Depicted Sign Language:An Ancient Universal System of Communication

Clifford C. RicheyJanuary 2013

(Revised August 2014)

The basis for any study of depicted sign language is the gesture signs

Illustration 1: TheEarthen Vessel,

The Gourd Form,Her Body

Everything in theDarkness

Her Neck, Her Throat,A Tube, a Tunnel

Her Mouth,The Water Source,

Her Opening,In the Surface

Her Unseen Cave,Her Womb

The Great OneHis Location

WithinThe Darkness

The Place, Between,Her Sides,

The Center of the Earth

from which Form and Imagery were composed. These gesture signs can be historically documented1 and number over 300 signs depending on how one counts them. Many signs are compounds of more basic signs thus making a definite count more difficult. Compounding allows the signs to be almost unlimited in number. There are many books on Indian Sign language available to the reader. No attemptwill be made, in this paper, to cover all the available signs. Rather there will be an attempt to determinethe manner in which the gesture signs were transposed into a depicted system sometime in the distant past.

There has been much debate over the appearance ancient similar signs found world wide and at greatly varying time periods. In many cases there can be no real possibility that the involved cultures had any direct contact with each other. What is likely is that the ancient groups of people carried their knowledge of gesture and depicted signs with them in their migrations to new areas of the world. Such migration may have been caused by friction between groups, climate change, and a search for new and better areas for hunting, agriculture, and a general improvement in living conditions.

Gesture signing was valuable to people for purposes of signaling in silent hunting and warfare as well as for communication with other groups of people who had different verbal languages. Sign language was also used for purposes of trade between different linguistic groups. Transposing the gesture signs into a depicted form had the additional value of allowing a more permanent record of what had significant value to the groups. Previous to this one had to rely on verbal traditions for the remembrance of the group's history, cosmology, and other knowledge considered important.

The cover page for this paper shows a Moche ceramic vessel from Peru that was composed from just the basic signs and form without any Imagery. The vessel still manages to provide a cosmological message about the earth-female carrying the seed of re-birth. The Form of this Vessel is one of a Bottle Gourd that in an earlier time was used as a container. Later, ceramic, vessels continued that shape especially when it was used as a metaphor for that earthen container, the female earth.

The eloquence of any translation based on depicted signs would have been dependent on the reader and the manner in which the signs were paraphrased. It should be mentioned here that any paraphrased composition might use very differentsigns. The resulting message might appear very different yet the themes might be very similar. At this time it is unknown whether there was more than one system of written sign language. While many of the compositions of the various culturesmay, initially, appear quite different these differences seem to be mainly those of artistic style.. These stylistic differences may have been intentional, as a matter of pride, such as a means of “branding” a culture.

Depicted sign language was just as logical as the system used in gesture signing. The basic concepts are easily learned. But the system quickly becomes more complicated when it involves Form and Imagery as these have their own meaningand associations. Often one can determine the meaning of the Form and Imagery through the sign elements and the context of the overall message. Because the depicted system is non-linear and non-sequential it is almost subliminal, to present day researchers, in its ability to bear linguistic content. Another area of difficulty is that some Forms and Images may not be shown in their totality because they are either merged or compounded, into other signs and, at times, have parts hidden behind other signs. The reader has to use his knowledge of the signs to complete the hidden part of the Form.

The question of when or where the compositional system was invented is unknown. As far back in time as these signs have been found they seem to have already been part of a complete system At this point in time it seems that the system

1 Tomkins, William Indian Sign Language.Denver Publications, Inc. New York 1969 Mallery, Garrick Picture-Writing of the American Indians, Courier Dover Publications, 1893

may be 40,000 years or more old. The system was carried by various cultures in their migrations ultimately ending up in the Americas. The relative isolation of the Americas from the rest of the ancient world may have preserved the system as asnapshot of earlier times. The cosmology that was commonly recorded using the depiction system seems to have been widespread among the various cultures in the Americas.

The multiple migrations of groups to the Americas and their subsequent isolation from events in the rest of the world may well have preserved one of the oldest examples of an ancient belief system. Changes in beliefs or how they were expressed in the signs could have been rapidly spread along trade routes through both gesture and the depicted signs.

