrophe" on Mars.

Not only do we find "a face" at Marcuasi, but as Michael Morton has discovered -- its "Global Grid coordinates" (a world-wide ancient geodetic system apparently encompassing "sacred monuments" all across the world) precisely match those of its apparent counterpart on Mars. And if that wasn't enough... using that same Grid Matrix, Richard Hoagland was able to predict several years ago the location of an enormous lion sculpture nearby on the same Marcuasi plateau... by referring to its Cydonia coordinates!

The Marcuasi site is rich with other legendary figures, as documented by Dr.Russo Ruzo. Provocatively, for someone deeply immersed in unearthing ancient "secret" knowledge, Ruzo was also a 33rd degree Mason.

( Dr. Ruzo. and his wife, Carola, in their study in Cuenavaca, Mexico around 1990. )

Images courtesty BC Video

Images courtesty BC Video

As all great sages have repeated, the Human experience is "a journey of consciousness through matter." It is no surprise, therefore, that artistic themes underscoring this reality reoccur throughout all recorded time and in every corner of this planet. "Art"is the mirror and the record of this continuity of consciousness in all its many sojourns. Art is nothing less than the keeper of our timeless "human record of experience" on Earth.


Pietro Gaietto

Mask of Mexico

Courtesy Prof.Gian Carlo Bojani Director of the International Museum of the Ceramics in Faenza

This ancient zooantropomorphic ceramic of Mexico represents a face half human with headdress, central elliptic eye with pupil, an ear with a perforated lobe, open nose and mouth; the other half represents a feline or a dog with pierced round eye. height cm.22,8, width. cm. 20. (central Mexico, III hundert. B. C. - III hundert a. C. Upper Preclassic Period) (International Museum of the Ceramics in Faenza. Italy)

Mask of Mexico


An ancient zooantropomorphic ceramic represents a face, half of a living man, the other half a skull. The eye and the orbital zone are pierced. Height cm. 8.5, width. cm. 7.3. (Tlatilco, Mexico, medium Preclassico Period.) (National Museum of Anthropology of City of Mexico.) This maschera is described in the Museum as a characterization of "the dualism life and death."



According to Pietro Gaietto, these zooantropomorphic representations (above) are but two examples of an entire ancient world of special art, termed "bifrontism": two-faced anthropomorhic representations found in all excavated periods, and nearly all over the world.

Such two-faced anthropomorhic representations are found in great numbers and, generally, they join two heads -- which then look in opposite directions. The most famous historical example is the "two-faced Giano" (the Roman god of "gates" and "new beginnings," Janus -- right).



The origin of the bifrontism is pre-historic -- in the Lower Paleolithic (c. 2 mil - 100,000 BC), and goes uninterrupted until historical times. But examples of ancient bifrontism are found (curiously, so far) only in the sculpture of western Europe. However, this could be due to observational selection; this area is where the most intensive searches have been carried out. It is considered probable (but not yet proven) that this remarkable dual art form is present also in this early period on other continents.

One striking example from a more recent period (below) has been found by Prof. Leslie Freeman of the University of Chicago in association with Spanish archeologists at El Juyo, Santander, Spain (now conserved at the Museum of Altamira). The lithic (stone) sculpture of El Juyo represents roughly a half human head with beard and moustache, fused (like the "Face on Mars") with a half head from a feline .

Two-faced zooantropomorphic sculpture of El Juyo
height cm 35 , wide cm.32,5, thick cm.22,5.

The discoverers believe that the model for the feline half was a species of lion (or leopard) that c. 14.000 years ago lived near El Juyo. The sculpture itself was found at the entrance of a cave considered to be a "templum" (Upper Paleolithic temple, - the most ancient known) -- in that it was composed of an apparent "altar" consisting of a massive stone monolith weighing nearly one ton, placed in a horizontal position on an earth cumulus (mound) nearly a meter high, which contained several additional apparent "offerings".

This dual species, bifaced sculpture was placed carefully upon this altar. In the study of the religions of the much later historical period, two-faced representations are considered representations of a omniscient, all-seeing God. Of course, what the root symbolism of the "dual species image" represented thousands of years earlier, we have no way of knowing...unless they are now somehow "connected" to what we see on Mars.

George J. Haas, of The Cydonia Institute, has documented overwhelming evidence of this "dual-faced imagery" in the historical period -- potentially linking it directly to Cydonia and its highly controversial Face -- through the remarkable "dual species" artwork (below) of the much more recent Mesoamerican cultures.

