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Magdalenian Horsemen

It makes sense to say that some early Cromagnons had better understanding of horses than others. There could have been symbiotic episodes throughout the unwritten history between the two species. Because seeing is believing, we'll have a look at a couple of images: the Athena engraving from La Marche, and the Reptile Horseman from Les Trois Freres.
These engravings are so complex that there is no satisfactory breakdown of them into sub-images, yet. To unravel some more meaning from the engravings, one can cut out segments,and present them to a group of testers for a kind of a Rorschach test .

What if the test results indicate universal association of a given section with one subject, a figure, or even a scene? A question arises - Is this area of the image a valid sub-image? After all, it is the opposite of an ink-blot, in which no two people see the same.  

In the end, the reader might agree that he clarity of these sub-images would seem to dictate that others should have had noted them decades ago. However, this did not occur. This writer believes that researchers suppress, and block these anomalous visions out since they know,how easy it is to be branded a lunatic, a pyramidiot, or Atlantis-maniac. Scholarly careers of some dangerously honest people were ruined that way before.. The orthodoxy abhors all notions of ancient science and civilization.



When in the below commonly accepted orientation, Athena's  figure can be interpreted as a standing figure, with or without a backpack.
As well, in the orientation above, the girl in a flowing robe stands with her back arched, the face tilted up, her gaze fixed firmly on the zenith, arms raised as if holding out some object to the heavens.
This lens-shaped object is Athena's torso, when viewed in her standard pose. But now, the mandala has turned, and things look differently. The hermetic geometry is becoming more manifest. See  below.



The gif contains three easily distinguished main geometric objects, whose centers are on the same axis -  left, the ochre prism, or hourglass within the Cone's top circle, then the green-blue square, and the darker blue lens. Lines within the torso lines create a neat subsystem (the Pyrostar) based on the Golden Section, which then integrates into the overall system.   An older version originally done on paper of "the Pyrostar" is here. 

Fire & Water

The standard pose of Athena may show her sitting by a fire off to her right. There, we see a simple flame-like symbol. It consists of an open outside line - the outline of a flame, and a nucleus, which looks like a water droplet falling in opposite direction to the fire. Interesting symbol, to say the least...

Athena holds her legs in a manner typical for a rider balanced in the stirrups of a galloping horse.

The trailing lines behind the girl's back could symbolize fluttering cape, as she rides like the wind. 

Coloring gives us a clear picture of a heeled boot on Athena's left leg - an item all historians would decry as technologically impossible at that time. This heeled boot seems to have a spur, as well. Finally, we see a very long dagger, or a short sword probably in a sheath clipped onto the boot. Time to reminesce that the Reptile Horseman image has a similar motif..

The Stealth" Horse

People see either a horse, or a donkey in this figure (colored brown) - depending on, how they interpret the ears. No one has spotted the same animal within the complete engraving, because its lines "belong" to its human figure.
When the whole engraving is shown to people, who just saw the horse in isolation, they may take a while to find this horse against the background, (which is properly oriented, of course). In effect, the artist plays a subtle game with the viewer on a subliminal consciousness level, exhibiting psychological skills.
Everyone sees the girl above all else. Yet, because of the objective clarity of the horse, we can not say that it is hidden, but that instead, many blind themselves to its being there. For example, Athena's jaw is simultaneously the horse's jaw.

Such componentability of elements is the engraving's general rule. Athena's oneness with the horse lends itself to various symbolic interpretations. For instance, the sharing of jaws could imply some
sort of livelihood dependency. But, it could just as easily imply that the human is vegetarian (like the herbivore companion).
The horse seems to have a protruding abdomen, so, is this actually an image of a pregnant mare?

Below the head of Athena's mare, we see some lines, which could depict a bridle and reins. - J. Svoboda writes that on the teeth of some ancient horses found in Český Kras, was noted a similar
wear,  which could be caused by a bridle
, for instance.
He speculates further that the so called chieftain staffs - which are parts of horns sometimes covered by engravings, and drilled through at the end, with microscopic markings of usage around
the hole, show that the hole had some function. Svoboda theorizes the staffs could be parts of horse bridles.
Svoboda also writes that the same E. Piette, who had certified the Paleolithic tools from Altamira as genuine for Sautuola, noticed in 1889 that small carvings of horse heads from the cave of Mas
d'Azil seem fitted into some headgear. Soon after, there were lots of similar finds. There is even a drawing of a horse from La Marche (like Athena). which has on its head similar mysterious traces.
This interesting discussion was moderated in 1905, when our old friend Carthailac, but also abbé Breuil, sharply attacked all such speculations about ancient domestication of animals. Amazingly,
the two had enough clout to put the debate on ice for more than half a century.

Footnote ( The Warlike Goddess )
If the engraving's girl has aspects of the intrepid goddess Athena - perhaps, she is Athena. Perhaps, this goddess was worshipped since Palaeolith, along with other gods later seen in the Egyptian and Greek pantheons.
Where and when did the warlike goddess concept originate? How many times can such a strange concept be born independently in a primitive society, whose women are relegated to a domestic role,
and treated like inferiors?
 Plato says that both sexes had shared equally in the professional Greek (European) army of eleven and a half millenia ago. Women were equals of men - a revolutionary idea... Not even modern armies are yet advanced to the same stage. But, if sheer physical strength was not a factor, just what kind of army did Plato speak of ? 
How did he get the idea, which must have been utterly ridiculous in his day? 
We can hardly suppose that he would have equated women's traditional military roles of keeping camp and taking care of wounded - to "shared equally"... However, Plato also mentions a long initial period of peace in history. The entire world shared standards of civilisation, which had been introduced by the Gods themselves -'using methods of gentle persuasion'.

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