Forwarded from TARTARIA HISPANICA
🇬🇧 Peñón Blanco, Durango, México
This site is located in the north of the Los Llanos and Los Valles area. Apart from that mountain with the shape of a petrified remnant of a uprooted tree, the rock formation of symmetrical geometry that suggests the idea of also being a remnant of a melted and petrified building is striking.
Gracias Jeremy González
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
This site is located in the north of the Los Llanos and Los Valles area. Apart from that mountain with the shape of a petrified remnant of a uprooted tree, the rock formation of symmetrical geometry that suggests the idea of also being a remnant of a melted and petrified building is striking.
Gracias Jeremy González
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
❤13👍9👏2
Forwarded from TARTARIA HISPANICA
🇬🇧 Fighting, always
In the midst of setbacks, never consider the futility of the struggle. We act because it is shameful to give up, and it is better to fall fighting than to give up.
We are the generation that was not born to reap, but to sow on scorched earth. Our duty is silent and firm: to keep the flame of our identity alive in a world that seeks to dissolve it at all costs. We live in times of uprooting, of dissolving multiculturalism, and therefore we must cling to the essentials: to the memory of our blood, to the tradition of our ancestors, to the vitalism of our culture and to the values that gave meaning to our history. It is not nostalgia or longing, but continuity. We have a duty to be the bridge between what we were and what we still can — and should — be.
It is our task to clean up the ruins, reaffirm our roots and mark the footprints so that those who come after know where to follow. When our children look back, they will see a generation that did not surrender, that did not betray its blood, that resisted with dignity. That they see that we do not give up will be, in part, our triumph. It is not we who chose this fight, but it is our turn to give it, and we will give it knowing that our struggle is for all those who have not yet been born and deserve a homeland that welcomes them with identity and honor.
Join us
@Surfing the Kali Yuga
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
In the midst of setbacks, never consider the futility of the struggle. We act because it is shameful to give up, and it is better to fall fighting than to give up.
We are the generation that was not born to reap, but to sow on scorched earth. Our duty is silent and firm: to keep the flame of our identity alive in a world that seeks to dissolve it at all costs. We live in times of uprooting, of dissolving multiculturalism, and therefore we must cling to the essentials: to the memory of our blood, to the tradition of our ancestors, to the vitalism of our culture and to the values that gave meaning to our history. It is not nostalgia or longing, but continuity. We have a duty to be the bridge between what we were and what we still can — and should — be.
It is our task to clean up the ruins, reaffirm our roots and mark the footprints so that those who come after know where to follow. When our children look back, they will see a generation that did not surrender, that did not betray its blood, that resisted with dignity. That they see that we do not give up will be, in part, our triumph. It is not we who chose this fight, but it is our turn to give it, and we will give it knowing that our struggle is for all those who have not yet been born and deserve a homeland that welcomes them with identity and honor.
Join us
@Surfing the Kali Yuga
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
❤13👍6
Forwarded from IO SONO ANIMA - sentiero di consapevolezza 🐬✨🕉 (Iara)
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🇮🇹 La vita è come un arcobaleno: ci vuole la pioggia e il sole per vederne i colori.
(Detto indiano)
Buongiorno anime belle 🌈
🇭🇲 Life is like a rainbow: it takes rain and sunshine to see its colours.
(Indian proverb)
Good morning, beautiful souls 🌈
🇧🇷 A vida é como um arco-íris: é preciso chuva e sol para ver suas cores.
(Provérbio indígena)
Bom dia, belas almas 🌈
🇫🇷 La vie est comme un arc-en-ciel : il faut la pluie et le soleil pour en voir les couleurs.
(Proverbe indien)
Bonjour, belles âmes 🌈
✨✨✨🙏✨✨✨
https://tttttt.me/ioanima
https://tttttt.me/galliactica
https://tttttt.me/orgoniteitalia
@TARTARIAthetruth
https://tttttt.me/tartariabrazil
https://tttttt.me/Du_Labyrinthe_aux_Hypotheses
https://tttttt.me/TARTARIAITALIACHANNEL
(Detto indiano)
Buongiorno anime belle 🌈
🇭🇲 Life is like a rainbow: it takes rain and sunshine to see its colours.
