THE T. REX IMAGES PAGE

ANOTHER ASPECT OF THE STONE PICTURED ABOVE

A FOUR-DIRECTIONAL EXAMPLE OF NON-METRICAL IMAGE WRITING

Here's an interesting little example of non-metrical image writing. Note how it was produced by shaping a layer of white stone that overlays a base of red stone. This is probably the world's oldest known example of a 'cameo'. How old is it? Well, that's a T. Rex looking back at you...with a mastodon's head protruding from the right side of its mouth. If you align this stone properly, relative to the sun, then the eye on the right side of this T. Rex's image becomes a reflective highlight...with a second such highlight at the lower left, about where one would expect to find the jugular vein in the T. Rex's neck. That is where you would have to hit a T. Rex, with a spear or an arrow, in order to kill it. Which would be a wise thing to do, if it were looking at you.

There is quite a bit of non-metrical image writing on this stone, but I'll only point out a few aspects of that for now. On the left side of this image, one can find two crescent moons. That indicates a time period of two months. Since a crescent moon always faces either east or west for ANYONE viewing it, this also means: two months to the west. And sure enough, when I went to an area that I estimated to be about two months by surface travel from where I found this stone, I did indeed find a very accurately sculpted example of a T. Rex head (not pictured here). I probably wasn't in exactly the area where T. Rex were known to live at that time but, I was in much closer proximity than the area I started from.

The eye on the left side of the T. Rex image shown here presents an Apatosaurus or two, as seen from a distance. In the area to the right, below the eye on the T. Rex image's right side, one can see a man in profile facing left...crying (although this is not readily apparent in the photo, I just though that I'd mention it as, it shows that people did not ENJOY living in areas that the T. Rex inhabited). Also in this area, below the dead mastadon's head and extending down into the area below the T. Rex's jaw and beside its neck, one can find the a composite of our old enemy, the intelligent species of reptile.

Probably the most fascinating thing about this particular stone is its square shape. When this stone is rotated to any of the its four orientations, a new assemblage of different image composites can be seen. This is typical of the kind of genius demonstrated by the members of he First Nations who produced this form of non-metrical image writing so long ago.

AN INTERESTING PRESENTATION OF A T. REX ATTACKING A NORTH AMERICAN LION

Following along the edge of the black, upper left-hand corner of this stone's image, you will find a T. Rex. If your monitor isn't set brightly enough, you might not be able to find it. If it is set brightly enough, you will be able to find this T. Rex: it is shown in a standing position, facing to the left (as a solid black image on the white background). You can clearly see the head; two white dots as eyes; the body, with its arched, humped back; the tail pointing out behind it; and the legs below it. The legs join into the ears of a short faced bear's head (presented as an assemblage of facial features); these ears are also the outline of distant mountains, indicating the T. Rex's local environment.

The T. Rex's head has two modes of presentation (sub-grouping): with the small white-dot eyes, as mentioned above; and, with the eyes presented as large white circles (with thin black outlines) vertically arranged on the extreme left of the T. Rex's head. The large-circle eyes group with the area below the neck of the white-dot eyed version: this area becomes the open mouth of the T. Rex, as presented in a wide-eyed (large-circle eyes) attack. Such shifting between sub-groupings within this image nicely illustrates the way in which the non-metrical, as characteristic of time, presents "things that vary from themselves".

When the white-dot eyes version of the T. Rex is sub-grouped, a small detail can be noticed sticking out from the right side/back of the T. Rex's head. It presents the head of a North American lion, which the T. Rex is in the process of devouring. The lion's head is shown protruding from the mouth of the T. Rex in much the same way as the mastadon's head is shown on the 4-sided T. Rex stone presented above. Immediately to the right of the short faced bear head (which is below the standing T. Rex) is a close-up (as solid black images) of the attack by the T. Rex upon the North American lion. One would have to imagine that the T. Rex, in biting down on the lion, severed the lion's head completely...causing it to drop to the ground. As with the rabbit's feet found left behind in fields after the attacks by predators, the result would be a 'lucky lion's head'...the only part that managed to get away!
{You can argue with me all you like but, I will always say that The Stones are the original form of authentic rock writing!}

There, the T. Rex's head is presented, facing right, with its mouth opening...just before it bites down on the lion, also shown as a solid black image facing right.

