Alien Earth - Alien Mind

II. Japan: The Ishi-no-Hoden

We find another site, this one in Japan, that fits the introductory description of the Longyou Caves presented in part I. However, it is very different in many respects. For starters the “Floating Stone”, as the Japanese people often call it, is a single, monolithic block weighing an estimated 500 tons.

Like the Longyou Cave though, there are no historical records documenting who built it, how, when, and why as I noted in that case -- this presents us with an unusual situation and historical context -- right off.

Of course, these facts have long puzzled the Japanese, and the enormous monolith has left generations scratching their heads in bewilderment.

Ishi-no-Hoden lies about a one- hour train ride from the sophisticated, very modern city of Kyoto. The surrounding region is also home to many Kofun, a very enigmatic, ancient keyhole-shaped structure that the Japanese seldom mention to the rest of the world.

Nara, the capitol of ancient Japan is also in this region as well

The Ishi-no-Hoden is nestled within a natural pocket surrounded by a semi-circular, native rock wall on three sides. A small temple sits in front of the stone monument, serving as the visitor’s entrance.

It is located in the Kansai Region near the town of Takasago in the Hyogo Prefecture about 100 km from Asuka. Unlike the Kofun, which Japanese historians claim that they can identify who built them, why and when they were constructed; they do not claim to have similar knowledge about a small group of unusual megaliths in this region, including the one we are about to examine in detail.

In my view, the Ishi-no-Hoen is perhaps the single most mysterious, monolithic, carved stone on the planet. It is not necessary to dispel any false ideas about who built it, how or why, because no one has conjured any up that are at all credible.

The Japanese consider Ishi-no-Hoden one of the 3 most enigmatic riddles of their ancient history.

But, regarding their ancient sites the Japanese are not like Egypt Mexico, Peru and other countries. The do not promote them as venues to attract flocks of international tourists. Even though the Kofun are, in fact, on equal footing with the sites in those countries.

The Ishi-no-Hoden is a colossal, monolithic structure weighing a between a staggering 500-600 tons. The cubic shape is striking -- not only because of its massive bulk -- but also due to its odd, geometrical configuration.

The monolith was obviously intentionally designed to have the weird shape that it has. But why it was configured in such an odd, irregular style remains a mystery.

The ‘Ishi’ also called “the floating stone” is a giant cube with an incised groove carved into the east and west sides of it. Why this feature was included is not known.

The north facing side was further carved into a platform shape, the sides of which were beveled at an angle. On top of its upper, flattened and squared surface, sits a peculiar (trapezium shaped) protrusion.

It was carved in the form of two triangles and two rectangles facing one another. They form a sort of pyramidal configuration, with only two sides having triangles, which is truncated on top.

It almost looks like the pyramid ought to be on top and that the monolith is lying on its side.

Again, why the builders would have gone to the trouble of adding the platform and protrusion remains unknown. The overall design gives the impression that the block was manufactured to fit into an even larger structure.

But no such structure sits nearby and none have been found anywhere in the vicinity either.

In addition, no end-use has ever been established and the builders remain unidentified. This peculiar stone object is unlike any other I have studied over the years. Moreover, those that come closest, oddly enough, are located in this same region.

Below is one example. We see another curiously configured megalith standing in sullen isolation. It too looks as if it were made to be a part of some kind of larger project. It also has a similar groove or incised band cut out of the center.

Neyagama is within this area. As noted above, the Ishi-no-Hoden sits within the prime area where ancient builders constructed many Kofun. This of course suggest the Builders were in this region in an unknown remote point in prehistory.

[I was in Japan studying kofun sites recently and was amazed at how many there actually are. So many, they look like natural tree covered hills.]

But we have just scratched the mere surface of its mysteries so far.

The pat answer given by archaeologists, when faced with the question of the purpose of such an artifact 1)”it was tomb” or 2) it was the centerpiece of rituals and ceremonies.”

Predictable and empty, pat phrases. The first one cannot be applied here. The monolith is completely solid. Why any group of people would create such a colossal monument (or whatever it was) is baffling to say the least. But rule out, tomb.

From the photo we can see vegetation is growing on top of the block. It is assumed that two square holes were cut out of the top like the Iwafuna stone (another anomaly below). But the shrubs prevent us from verifying that.

I noted above that this monolith has a geometric design with peculiar features added. That means we must take all of this into consideration when trying to understand how and why it was constructed.

Given the above facts, we have to consider the following as well: 1) the level of the stone-masonry and engineering skills that went into it. 2) identify the kinds of tools required to cut the stone. To do those things we must first identify the type of stone the monument was made from.

A brief examination reveals that the block was carved from native hyalocastite.

What is this rock exactly and where does it fit into the scheme of relative rock properties and hardness? We turn to Wikipedia for the answers:

“Hyaloclastite is a hydrated tuff-like breccia rich in black volcanic glass, formed during volcanic eruptions under water, under ice or where subaerial flows reach the sea or other bodies of water. It has the appearance of angular flat pieces, sizes ranging between millimeters up to a few centimeters.”

The comparison to tuff means hyaloclastite is a relatively soft rock, more so than limestone and much more so than granite. Soft is used in the context of measuring the comparative hardness of stones (MOHS scale), it is a rock and still hard, of course.

Today it is used to make counter tops. With the above established we can determine the kinds of tools that could be used to cut and carve this native rock. In fact, even stone tools made of native granite could do the job.