For more information related to the historical processes as to when and where this compositional system evolved we may need to look toward Asia, Africa, and perhaps even to Europe. As stated above, the scientific basis for a written form of sign language is fairly solid as hundreds of the basic hand signs are quite well documented historically. We are of course on less solid ground when we attempt to understand the meaning of Form and Imagery. For this we have to look for hints in historical texts where documentation is quite lean. Our case has been built up from the historic cues that are found in the literature as well as from what has been learned about Form and Imagery through their context.. Many trial and error substitutions were involved in defining Form and Imagery.

Because of the subtlety of the compositional system it is unlikely that all the principles used in such compositions have been recognized or determined. The actual associations and the extent of these associations is also somewhat problematical. It cannot be asserted that all the cosmological associations, as well as the depth of such associations,are fully understood at present. Hopefully enough of the rules have been discovered to gain a general idea about the meaningof the various compositions. For the present it appears that the following rules were used in organizing and composing the compositions. The compositional system was non linear or non sequential. It could be read beginning at any given point as long as the logical order was rearranged mentally. Generally it appears helpful to follow the Size of Form and Imagery on a diminishing scale. One should first view the overall Form and then move to its Imagery, and then to the basic signs ofwhich they were composed. This needs to be done for each Form or Imagery section of a composition.

Use of Hands and FingersSigns were made by use of the left and right hands. In signing the left hand represented the east while the right hand indicated the west. The hands could be closed. open, or with fingers pinched together. The fingers could be spread wide, an individual index finger could be used or multiple fingers. Such variances would show up in depictions as lines curving to the left or right as well as single or multiple lines. This is a very complicated subject and more research needs to be doneregarding how each hand and its fingers were used to create subtle distinctions in meaning.

Layered OrganizationGesture signs were depicted by hand motions made in the air and relied on the reader's memory to retain the meaning from one sign to the other. The same system could not have been used in written sign language because writing signs on top of one another would have resulted in a hopeless tangle of signs. Thus signs were separated by organizing them spatially such as grouping the Forms and Imagery into patterns (sections). For our purposes Form, Imagery, and Gesture elements are all considered Signs. Generally the signs appear to have been read from the largest sign to the smallest. Each complete Form or Image is independent of the others and contains its own message. The message of course, relates to the entire composition but not directly from section to section. For example, when the earth was depicted as a female figure it s face would be the face of the earth. But when one concentrates just on the face Form itself it might relate to the Form of a male-spirit.

The Initial or Total Form (shape)This could be considered the title or subject of the composition. It has not yet been learned how one should determine Total Form. At times it seems that one should just visually trace the outline to gain the Form. At other times this seems to result in an incoherent shape or perhaps an unrecognized shape. Some composition of signs present a kind of illustration

that sets the Scene of the rest of the composition. Such Scenes should, perhaps, not be taken too literally. Battle scenes mayrepresent cosmological struggles between natural or spirit forces as opposed to warfare. Market place scenes may represent place of exchange or transformation in the underworld as opposed to an actual market.

Sub-formsFound within other Forms or Forms with a relative reduction in size. Also small groupings of Forms separate from the Major Form.

Position and AllusionThe signs are positionally sensitive. Often a Body was used as a template. The Body, could be that of a human, an animal, plant or other object that served as a template upon which the signs were overlaid. Relative direction as well as undepicted signs can be determined by their position (for example, Left and Right to determine east and west).

The position of a sign on a Face or Body could represent, or allude to a body part without it needing to be drawn. The part not depicted was incorporated into the message along with the sign that occupies its position. At times, this resulted in some rather bizarre imagery. A Leg and Foot might appear where an Arm and Hand would be expected. Because the Leg and Foot hold the meaning of a long walk or journey and the Arm and Hand held the meaning of a warrior and steward (priest) of the Sun. The resultant, combined, message would be, the long journey of the warrior priest. An excellent example of position is shown in illustration 2 where the Index Finger is placed in front of the Face to represent aman or a male, the one. In Illustration 3, a Mayan glyph, we can see how this gesture sign was used in the place of the Nose on the Face. Even more information could be compressed into the glyph as the Nose alludes to the Nostrils, the orifices or holes of the Nose.

The above also explains why one often see imagery of Severed Limbs, Fingers, even Heads in compositions. They are words, or a phrases, that maintain their meaning independently. For example, a Nose ( dual holes) or Ear (a hole on theside). Form and Imagery were combined to create statements. This often resulted in rather odd imagery.