(Indian proverb)
Good morning, beautiful souls 🌈
🇧🇷 A vida é como um arco-íris: é preciso chuva e sol para ver suas cores.
(Provérbio indígena)
Bom dia, belas almas 🌈
🇫🇷 La vie est comme un arc-en-ciel : il faut la pluie et le soleil pour en voir les couleurs.
(Proverbe indien)
Bonjour, belles âmes 🌈
✨✨✨🙏✨✨✨
https://tttttt.me/ioanima
https://tttttt.me/galliactica
https://tttttt.me/orgoniteitalia
@TARTARIAthetruth
https://tttttt.me/tartariabrazil
https://tttttt.me/Du_Labyrinthe_aux_Hypotheses
https://tttttt.me/TARTARIAITALIACHANNEL
❤14👍2❤🔥1
Forwarded from IO SONO ANIMA - sentiero di consapevolezza 🐬✨🕉 (Iara)
🇮🇹 Guardate questo piccione di lapislazzuli da Susa conservato al Louvre. Risale circa al 1150 a.C.
Il lapislazzuli, pietra preziosa e rara in Mesopotamia, veniva spesso usato per realizzare oggetti votivi, cioè oggetti decorativi offerti in dono alla divinità
🇭🇲 Look at this lapis lazuli pigeon from Susa, preserved in the Louvre. It dates back to around 1150 BC.
Lapis lazuli, a precious and rare stone in Mesopotamia, was often used to make votive objects, i.e. decorative objects offered as gifts to the gods.
🇧🇷 Observe este pombo de lápis-lazúli de Susa, conservado no Louvre. Data aproximadamente de 1150 a.C.
O lápis-lazúli, pedra preciosa e rara na Mesopotâmia, era frequentemente utilizado para criar objetos votivos, ou seja, objetos decorativos oferecidos como presente às divindades.
🇫🇷 Regardez ce pigeon en lapis-lazuli provenant de Susa et conservé au Louvre. Il date d'environ 1150 avant J.-C.
Le lapis-lazuli, pierre précieuse et rare en Mésopotamie, était souvent utilisé pour réaliser des objets votifs, c'est-à-dire des objets décoratifs offerts en cadeau aux divinités.
✨✨✨🙏✨✨✨
https://tttttt.me/ioanima
https://tttttt.me/galliactica
https://tttttt.me/orgoniteitalia
@TARTARIAthetruth
https://tttttt.me/tartariabrazil
https://tttttt.me/Du_Labyrinthe_aux_Hypotheses
https://tttttt.me/TARTARIAITALIACHANNEL
Il lapislazzuli, pietra preziosa e rara in Mesopotamia, veniva spesso usato per realizzare oggetti votivi, cioè oggetti decorativi offerti in dono alla divinità
🇭🇲 Look at this lapis lazuli pigeon from Susa, preserved in the Louvre. It dates back to around 1150 BC.
Lapis lazuli, a precious and rare stone in Mesopotamia, was often used to make votive objects, i.e. decorative objects offered as gifts to the gods.
🇧🇷 Observe este pombo de lápis-lazúli de Susa, conservado no Louvre. Data aproximadamente de 1150 a.C.
O lápis-lazúli, pedra preciosa e rara na Mesopotâmia, era frequentemente utilizado para criar objetos votivos, ou seja, objetos decorativos oferecidos como presente às divindades.
🇫🇷 Regardez ce pigeon en lapis-lazuli provenant de Susa et conservé au Louvre. Il date d'environ 1150 avant J.-C.
Le lapis-lazuli, pierre précieuse et rare en Mésopotamie, était souvent utilisé pour réaliser des objets votifs, c'est-à-dire des objets décoratifs offerts en cadeau aux divinités.