Just above and to the right of the lion is a dire wolf, presented as a solid black image, with its body facing right and its head turned left to face in the lion's direction. The white eyes and white mouth of the wolf can be clearly distinguished, as can its pointy little (black) ears. Further to the right, at about the same level as the dire wolf and also facing right as a solid black image, there is a running mammoth.

A TRULY EXCEPTIONAL PIECE...

I found this beautiful little piece one winter's day while walking along an island beach in British Columbia, Canada.

Battered by waves for unguessed millenia before being washed up upon that shore, it had for me an unusual attraction as I first held it in my hand.

The shape was odd, and well outside what I would consider natural for a piece of stone. It felt to be of a slightly different density than normal for a piece of stone of its size. Its temperature was oddly neutral to the touch: neither as cold as a stone would be in the air's ambient chill, nor as warm as the sun should have made it.

The surface itself was unusual, too. It was smooth, yes, but...my fingertips clung to it ever so slightly, as if the waves had served to expose an almost imperceptible affinity to flesh from inside its form. It had a gentle roughness, a minutely smooth grittiness that allowed the touch to glide with ease over it yet, adhere firmly when such motion ended. It was as if this object had some long forgotten thirst for human contact.

Looking back now, I think that perhaps this piece was not stone at all. I think it more likely to have been ivory, perhaps even fossilized ivory.

Visually, this piece was like nothing else I had previously seen. It was a blend of subtle, pale grays and creamy whites. There were no definite, dark blacks apparent upon its surface; and the overall impression that it gave me was of distant, frozen mountain rock: encased in glaciers and snow, but constantly washed by incessant rains which, streaming down those ancient slopes, slowly exposed the ice-locked stone below until it was almost, but not quite, opened to sight.

In this gentle range of grays, my eyes rested upon a surface which seemed to yield softly before my gaze, as flesh softly eases beneath the slow warmth of a touch. This was a tactile sense of sight, a smooth and sensual release into visions from a far away past that I could reach out to and touch with my mind. There was a great restfulness of care palpably awaiting in this piece, a gentleness of intention tempered into an all the more so by some massive, unguessed hardness which had attended to its origin.

I won't go into detail about the images this piece presents: many of those are far away now, having been incessantly abraded by reality's relentless onward wash. Yet, these images still suggest themselves today, when this piece entwines itself with the shadows of low light situations; then, animals now long past manage to flesh themselves out again with darkness and outline. But there are a few things here I would like to draw forward into your attention and appreciation.

Of course, there is the image of a T. Rex: in profile facing left, with its mouth straining wide open and its eye intent upon its prey. That is the harsh terror which this piece presents: and there is also immeasurable beauty here. It wasn't until after I had photographed this piece, oriented to display the T. Rex, that I noticed what makes this piece such an exceptional thing of beauty.

The top, most heavily sculpted section of this piece presents an ancient family. They are dressed in the hooded clothes that protected them from the bitter cold of a glacial age. They face away from the T. Rex, perhaps fleeing from its immanent danger. The very top of this piece presents a man, who is looking straight ahead into the distance which they are traveling toward. Beside, slightly behind, and just a bit below him is a woman: her face still peers out from her parka's hood, tilted downward with love toward their child. This baby rests snuggly, in front of and between them, in a big, loose parka hood: warm and content, this child looks out into a world that has now moved thousands and thousands and thousands of years forward...to a world where people can still peek back in to admire how cute this little baby is; which is something that people still love to do, to this very day (and always will love to do, for as long as there are people and babies).