The sandstone petroglyphs discovered at the Charama site, Chhattisgarh, India, and formally documented on November 12, 2019, consтιтute the most unequivocal pictorial archive of early human contact with non-terrestrial enтιтies. Dating of the ᴀssociated patina and micro-stratigraphy places the creation of these carvings within the early Holocene epoch, approximately 10,000 years Before Present (BP)—a crucial chronological link between the Paleolithic “Giant” hominins (Arago-A7) and the sophisticated genetic Founders of the Neolithic (SAH-9/10). The carvings are not crude shamanistic representations; they are highly stylized, geometrically consistent depictions of two distinct elements: non-humanoid enтιтies and sophisticated aerodynamic vehicles. The presence of multiple, detailed figures with disproportionately large, bulbous crania, slender limbs, and wide, staring eyes—features that defy the anatomical representations of contemporary Homo sapiens—demands the creation of the field of Xenolinguistics to decipher this visual lexicon.

The iconography of the figures, tentatively cataloged as Homo Astraeus, is remarkably consistent across the entire panel. They are shown with an unsettling lack of musculature and uniform, тιԍнтly fitted garments, suggesting an environment vastly different from the rugged terrain of the Deccan Plateau. Dr. Saroj Gupta, the project’s lead archaeo-linguist, observed in his initial synthesis: “The uniformity of the figures is not an artistic limitation; it is documentation. These are portraits of individuals of a distinct species. Crucially, several figures are depicted holding a rod or cylinder towards the sky, or interacting with the floating, shield-shaped craft above them. This is not worship; it is depiction of interaction and technology transfer.” The repeated motif of the wide, round, symmetrical craft—unmistakably resembling modern aerial surveillance observations—establishes the petroglyphs as a direct visual record of technological transit and communication, placing the Charama artists not as myth-makers, but as highly accurate chroniclers of an extraordinary epoch.

The true significance of Charama lies in its global synchronization with other deep-past anomalies. The skeletal morphology suggested by the Arago-A7 mandible points to a robust, pre-sapiens lineage, while the SAH-9/10 mummies confirm the existence of a genetically distinct “Zero-Point” human population with advanced funerary rites. The Charama petroglyphs now provide the missing visual idenтιтy of the enтιтies interacting with these various hominin groups. The stylized figures are strikingly similar to the “Tall Greys” referenced in the analysis of the Osirian Vault statues (image_8c4ff7.jpg). This undeniable visual consistency across 8,000 kilometers and 9,000 years—from the subterranean Egyptian statues to the surface carvings in India—proves the existence of a single, coherent, extra-terrestrial intelligence system, the Architects, who were actively cataloging, managing, and interacting with various terrestrial species during the late Pleistocene/early Holocene transition. The Charama carvings serve as the “Field Manual Illustration” showing the appearance of the beings responsible for the technological and genetic seeding of our planet.

In conclusion, the Charama Petroglyphs are the declassified visual evidence of a pre-Neolithic contact scenario, confirming that early human cultural development was directly influenced by non-terrestrial visitors. The carvings transform from simple rock art into a vital historical document, proving that the myths of “sky people” or “flying chariots” are not fabrications, but literal, observed events recorded in stone by a generation of artists living in the direct shadow of the Architects. This visual archive confirms that 10,000 years ago, India was a landing zone for the same technologically advanced species that influenced the foundational culture of Egypt. The petroglyphs compel us to view the dawn of civilization not as an independent human endeavor, but as a meticulously managed project by beings whose images, frozen in the desert rock, still challenge the limits of our historical understanding.