✨✨✨🙏✨✨✨
https://tttttt.me/ioanima
https://tttttt.me/galliactica
https://tttttt.me/orgoniteitalia
@TARTARIAthetruth
https://tttttt.me/tartariabrazil
https://tttttt.me/Du_Labyrinthe_aux_Hypotheses
https://tttttt.me/TARTARIAITALIACHANNEL
❤10👍4🕊2😍2
Forwarded from IO SONO ANIMA - sentiero di consapevolezza 🐬✨🕉 (Iara)
🇮🇹 A volte sembra che le antiche civiltà possedessero tecnologie capaci di modificare lo stato fisico delle sostanze, inclusa la pietra, e di modellarla in qualsiasi forma desiderassero.
🇭🇲 Sometimes it seems that ancient civilisations possessed technologies capable of modifying the physical state of substances, including stone, and shaping them into any form they desired.
🇧🇷 Às vezes, parece que as civilizações antigas possuíam tecnologias capazes de alterar o estado físico das substâncias, incluindo a pedra, e moldá-la em qualquer forma que desejassem.
🇫🇷 Il semble parfois que les civilisations anciennes possédaient des technologies capables de modifier l'état physique des substances, y compris la pierre, et de la modeler à leur guise.
✨✨✨🙏✨✨✨
https://tttttt.me/ioanima
https://tttttt.me/galliactica
https://tttttt.me/orgoniteitalia
@TARTARIAthetruth
https://tttttt.me/tartariabrazil
https://tttttt.me/Du_Labyrinthe_aux_Hypotheses
https://tttttt.me/TARTARIAITALIACHANNEL
🇭🇲 Sometimes it seems that ancient civilisations possessed technologies capable of modifying the physical state of substances, including stone, and shaping them into any form they desired.
🇧🇷 Às vezes, parece que as civilizações antigas possuíam tecnologias capazes de alterar o estado físico das substâncias, incluindo a pedra, e moldá-la em qualquer forma que desejassem.
🇫🇷 Il semble parfois que les civilisations anciennes possédaient des technologies capables de modifier l'état physique des substances, y compris la pierre, et de la modeler à leur guise.
✨✨✨🙏✨✨✨
https://tttttt.me/ioanima
https://tttttt.me/galliactica
https://tttttt.me/orgoniteitalia
@TARTARIAthetruth
https://tttttt.me/tartariabrazil
https://tttttt.me/Du_Labyrinthe_aux_Hypotheses
https://tttttt.me/TARTARIAITALIACHANNEL
👍12💯5❤2
Forwarded from Slavic World
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❤14👍3❤🔥1🥰1
Forwarded from TARTARIA HISPANICA
🇬🇧 Glyphs Before the Floodline
By 5300 BCE, along the Danube’s winding banks, a culture thrived with an intricacy still difficult to classify. The Vinča—named after a Serbian village where traces first surfaced—built dense settlements of multi-room homes, practiced early metallurgy, and left behind artifacts so precise they seem anomalous by Neolithic standards. Clay figurines with elongated heads, sitting in composed, almost supervisory postures. Tools of copper centuries before the so-called Copper Age. And most curiously: signs.
Carved into pottery, these markings—over 700 distinct symbols—predate Sumerian writing by at least a thousand years. The signs are too systematic to dismiss as decoration, yet they haven’t been decisively translated. Archaeologists call them proto-writing, but the regularity of their appearance—grouped, repeated, embedded in ritual vessels—suggests not just communication, but continuity. Some appear near stylized figures in what seem to be formal poses, others beneath depictions of abstract animals or celestial patterns. They may not be a script in the Mesopotamian sense, but they do not look accidental.
The Vinča culture occupied a wide area—from modern-day Serbia to parts of Romania, Bulgaria, and Bosnia—during a period when most of Europe still moved through hunter-gatherer rhythms. Yet their cities, some estimated to house thousands, show urban planning, storage systems, and symbolic governance far ahead of their time. The cause of their decline remains unclear. Climatic shifts? Internal collapse? Cultural assimilation into Indo-European expansion? Whatever the answer, the signs were buried, the language forgotten, and a script that could reframe History remains untranslated—sitting silent in museum drawers across the Balkans.
Join us
@Historia Occulta
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
By 5300 BCE, along the Danube’s winding banks, a culture thrived with an intricacy still difficult to classify. The Vinča—named after a Serbian village where traces first surfaced—built dense settlements of multi-room homes, practiced early metallurgy, and left behind artifacts so precise they seem anomalous by Neolithic standards. Clay figurines with elongated heads, sitting in composed, almost supervisory postures. Tools of copper centuries before the so-called Copper Age. And most curiously: signs.