However, we have added issues to consider. It is true that a granite chisel or adze, even granite chisels could be used to cut and carve hyalocastite. But those tools would leave traces such as obvious gouges, grooves and such, on the face of the finished block.

The odd protrusion jutting out the back side of the monolith.

The kinds of marks that hand tools would leave are not evident on the surface of the monolith, however. Beyond that, the overall design is too sophisticated, and too well executed, for any primitive culture to have made. And no end-purpose for this monolith is at all apparent.

Then there is the all but impossible issue of how it was lifted and moved. No one has any clue, period.

In fact, no stone (or metal) hand tools were ever found at the site so we can safely rule out this option. Of course that leaves us with a conundrum. Since it is an ancient artifact, there was no electricity, therefore no power tools made by any human culture were used, anyway.

(Issues we encountered at the Longyou Cave, as well.)

Problematic, because machine tools are our only other choice. In fact, there is no trace-evidence that power saws, or other types of modern technology were used either.

In addition, cutting the raw, rough, native stone from the bedrock into the cubic shape, required considerable stone-masonry skills. As did designing the pedestal it sits upon just above the pool of water.

We see many 90-degree angles and curving cuts were also made into the raw stone. Making those created numerous edges all over the block and we find them to be sharp and well-articulated.

All of those features would be extremely difficult, virtually impossible, to achieve with hand tools. Also, it is clear that a master stonemason(s) executed this work. (See insert below)

We must also note that the protrusion, jutting out at angles, means that the raw block extended out another 8’ before that feature was carved out. What a massive job that would have been to hack away and remove!

Now, if we follow the angle of the protrusion, in the above photo, downwards, it terminates in the flat, vertical side-wall facing it. However, continuing downwards a foot or so more, we encounter an edge created by yet another angle. That one slopes inward and ends just above the pool of water.

All of these features factor into just how challenging this monolith was to create. In addition, they add a magnitude, or several, to the design and construction challenges.

Question: Why was the lowest section angled?

Raising the bar to an even higher level, note that the very bottom was also cut horizontally. That cut left the sharp, straight edge we see extending above the surface of the water.

That brings us to yet more very curious and difficult to create features. As I have mentioned, one of the names that the Japanese call this monolith is, ‘The Floating Stone’. That is because it appears to be floating above the pool. What is not noticeable, is that beneath the pond is a stone tray or pedestal, that the monument sits on.

According to temple records, this water reservoir never dries up, not even during periods of lengthy droughts. Because of the water, the base of the monolith, which connects it with the ground, cannot be seen. That makes it look as if the megalith is floating in the air above the pond.

That brings up another name that the Ishi- no-Hoden has, “The Departing Stone.”

From the foregoing, it is clear that the monument was cut flat across the bottom toward the center of the monolith. But with that observation we must ask, how exactly was that done?

This problem has to be given some real study and serious thought. We can see that the bottom was definitely cut and planed flat and that makes it appear to be floating in the air above the water.

We have to keep in mind that this massive block was carved out of the local bedrock. But how was the bottom of the block, which would have been on the ground, and formerly attached to the bedrock, undercut?

That task defies explanation without resorting to the use of powerful modern equipment. (None of this occurs to the average tourist and no archaeologist is going to raise these issues.)

In the next image we can more clearly see that the flat undercut portion terminates in a neck that is partially above, and partially below, the surface of the water. That must be attached to the tray or base.

The monolith shows a few signs of damage, but it is difficult to determine the exact causes of that. One corner has a large chunk of stone missing. There are also lacerations across one of the walls. But for the most part it is intact and would in no way be classified as being in any kind of ruined condition.

Today, the site is a shrine dedicated to the Shinto god Oshiko Jinja. It is revered by Japanese people and the temple on-site is indicative of that fact.

The local folklore claims that the monolith is the handiwork of two "gods", Okuninush and SukunaBiko Na, who are said to have created it. According to the legend the pair were supposed to make an entire castle in just one night. However, a rebellion suddenly erupted, among the local people, which caused the gods to abandon their handiwork.

In the end, they were only able to finish the Ishi-no-Hoden, instead of the entire castle.

Another detail that must be noted is that, like the Longyou Caves 1) no waste rock was ever found around the site. 2) There are no other megalithic structures that have this particular shape found anywhere else in Japan.

The fact that this monolith is a one-of-a-kind artifact is very provocative. Seldom does any culture build a single, very large, free standing, monolithic monument. In fact, Japanese historians do not have any possible culture to nominate as being the builders.

It is also quite odd that there are no other stone buildings, remnants of a village or town, and/or other relics that go along with the style and stone structure of the Ishi-no-Hoden.

Moreover, compounding the enigmas is the fact that the Japanese history does not account for any culture as being capable of such monumental stone-work.

The foregoing facts, taken together, underscores the deeply enigmatic nature of the Ishi-no-Hoden. There is simply no other monolithic stone like it on the planet.

However, the very look of it, the cubic design; the pyramid-shaped protrusion; and the groove cut into the walls convey a sense of purpose and of being a component.

The object also seems too sophisticated, too massive, and built with too many difficult to execute features, not to have been intended for some, functional end-use.

Like the other isolated monoliths, not far distant, it too appears to have been manufactured as a part of something larger. We may be looking at puzzle pieces left behind by a very high civilization that existed during a very remote era of prehistory.

This unique artifact is an architectural and engineering marvel first and foremost. It is also a very real and very deep mystery for us to ponder.

What ancient culture lived here long ago? We know not. Why did they create this object? We know not. What happened to them? Again, no one on earth today knows…