Art is the conscious external expression of the creator's inner world. It is a doorway into realms of consciousness beyond the linear perceptions of the outer world. Often, Art tells a story in which the characters and events are fundamental symbols -- expressing "truths" or generalizations about archetypal human life. This allegorical (storytelling) quality of Art is prevalent among all the ancient cultures; monumental Art on this planet is well-noted for this "storytelling" theme, and secondarily as a means of preserving important information for future generations. Look at Sumer, Egypt, China and Central America... just to name a few.

Images courtesty The Cydonia Institute
Olmec Were-Jaguar, half-human and half-jaguar
Inca figurine - "Seated figure with Snakes" from the book, "The Incas and other Andean Civilizations" by Longhena and Alva.

Theories pertaining to a direct connection between MesoAmerican Art and the Mars Face at Cydonia depend heavily on the observation of detail in recent NASA images. Although now far superior to what we were previously limited to in terms of Viking images over a quarter century ago, detection of detail capable of resolving the "artificial" versus "natural" question is still constrained by the quality of the new images we currently possess, we cannot yet clearly discern what is the "understructure" of this object - potentially manufactured geometric elements, exposed by the process of erosion -- and what is the actual, designed surface of the Face itself. Nevertheless, there are sufficient parallels in what we are now seeing so as to make the theory (of Artificiality - if not a direct "terrestrial connection") definitely worthy of consideration. Only when we can actually distinguish the details of these key surface areas (probably not until the "centimeter resolution" of NASA's planned 2005 unmanned mission in Mars' orbit!) will these current observations be refuted or confirmed.

Most opponents of the "Artificiality Hypothesis" (those claiming that the Face is "just a pile of rocks") base their argument on the assumption that if it were "a Face," then obviously it would be bi-laterally symmetric. However, this is a very simplistic and all-too-linear viewpoint of an intrinsically artistic process (if the Face is "real"). Everyone knows that ART is anything BUT "linear." So how can we apply a linear standard to a potential work of alien art? It simply makes no sense. The use of such a standard would lead one to say that Jackson Pollock's works (below) were merely accidents of "some spray gun suddenly let loose"; or that Picasso's Guernica was "done by a child who didn't know about proportion"; or that Rothko's paintings were "simply fancy wall textures"; and that Calder''s kinetic sculptures were merely "giant's toys made of scraps from a dismantled skyscraper." If indeed, what we are looking at is an extraterrestrial WORK OF ART -- then we need to apply the standards, not of "science" ... but of "Art."

We would never call on an artist to examine a jet propulsion system to discern its functionality. Why then, would we rely on jet propulsion engineers to solely critique a work of ART?

When we walk through the halls of a modern art museum, we hear a wide range of comments from those spatial thinkers who "get it" ... to the linear thinkers who obviously "don't." And we realize that Art - whatever it's ultimate origin -- is a provocative medium intended to engage the consciousness of all who experience its "message" challenge, awaken, inspire, incite ...or to sooth.

Nevada artist, Ragen Mendenhall has this to say about Art and the Face:

"Art speaks to us by communicating directly to a place within us ... a pictorial realization that exists outside of the boundaries of space and time. It is a communication that was there long before we lined up words and letters in such a consecutive and linear fashion. It seems that in our elaborate efforts to define, analyze and rationalize, we grow farther and farther from "truth." In truth, we need no interpretations, or judgments. And in pure essence, we need not even symbolism, for we are within the source. (photos of Ragens art) The true nature of Art is to deliver a message of valuable information, interpreted by a 'glyph' of symbolic interpretations. Ancient Art discovers this idea over and over again.

Just as the Face does -- by combining the cognitive linear aspects of thought and perception (in man), with a more 'primitive'' instinctive and non-spatially focused type of perception (in cat) -- much in the same way the two sides of our own brains work together. A fusion of these two powers... to create a physically focused, yet multi-dimensional being."

As noted earlier, even in contemporary art we see this archetypal idea of the "half face" and the "two-faced mask" carefully hidden within the modern well-known paintings of Jackson Pollock. Pollack's self-admitted early interest in primitive art led him to seek out tribal masks, and he incorporated bits and pieces of those masks in many of his paintings ... including, as we have seen, the thousands-of-years-old artistic tradition of dual symbolic imagery A tradition, we now suspect, which may in fact have come all the way from Mars...

(To read about Pollack's two-faced imagery in greater detail, check out: Project Teardrop,
a subsidiary branch of The Cydonia Institute)


How to Order Marcahuasi Tape

The MesoAmerican Connection to the Mars Face
The Cydonia Institute
George Haas

1- The Quandary

3- The Encounter and the Language of Symbols

2- Artistic Historical Traditions Echoing the Face on Mars

4- The Inherent continuity of the Face and the Cydoinia site

About the Author - Kynthia

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