Category: Garden Site

Here is another rock, submitted as evidence. It supports the phase1 hypothesis that confidently suggests: Someone, at an early point in time, quarried stones, carved into those stones, then left the carvings and tools; where then, I discovered them as undisturbed artifacts, some years later.

After handling a few thousand stones over the past several years, I’m looking forward to finalizing phase1. Within the next two posts, I’ll try and compose a detailed analysis including mostly everything that has unfolded. In addition to serving as an analysis, it’ll serve as my own referential chronological guide and as a foundational starting point for anyone that might come across a similar discovery.

IndianRock.art – Faith, Work, and Meditation – Left and right join together to cradle the precious stone. – Where God speaks, seer stones exist, and miracles happen. – Holy land of the ancient Lamanite prophet.

Science and a Seer Stone

Without knowledge of its origin, critical evidence that supports a theory, or any fact-based contextualization that might help in drafting a presumable history, it is easy enough to dismiss this stone’s peculiar markings, by writing them off as natural occurrences, or discarding the stone, altogether, as a mere geofact. On the other hand, however, by believing that it is something more, it gains potential; therefore, allowing for spiritual transformation into, perhaps, the glorious enigma, or by way of a specific definition and certain criteria: a seer stone.

I gathered all of the stones that were unearthed around this larger base stone. They are, perhaps, what the evidence is proving them to be: the very tools that created the mysterious markings found on this stone.

The pictures below show how one stone fits a set of impressions found on the base stone, implying that it was used to help carve out the impressions.

By the guiding illumination emitting from the gleaming heavenly body, we will bear witness to the translation of the writing.

Thank you, God.

Here is another stone tool that was used to finish the Hummingbird Stone.

The dance of light and shadow upon a piece is more important than the form, itself. …especially at IndianRock.art.

IndianRock.art Garden Site

Here’s another example of a stone tablet and a tool, held and worked as it would have been in ancient times.

IndianRock.art – Garden Site

Naturally, an artisan, hard at work, will position their body in ways that reduce fatigue, without compromising power and control. This concept can be explained, mathematically, as a geometry equation, where the results are shown, tangibly, as residual markings on two separate stones: a carving and a tool.

The truth is comprised of the evidence. It is what led us here. The redundancy cannot be overstated or overlooked.

IndianRock.art Garden Site

The Garden Site includes discoveries made from the Solstice Site, which I unearthed alongside the Garden Site. Look for the next few posts to focus on this site, because it dives deeper into the various stone tools that make up the Garden Site and IndianRock.art, generally speaking.

I am a finish carpenter of many years, but I also wrench on cars. Tools have always been in my hands, ever since swapping parts on my Tonka trucks. Here at IndianRock.art, I can easily imagine people from long ago requiring tools, at a time when all there was, were stones. In this world, the mind of an architect, engineer, or artisan would get pretty darn creative, when carving out tools from stone. …in my opinion.

Power, control, and ergonomics: that’s the name of the game, when it comes to using hand tools. When it doesn’t feel like work: It isn’t. But, when it does feel like work, it’s because of a faulty tool or improper design.

IndianRock.art – Garden Site

The 2digit finger tool

When I’m playing carpenter and looking to route an edge, I open my box of bits then compare the various cutter shapes.

Pinched between the thumb and finger, a 2digit stone tool is used on a smaller scale, creating finer and more distinct details.

Here’s an example of a 2digit tool with, what appears to be, a bear cub and human profile carved into it.

Again, I have to repeat: The Lord guides my hands. I find the stones, and they find their place. It all comes so naturally.

The final product: undeniably, a hummingbird in flight

Surface Shaping Tools

Shaping is done by applying friction onto a given surface, by way of grinding, scraping, sanding, and polishing. During this process, not only is the carved stone being worked: the tools, themselves, will be ground down and will begin to share the same shape with the stone being worked on. In other words, the tool becomes a negative image of the carved area: a square peg in a square hole.

After aligning the edges and angles of the stones to a specific worked surface, one can reverse engineer the process that led to the tools’ final shapes. This includes being able to place the stones in the order in which they were used.

The series of images shown below are examples of left-handed tools and the area where they were used. As a note: I’m holding them with my right hand in order to get a clear shot of the worked area.

Look at the image and imagine someone is facing east(left), straddled across the second stone, leaning forward, and with the right hand, is gripping the tip of the first stone. Now imagine, with a stone in the left hand, this individual is creating the large indentation that is clearly visible in the image.

There are the 2digit stone tools, very finite, where the artisan pinches a pebble between the thumb and finger. Then, there are 3digit tools, as mentioned in an earlier post. After finger-held tools, palm tools are next in line.

As the name suggests, the palm tool is held within the grasp of the entire hand. Amongst the many benefits of this positioning, the biggest is that the artisan is utilizing the power and control generated by the muscles and bone structure throughout the arm and shoulder.

In the mind of a carpenter

If a carpenter is standing still, while swinging a hammer, the distance and angle to the nail determines the dynamic geometry that exists between the body and the subject matter.

Additionally, at the point before collapsing this geometric structure, the carpenter will either compromise the effectiveness of the swing, or the carpenter will change positioning, in order to regain balance: dynamic triangulation.

Dynamic triangulation becomes fluid, as the artisan moves from one position to another. This is the dance of geometry. This critical knowledge exists, hidden behind the physical world. It, along with the geometry of the hand, determines the very shape of these stones: poetry in motion, solidified in stone.