Illustration 2: One, AMan

Illustration 3:The Nose,The Man

Usually Imagery and its sub-Imagery was composed of Elementary Gesture Signs that held an Associational value (what ,anciently, may have been considered the essence or spirit of the depicted subject), Such imagery was often the equivalent of a phrase in English. An example would be an Image of a Frog to represent the concept of, the one that leaps. The Association in the case of the Frog was not only that it jumps or leaps but also that it was considered, the one transformed It changed from a fish like creature (a tadpole) swimming in the water to one that could climb out of the water to walk and jump on land. As a Frog it was it also bore the association for, The one that leaps upwards. Other examples would be the Snail, The one that moves slowly. The Seed, The one that germinates, sprouts..The seed was, obviously, important cosmologically, as it appeared dead and inert. It seemed to have an unseen element, a spirit, that allowed it to become aliveonce again and be reborn and grow into a new mature plant.

Basic Gesture Signs.Literally hundreds of such signs have been historically documented, in texts on Native American sign language, and can be used to assist in learning the meaning of the Associational Imagery through context. These signs were drawn leaving out the depiction of the hands so one should concentrate on the lines or motions made by the hands and their position in relation to a Body template. The resultant Lines and the Form they took was what was considered important. For example, a large “X” shaped sign was based on the representation of two arms (normally using the Index Fingers of both hands as the ones that form the lines) crossing each other in the act of a trade. This sign was also used for an exchange, or a transformation depending on its context.2

The compositional system was very logical as will be seen from the discussion and illustrations below. We will begin with the straight line sign for a surface. If we wished to write, on the surface we would simply position a Vertical Line onthe Line indicating the surface. For beneath the surface we position the Vertical line under the surface Line. For crossing through the surface we would draw a “+” like sign. A sign for an opening would look like a “V”. Its opposite an up side down “V” meant, held down

2 http://www.inquiry.net/outdoor/native/sign/index.htm (a compilation of basic gesture signs)

Illustration 7:Moche Frog VesselIllustration 5:

Moche Snail

Illustration 6: Gesture Signfor Frog

Illustration 4: Moche Seed

A simple Circle, based on a Finger-tip, represents a position or location. It also represents the number one. Illustration 8 shows the (green) Circle and positionally below it is a Severed Finger along side and pointing a direction, here to the (light green) Vertical Rectangle that indicates a vertical-place (a place having height and depth). The Stance (discussed further below) is Rightward Leaning indicated, stopped. To the left we see a Severed Leg and Foot (a long walk or journey). This also demonstrates the independence of such Imagery as words and phases as they can be placed or positioned wherever needed. In illustration 10 we see a ceramic image of just an Arm and Hand (the warrior, the stewardof the Sun) that was coupled with the fact that the Vessel was hollow referring to the liquid or water within.

Circles were divided into halves in order to represent the upper half or the upper-world and a lower half to represent the under-world. A Circle was also be divided in quarters representing the four quarters or four directions. Such division also leads to a conception of fractions. A Vertical Quarter Circle indicates, a side.

Circles were also used mathematically as the number one. Numbers might also have been affected by their Position (vertical and horizontal) and could be alluded to with a gesture sign in the place where a number would normally be expected. Circles viewed as if on edge would create the Line used to indicate locations viewed as if from the side as opposed to a topographical perspective.

Illustration 9: OriginalIllustration 8: TheLocation, The One

Illustration 10: Moche

An Arm and Hand of theSun.

In Illustration 12 we see the Space below the “handle” (blue) Horizontal Half Circle indicating the under-half or underworld.

Division was also applied to other signs such as a mountainside with the sides being drawn separately. A Rectangle indicates, a place. Place signs can be positioned at a variety of angles. It is quite common to see Vertical Rectangles and Horizontal Rectangles representing horizontal space and vertical space (height and depth).Place signs, like all signs, can also be Compounded with other signs and may have a Stance of their own (see below)

ColorsWhite was the color of spirits. Black indicates, the west, darkness and death. Red indicates, sunrise and rebirth. Blue-green indicates water. Colors may not have held the same meaning across ancient cultures especially in regard to the directions indicating the north and south.

