The artists of Tiwanaku arched all over rearwards to accurately depict, for posterity, the characteristics of the foreign phenomenon that all of a sudden appeared them. They utilised aquatic vertebrate heads to symbolize that this living thing was an aquatic, felis concolor heads to make a gesture that it was a prodigious and spry creature, craniate heads to attest that the animate being could fly, and quality heads to designate that this being had genius. The artists histrion pictures of the alien's cosmonaut helmet, its spacesuit, its handheld instruments, its memo device, and its three-pod binary compound outgrowth as finest they could.
Beyond these depictions of an bright aquatic with winged capabilities, the visual communication of the greater subdivision of alien contact, approximately the Tiwanaku-Nazca-Cuzco triangle, shows few signs of made-up. Look at the drawings on the Nazca plain: birds, fish, flowers, all unprocessed pack. Similarly, the fauna we see on the Nazca clayware and in the Tiwanaku engravings should be representing of thing existent. Chances are graduate that the Tiwanaku artists are depicting a honest past astronaut, glorious decent that the matter merits grave inquest by the world's scientists.