Carved into pottery, these markings—over 700 distinct symbols—predate Sumerian writing by at least a thousand years. The signs are too systematic to dismiss as decoration, yet they haven’t been decisively translated. Archaeologists call them proto-writing, but the regularity of their appearance—grouped, repeated, embedded in ritual vessels—suggests not just communication, but continuity. Some appear near stylized figures in what seem to be formal poses, others beneath depictions of abstract animals or celestial patterns. They may not be a script in the Mesopotamian sense, but they do not look accidental.
The Vinča culture occupied a wide area—from modern-day Serbia to parts of Romania, Bulgaria, and Bosnia—during a period when most of Europe still moved through hunter-gatherer rhythms. Yet their cities, some estimated to house thousands, show urban planning, storage systems, and symbolic governance far ahead of their time. The cause of their decline remains unclear. Climatic shifts? Internal collapse? Cultural assimilation into Indo-European expansion? Whatever the answer, the signs were buried, the language forgotten, and a script that could reframe History remains untranslated—sitting silent in museum drawers across the Balkans.
Join us
@Historia Occulta
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
❤14👍2
Forwarded from TARTARIA HISPANICA
🇬🇧 Labyrinth The Edge, Hogsback, South Africa
This is a very long maze. Its length is about one and a half kilometers. From this labyrinth you have an impressive view of the forest and the mountains.
A design on the ground, as in the Cathedral of Chartres, France. A plate like that of the Schumann wave emitter. A resonator, like the modern Mishin healing coil. A magnetron in the center, as in microwave appliances and cathedral rose windows.
Join us
@Точка связи миров
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
This is a very long maze. Its length is about one and a half kilometers. From this labyrinth you have an impressive view of the forest and the mountains.
A design on the ground, as in the Cathedral of Chartres, France. A plate like that of the Schumann wave emitter. A resonator, like the modern Mishin healing coil. A magnetron in the center, as in microwave appliances and cathedral rose windows.
Join us
@Точка связи миров
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
❤6💯5👍3
Forwarded from TARTARIA HISPANICA
🇬🇧 Nájera Caves, La Rioja, Spain
They are located in hills near the left bank of the Najerilla River, formed by strata of red sandstone and clays. The caves were dug into the mountain by the inhabitants of the area, possibly to take refuge in times of political and military instability.
The caves are staggered at various heights, with some reaching up to 45 meters from the base of the cliff. The original access was made by cornices, wooden steps anchored to the wall and ropes, the vestiges of which are still visible.
Although their exact origin is unclear, it is estimated that they were used since late antiquity and are documented in the tenth and eleventh centuries. They served as a shelter and defense against invaders, and also provided advantages such as security, vigilance, good ventilation and absence of humidity.
"Strata of red sandstone and clays". This is what the officialdom tells us. They sure aren't melted brick buildings, nor the ones in the other photos either. They are whims of Nature or pareidolias that conspiracy theorist see, nothing else.
Join us
@Rinaccha
@Zakázané Poznanie
@TARTARIA HISPANICA
They are located in hills near the left bank of the Najerilla River, formed by strata of red sandstone and clays. The caves were dug into the mountain by the inhabitants of the area, possibly to take refuge in times of political and military instability.
The caves are staggered at various heights, with some reaching up to 45 meters from the base of the cliff. The original access was made by cornices, wooden steps anchored to the wall and ropes, the vestiges of which are still visible.
Although their exact origin is unclear, it is estimated that they were used since late antiquity and are documented in the tenth and eleventh centuries. They served as a shelter and defense against invaders, and also provided advantages such as security, vigilance, good ventilation and absence of humidity.
"Strata of red sandstone and clays". This is what the officialdom tells us. They sure aren't melted brick buildings, nor the ones in the other photos either. They are whims of Nature or pareidolias that conspiracy theorist see, nothing else.
Join us
@Rinaccha
@Zakázané Poznanie
@TARTARIA HISPANICA
👍11❤5