Illustration 12:Moche: A

Horizontally DividedCircle

Mountain Mountainside

Numbers

In the Mayan glyphs used as examples in Illustrations 13 and 14 it seems possible that allusion was also applied to the Numbers. We see signs in place of the the underlying numbers. In Both glyphs we see a Jaguar Image and at the Ear (allusion to an orifice positionally, on the side) a female-spirit Image. The Jaguar probably represents a spirit of a deceased Jaguar-warrior. On the upper portion of the glyph (13) we see the Form of an Egg in the center (the unborn, compare this sign with the Oval at the position of the Eye that represents, everything, Double Lined, unseen). The Egg has a leftward leaning stance meaning waiting –the unborn, at the center, waiting. On either side of the Egg we find the signs of a Double Lined (unseen) cave (the womb of the earth-female) positioned in the east and the west. In Illustration 15 we see the (blue) sign for turning. The other signs are also Egg shaped and would appear to be alluding to the positions that would normally hold the count for the number four. If the above premise is correct then it would seem that Mayan numbers and those of some other cultures were more complicated than presently thought.

We have seen that the sign for a location could also be used numerically. The reverse seems also to be true. The number Three appears frequently and seems to be a kind of shorthand for, many. The number Four apparently refers to the four directions or everywhere. The number f\Five seems to incorporate the four directions plus a central number one –the center. The meaning of the numbers six and seven are unknown while the number eight appears to relate to the eight rays of the Asterisk appearing sign for a, non gendered, spirit. Thus when the Multiple Lined sign for a flow of water, add up to a count of eight, this may indicate flowing of spirits within the water. The number nine appears to refer to the nine levels of the under-world. There may well be other numbers that bear other conceptual values that may be determined, through context, in the future.

In cultures that used a simpler numbering system only the Circle (1) was used for counting of numbers but Gesture signs, Form and Imagery, of the same type, could also be counted.

Compounding of Signs

Illustration 15:

Allusion to Number 18

Illustration 14:

Allusion to Number 13Illustration 13: MayanNumbers

We could compound two (basic gesture signs) signs to write, something is above an opening in the surface. First we draw the “V” shaped sign for an opening and then position a Vertical Line (the one) within it. --within an opening.

We have already seen several examples of compounded signs in this paper. However, one might not expect a Color and a Stance to be compounded with another sign. For example,

a vertical-place Stance: waiting darkness. --a dark waiting place

or a hole of many levels of depth as viewed from above. Please see the Tables at the end of this paper for some of the most common Imagery and Basic signs.

Scene or Setting

Large compositions that are often called illustrations, provide their own greater Stance that provides a context for the embedded messages. An example would be a battle scene. Such scenes should, perhaps, not be taken too literally as they may represent events such as a struggle between cosmological forces described in metaphorical terms. But of course, theywere probably based to some extent in reality.

Space

This Mayan, Scene, of a Hunter used the Shape of Space itself to compress information into the composition. We can see

Illustration 16: A Mayan HunterScene

Illustration 17: Color Coded HuntingScene

that the (gray) Space between the Tree and the Scorpion creates the Form of a Skull that represents death or the dead. The Scorpion, the stinger when combined with the Skull may indicate the sting of death. This may also relate back, indirectly, to the Bird being shot by the blowgun. Beneath the Elbow of the Hunter we see a (light green) area that is Leg and Foot shaped meaning a turning journey. The (black) rather Egg shaped ( the unborn) Circle, positionally, within the “U” indicates, the location, the one, the unborn, in the darkness.

This Mayan, Scene, of a Hunter used the Shape of Space itself to compress information into the composition. We can see that the (gray) Space between the Tree and the Scorpion creates the Form of a Skull that represents death or the dead. The Scorpion, the stinger when combined with the Skull may indicate the sting of death. This may also relate back, indirectly, to the Bird being shot by the blowgun. Beneath the Elbow of the Hunter we see a (light green) area that is Leg and Foot shaped meaning a turning journey. The (black) rather Egg shaped ( the unborn) Circle, positionally, within the “U” indicates, the location, the one, the unborn, in the darkness.

In the above Australian Aboriginal pictograph we can see that the Space was used to make a (gray area)Profile Face (his appearance) The allusion to the Eye appears to be in the form of a Bird (flight). The Bird has a large (white) horizontal-place sign for its Body and seems to be standing on a Right LeaningBar shaped sign indicating waiting. The Beak (a Mouth indicating a water source) is in the Form of a dark Triangular female-earth sign. An arising sign stems from the Beak to form the Bird's Head. The allusion to the position of the Profile's Eye leads one to speculate whether the Eye refers to Venus as it does in many ancient cultures. The Profile Face is looking to the Left or east where the morning-star would appear.

