The notion that extraterrestrials visited Earth in the deep past sounds fascinating. Proponents of the ancient astronauts theory assert that our ancestors could not have constructed the pyramids or devised complex calendars on their own without external aid. Is this truly the case? We examined the most famous evidence for paleocontact and ascertained what actually lies behind it.
Where did depictions of “alien spacecraft” and modern gadgets originate on ancient drawings?
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The “Cosmonaut” of Palenque: Flight or Descent?
One of the main arguments of paleocontact supporters involves the image on the sarcophagus lid of the Mayan ruler K’inich Janaab’ Pakal the Great, found in a 7th-century temple in Palenque.
What ufologists observe
Erich von Däniken and his followers claim the bas-relief depicts a person inside the capsule of a spacecraft. He is seated in a chair, his hands rest on control levers, a foot presses a pedal, and flames erupt from nozzles behind the structure. To a contemporary person, this indeed resembles a rocket schematic.
What the facts indicate
Historians and Mayanists have long since deciphered the iconography of this portrayal. The scene does not show a journey into space but rather the moment of Pakal’s death and his descent into the Underworld (Xibalba).
The “rocket” is actually the Mayan World Tree (Wacah Chan). This is the axis interconnecting the underworld, the earth, and the heavens.
The “flame exhaust” signifies the roots of the World Tree plunging into the maw of the Earth Monster.
Pakal’s posture is one of rebirth. He is depicted at the point of transformation into the Maize God, symbolizing resurrection and the cycle of life.
What people mistake for technology is complex religious symbolism. However, since most people in the 20th–21st centuries are not immersed in the rich Mayan culture, they attempt to find familiar symbols within it, imposing the experience and knowledge of modern humans onto ancient imagery.
Helicopter and Tank in Ancient Egypt
In the Temple of Seti I at Abydos, there is a mysterious relief that sparks considerable debate. It clearly shows silhouettes resembling contemporary military hardware.
What ufologists observe
Theory adherents regard these hieroglyphs as “out-of-place artifacts.” They perceive a helicopter, a tank, a submarine, and an airplane. The conclusion drawn is bold: the Egyptians possessed advanced technologies acquired from aliens.
What the facts indicate
Egyptologists explain this phenomenon with the term “palimpsest.” This refers to the superimposition of one inscription upon another. In ancient Egypt, pharaohs frequently rewrote history by inscribing their names over those of their predecessors.
Initially, Pharaoh Seti I ordered his throne name to be carved on the beam.
At the behest of his son, Ramesses II, the inscription was plastered over, and his own titles were chiseled above it.
Over time, the plaster wore away, causing fragments of the two different inscriptions to merge.
The “helicopter” illusion arose from the coalescence of the hieroglyph for “bow” from Seti I’s name and “hand” from Ramesses II’s name. The human mind is inclined to seek familiar shapes in random patterns—this phenomenon is termed pareidolia. If the Egyptians truly knew about helicopters, they would hardly have concealed them within a random jumble of royal titles.
UFOs in Renaissance Icons
Strange flying objects are often noticed in paintings from the Medieval and Renaissance periods. The most renowned example is the 15th-century painting “Madonna with Saint Giovannino,” frequently called the “UFO Madonna,” housed in Florence.
What ufologists observe
Above the Madonna’s shoulder in the sky hangs a lead-gray, disc-shaped object. In the background, a man with a dog stands, shielding his eyes with his hand while gazing directly at this “craft.” Ufologists consider this direct confirmation that artists of the past witnessed UFOs.
What the facts indicate
Art historians point out that this is a standard element of religious painting from that epoch. The object in the sky is a gloriole, or radiant cloud, symbolizing divine light and the presence of God.
Symbolism. In religious artwork, luminous disks or clouds were utilized to depict immaterial divine illumination.
The shepherd’s gesture. The man covering his eyes indicates not surprise at a “saucer” but a reaction to blinding divine radiance. This is a convention for depicting witnesses to a miracle.
Interpreting the icon as evidence of a UFO substitutes technological interpretation for spiritual meaning. The artist depicted the sacred scene using a language comprehensible to contemporaries, rather than documenting an alien arrival.
The Silent Wanjinas of Australia
In the Kimberley region of Australia, rock paintings survive, dating back as far as 4,000 years. These depict strange beings known as Wanjina.
What ufologists observe
The figures possess large heads, enormous black eyes, a halo around the head, and—most significantly—no mouths. Proponents of paleocontact see portraits of aliens wearing helmets or spacesuits.
What the facts indicate
For the Indigenous peoples of Australia, the Wanjina are sacred ancestral spirits, creators of the landscape, and masters of the rain. Their peculiar appearance carries profound mythological significance, documented by anthropologists.
The halo is not a helmet but clouds and lightning, symbolizing storms.
The absence of a mouth is not a feature of a spacesuit but a symbol of power and restraint. According to their beliefs, if the Wanjina had mouths, they would summon endless rain that would inundate the entire world.
Labeling these spirits as “visitors” involves not only factual error but also devalues Aboriginal culture by disregarding their own explanations and traditions.
Why do people believe in paleocontact?
All the cases examined share one commonality: the attempt to explain enigmatic ancient art using contemporary technical imagery. Science rejects the ancient astronaut theory not out of malice, but because every puzzle has an earthly, human explanation.
Ancient people possessed immense ingenuity, complex religion, and rich imagination. To assume they could create nothing without assistance from “little green men” is to underestimate our own ancestors and their accomplishments.
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