Introduction :

As demonstrated by Anton Parks' Les Chroniques du Gírkù, any study of the deep history of the peoples of our planet is per force a study of Gina'abul culture. Every section of these Ages of Uraš pages is similarly devoted to a description of one or another aspect of Gina'abul culture. Both the books and these pages also treat with the liaisons between the Gina'abul and human cultures: how aspects of the one were transmitted to the other, and how one is a through-the-looking-glass version of the other, and how still other aspects have yet to be repeated or picked up by our own culture, though this may well occur in the future.

So that goal of Parks' work and this website would appear to have been taken care of. But actually there can't be enough said on this subject. The parallels are immense, yet easily overlooked because through the process of projection we unconsciously expect elements of human culture to be found in a nonhuman one, whether there had been contact or not.

Take for example the institution of "royalty": kings and queens ruling, living in palaces, sitting on thrones, being revered by the common individuals; all this is shared, and either this is due to confabulation of the author, or there has been an actual process of transmission.

The working hypothesis of these pages of course, well supported by the author's brilliant language studies, is that the races and events described in Les Chroniques did and do exist.

In this section we will not be spending much time tracing the mechanism of transmission, as that is usually self-evident. Rather the purpose of this section is to collect significant bits of data from the books -- data that we have not discussed elsewhere, and that someday may support a more disciplined approach to understanding this deep inter-species and inter-cultural contact.

We will treat the categories of culture in the order in which they first appear in The Chronicles and continue adding topics and information as they are encountered in further reading.

This section of the pages is very much under construction, and will probably be the last to be completed.


Architecture :

The Gina'abul have cities. While it may seem inescapable that any culture would need to have them, or at least any space-faring culture would, nothing should be assumed. But it appears that, just as with our own experience, there is compelling advantage to living and working in these clusters of activity. So the Gina'abul had cities and the cities had unique names and characters.

Note the past tense. The Gina'abul with whom Sa'am lived followed the path of their war to this solar system and to our planet after the destruction of the cities that Sa'am knew most intimately. Since Parks' recollections end at a point 2000 years ago, we may not have detailed information from this source about the state of extrasolar societies today.

Parks describes royal cities, and even royal planets, where of course the noble beings lived and from which they administered their realms. Within these cities, as suggested above, the royalty did dwell in palaces.

The pyramid building form was prominent in these places. Pyramids inspire admiration and awe.


Craft :

Parks refers to several classes of craft for navigating Dirannas (stargates), conventional spaceflight, and travel around the planet.


Uanna :

This illustration by graphic artist D. Cassegrain forms part of the front cover of Le Secret des Etoiles Sombres. It depicts the Gina'abul lord An's monumental mothership, known as "the Uanna", in its historic departure from the Abzu (interior cavity) of the planet Dukù in the Pleiades.

The Uanna was a combination palace and government headquarters, containing also the cloning laboratory in which Sa'am was created, and so many other things that it alone was sufficient to spearhead a war and launch a new civilization in Ti-ama-te, our solar system.

Discernible in this image, and much more clearly visible in its linked wallpaper-sized version on Anton Parks' website, is a fine grid-like texture on the ship's skin. This represents window openings at the scale with which the artist was working.


INÍUMA, a long-haul ship. Unlighted state.

Not nearly as large as the Uanna, but similar in form, the Iníuma are long-haul Gina'abul ships. They travel at very high speeds in space environments, but move slowly when near the ground.

Two images are provided here. Note that when traveling at high speed, exterior lights and windows are masked. When near the ground, various lighted bands, spotlights, and windows are generally seen on their exteriors... although not necessarily so. Sometimes these remain concealed.

The Iníuma generate their own interior artificial gravitational fields, vertically aligned.


The Gigirlah are smaller saucer-shaped craft that can manage spaceflight but are generally used for shorter-range applications. They can make use of Dirannas, and in fact Sa'am and his party came to Uraš in Sa'am's Gigirlah via a Diranna. They are ubiquitous, used by many civilizations.

The central bulge is, as you may imagine, the passenger compartment. This ship exhibits a light halo when in operation.


Tumua (TUMU-Á. In Sumerian: "force of the wind". Also TUMU2-Á: "transport with the wind") are Ama'argi personal craft, indigenous to Uraš.

This original Ama'argi technology (see Races and Ama'argi), developed in the Abzu, was eventually adopted by the Ušumgal-Annunaki when the Ama'argi females joined the colony at Kharsag to form families with the Annunaki, as described in Ádam Genisiš. Eventually these craft could be found scattered over the entire globe, in the hands of high Earthly dignitaries undoubtedly in service to the Gina'abul "gods".

There is a page on the Open SETI website, slightly tongue-in-cheek because of the way the illustration is handled, devoted to The Istanbul Object, an artifact that is kept in the Museum of Archaeology in Istanbul.

In fact, the artifact is according to Parks an excellent rendering in stone of a Tumua, complete with a pilot (whose head has been lost). In many ways the object resembles the famous carving from Palenque shown above.

Although they had an open-cockpit, even moped-like, design, these craft could fly at high altitudes in the atmosphere. Oxygen was provided for the pilot. Notice the device reaching to the pilot's nose in the Palenque image.

TUMUA. A work in progress; a pilot and details to be added. According to Parks, many variations of these craft were in use, so we perhaps have license to experiment. These sport photon rockets.

This craft features an electrostatic attitude control system consisting of eight surfaces on four disks. Varying charges are emitted from these surfaces to achieve any desired combination of pitch, bank, and yaw torques - though these are not intrinsic to flight maneuvers, as this is not an aerodynamic flyer. Overall charge neutrality is maintained via electrodes in the photon cone. (Or cones. Some versions seemed to have a cluster of three cones, slightly diverging.)

This type of apparatus is a sort of "large flying motorcycle", but not made to leave the Earth (or at least its atmosphere). I have the "memory" that it was very fast, but doubtless not as fast as a rocket or an apparatus of that type...

Employing antigravity, this little vessel could stabilize itself in the air and hover in place...

The energy was supplied by a crystal. I remember when Sa'am traveled three times around the planet in several days without stopping, but at the end of the trip he had completely depleted and shattered the crystal that had furnished the energy to the little vessel.


Two more craft figure prominently in Parks' story: Bluebird and Blackbird, both gifted to Sa'am by the departing Urmah. We have worked closely with Parks to produce astonishing and beautiful illustrations of these. Plans for publication of these images are for the moment unclear.

But for now, here are two views of Bluebird, work in progress. (Damage to the tail is an artifact of the graphic construction.)

Bluebird & Blackbird

Dress :

Parks gives several examples of his lover and mother's dress at various significant times. Here is one:

On the momentous occasion of Mamítu-Nammu's arrival at Ankida to confer on the creation of two new races, the illustrious priestess -- Grand Designer of Life on Uraš (Earth) -- descended with her retinue from her Gigirlah, attired as befits the highest royalty.

A magnificent emerald girded her forehead. She wore a skirt embroidered with golden threads, tinted with the royal color of the Amašutum -- the green color scale of the Uga-Muš (People of the Serpent) -- ornamented with the symbol of the two intertwined serpents.

Uga-Muš was the name that the Kadištu had given to the ensemble of Amašutum and to the priestesses who labored far from our home, "for the glory of our race."