The compound sign that serves as the Face profile is one that combines the Undulating sign for movement with the Saw-toothed Line for water. This was reinforced by the allusion to the Arm and Hand (a warrior and steward of the Sun). The Imagery is that of a Serpent (a stream) that was made up from the sign for movement and a Head that has a Horn (a leader, or chieftain) that was in the Form of the sign for arising The Mouth (a water-source) appears to have been made with the sign for a doorway or portal.

Illustration 18: AboriginalAustralian Kimberley

Illustration 19: His Face, His Appearance

An unknown culture in Mexico produced a stone slab at a spring site. The Imagery appears to be one ofa Headless Woman but close observation will show that the Space between the Arms was actually composed in the Form of a (reddish brown) Vessel. The depiction indicates that the Face of the female (earth) was like a Vessel, a container of water (the Saw-toothed sign at the Mouth). The Mouth was the association made with a water-source. This tells us that the spring site was conceptualized as a Mouth of the Earth.

As an example of the compositional rules outlined above a rather simple appearing pottery vessel was chosen as shown in Illustration 22.

The Total Form of the Vessel is one of, a container. The Vessel is roughly in the Form of a Body (a Body Template) and as such, has a Mouth (the opening at the top), a Throat, an Armless and Legless Trunk. The Figure has short stubby Feet. This was a metaphor made with the earth-female based on it having been conceived as a container of water (the watery underworld).

Illustration 22: The Round Faced VesselIllustration 23: Form of Vessel

Illustration 21:Vessel Form

Replaces Head

Illustration 20:Northern

Mexico’s Tamtoc

Within it, positionally, is a Round or Circular (the one, his location) Face (His appearance) and Body Imagery of another Figure. This Figure was composed in the Stance of Sitting indicating, waiting or awaiting some event.

We can see, in Illustration 24, the Associative Imagery of a Face (his appearance) with its Eyes and an allusion to the normal position of the eyes (the Eye of the Sun, Venus). The Nose (an allusion to the dual orifices or holes), and the Mouth (a water-source). We also see the Hair (the growth). There are two Arms and Hands (warriors and stewards of the Sun, aka the warrior-priests). These Arms and Hands were positioned on the sides of the previously established Form the earth-female. The Fingers were layered as horizontal-place signs in a vertical series or as levels. The Fingernails are in the Form (only one shown) of 5 male-spirit Forms ( the spirits at the center, the count of 5 indicating the four directions plus the center). The Legs and Feet are part of the Sitting Stance (awaiting the walk or journey) as they are not involved in walking. In Illustration 25 there are Two Forms (blue) of Two Birds in the Stance of Sitting (awaiting flight). The Feet are Egg shaped indicating, the unborn. The Toes are 5 vertical-place signs with the number 5 referring to the center. The rest of the elements that compose this Vessel are Gesture Signs some of which are compounded.

Illustration 24: Imagery, Allusion, Position, and Space

The (blue) Birds were positioned on the Left and Right indicating they are awaiting flight in the east and west. The Bird's relatively Large Eye(s) indicate the Great Eye of the Sun or Venus.

In Illustration 26 we note that the (yellow) Eyebrows are Severed Fingers point to the Left (eastern) and the Right (western) sides. The (light tan) Nose (the dual orifices or holes) acts as a divider betweenthe two sides of the Face. The (light tan) Nose line is also the sign, of a finger placed in front of the Face indicating, the one. On each side of the Nose there (dark tan) are Legs and Feet (long journeys in the east and west). The Stance of the Legs and Feet is downward. There is a (green) vertical-place sign positioned below. There appear to be (white) Eye Forms that allude to the Nostrils (holes). The Eye of the Sun (Venus), below, in the holes in the east and west.

Illustration 25: The Forms of SittingBirds

Illustration 26: The Nose

We will now look at the Elemental Gesture Signs that made up the Form and Imagery.

At the Center of the Circle is the Mouth, the water-source. By making a Cross (crossing-through the surface) at that point we can extend the vertical line upwards and see that it terminates at the Mouth of the Vessel or its Spout. This tells us that the waters contained in the underworld arise up through the center of the earth to a hole on the surface. Below in a schematic of the ancient cosmological orientation.

Illustration 2: Elemental Gesture Signs

Illustration 29: Cosmological Schematic

Table of Form and Imagery

Form and Imagery Meaning

Animals

Alligator Earth Shaker Earthquake

Armadillo Protected, The Armored One

Bear Arises from Cave, Death

Beaver The one who cuts wood, Woodcarver

Bird The one who Flies, Flight

Bull The Strong One, Horns=Leader

Cayman The crust, surface of the earth

Crab The one who tears or rips apart the flesh

Crow Outlook, Sentinel, Guard

Deer The one who Roams, a Nomad

Dog Forewarner, Prophet, Prophecy

Duck The One that sits (waits) upon the water

Eagle The Sun, Great Hunter of the Daytime

Elk A Great One (?) Antlers=Leader

Feline Nighttime Sun, Hunter of the Nighttime

Fish The one that swims, swimmer

Fox Wonder, Marvel, Miracle

Frog The One that leaps upward

Giraffe Long throated one, The long Tunnel

Hummingbird Venus (on the Left=East, Right=West)

Kinkajou The one who deceives, the deceptive one

Lizard The One that climbs toward the Sun

Moose A Great One (?) Antlers=a Leader

Mud-skipper The one who walks on or out of the water

Monkey The Storm-spirit

Mouse The little one

Owl Messenger from the underworld

Owl, Burrowing Walks up from below the earth and flies away

Pig Breaks the surface (with his Nose, dual holes)

Porpoise Jumps up from and back into the water

Possum The Pretender (feigns death)

Rabbit The Moon (Form of Rabbit perceived)

Scallop The “Hands” that swim

Serpent A Stream or current

Snail The one that moves slowly, slow movement

Snake The Enemy

Squid Flies out of and back into the water

Tadpole A Transformer, a changeling

Thunderbird The Storm-spirit

Turtle An Island, the island earth

Vulture The one who eats the flesh

Whale The great Diver

Wolf The Spy

Worm The one that makes tunnels in the earth

Fauna

Bean Seed, Farmer (?)

Blossom Rebirth, flowering of the spirit

Branch The Limb, the Arm of a plant

Cacti Difficulty, Pain

Flower Song, poetry, beauty

Leaf The Hand of a plant

Leaf Pores Cups, chalices, goblets

Roots The Feet of a plant, its Origins

Seed The one that sprouts, germinates

Tree A kind of portal between earth and sky

Insects

Bee The one that gathers, a worker.

Centipede Many legged one (many walks or journeys)

Spider The one who weaves, the weaver

Wasp A warrior, the defender

Objects

Ax (?) The Sun

Basket A container, a metaphor for the earth

Gourd A container, metaphor for the earth Pre pottery

Hive The Community

Knife Ray of the Sun, warrior

Nest A birthplace

Shield The Protector

Skull Death, The dead

Vessel A container, a metaphor for the earth

Body Parts

Arms Warriors

Breasts Hills

Ears Orifices, holes,on the side (as an allusion)

Eye(s) The Eye(s) of the Sun –metaphorically Venus

Female genital area Female, Earth-female

Fingers The (numerical) ones

Foot Walk, journey

Hair Growth, development

Hands Stewards of the Sun. Sun-priests

Horns, Antlers A Leader, Larger Antlers, an Elder

Leg Long, length

Lips The edges of the water-source

Mouth A water-source

Nose Dual orifices (holes)

Phallus Male, Man

Stomach Bowels (of the earth)

Teeth The ones that chew or grind up

Toes The (numerical) ones

Table Of Basic Signs (Linear)

One, Single Surface Earth-Female An Opening

Within An Opening Through An Opening Opening to Left (east) Opening to Right (west)

Opening in Surface Contained

The one

Trade, ExchangeTransform House Doorway, Portal Place

Hidden, Unseen, (Double Outlines) Water

BelowAbove

Merged, Union Mountain Mountainside

surface

surface

Table Of Basic Signs (Curvilinear)

One, Single LocationUpper and Lower

Halves Sides

Quarters A Hill A Hole

A High Hill A Deep hole Movement Alive (living water)

Mountain Peak Taken Down Taken To Direction Taken Up

Taken Far Upwards Taken Far DownwardsMedicine, Mysterious

Power Star

Arise Ascending Over Descend Captured, Prisoner

All, Everything Flow, Flowing Cave Among