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Geoglyph

A geoglyph is a large-scale design or motif etched into the Earth's surface, typically exceeding 4 meters in length, created by ancient peoples through methods such as arranging stones, digging trenches, or removing topsoil to expose contrasting underlying material, and often only fully appreciable from an elevated vantage point like the air. These monumental earthworks represent prehistoric or ancient forms of landscape art, primarily found in arid or semi-arid environments where their lines remain preserved, and they encompass both figurative representations (such as animals, humans, or plants) and abstract geometric patterns.^[1]^[2] The most iconic geoglyphs are the Nazca Lines in southern Peru, a UNESCO World Heritage site covering approximately 450 square kilometers, featuring over 800 straight lines, 300 geometric figures, and 70 biomorphic designs—including a 285-meter-long pelican, a 93-meter hummingbird, and spiral forms—created between 500 BCE and 500 CE by the Nazca culture through the removal of dark pebbles to reveal lighter soil beneath.^[3]^[4]^[5] Other renowned examples span the globe, illustrating diverse cultural expressions: the Uffington White Horse in Oxfordshire, England, a 110-meter stylized equine figure carved into chalk hillside around 1400 BCE during the late Bronze Age, formed by deep trenches filled with crushed chalk; the Blythe Intaglios near the Colorado River in California, USA, consisting of six massive figures (three humanoid up to 52 meters long, two animals including a 41-meter mountain lion, and one geometric spiral) scraped into desert pavement by indigenous peoples possibly dating from as early as 900 BCE to represent deities or spiritual helpers;^[6]^[7] and the Atacama Giant in Chile's Tarapacá Region, a 119-meter anthropomorphic silhouette with elongated limbs and ray-like headdress, dating to about 1000 years ago and potentially aligned with solar eclipses or serving as a ceremonial marker for the local Tiwanaku-influenced population.^[8]^[9] While their exact functions remain subjects of ongoing research, geoglyphs are widely interpreted as serving ritualistic, astronomical, or communal purposes—such as pathways for processions, indicators of water sources in deserts, or symbols of territorial or cosmological significance—reflecting the ingenuity of pre-modern societies in manipulating landscapes to convey meaning on a vast scale. Recent discoveries, aided by aerial surveys, drones, and AI analysis, continue to reveal hundreds more geoglyphs worldwide, underscoring their enduring mystery and cultural importance.^[4]^[10]

Definition and Characteristics

Definition

A geoglyph is a large-scale design or motif produced on the ground surface by arranging or removing durable elements of the landscape, such as stones, gravel, soil, or vegetation, typically measuring at least 4 meters (13 feet) in length to ensure visibility primarily from an elevated vantage point like the air.^[11] These formations must be intentional human creations that alter the terrain in a durable manner, distinguishing them from natural geological features or ephemeral markings.^[12] Geoglyphs can be constructed using positive techniques, which involve adding materials like piling stones or gravel to form raised patterns, or negative techniques, which entail removing topsoil, pebbles, or vegetation to expose underlying layers of contrasting color or texture.^[12]^[11] The term "geoglyph" derives from the Greek words geo (earth) and glyphē (carving or sculpting), reflecting the practice of incising or shaping motifs into the earth's surface.^[13] It was coined in English during the 1960s, with the earliest documented use appearing in 1968, initially to describe large ancient earthworks such as the Nazca Lines in Peru.^[14] Geoglyphs differ from related forms of rock art, such as petroglyphs—which are smaller-scale engravings or carvings directly into rock surfaces—or pictographs, which involve paintings applied to rock faces; in contrast, geoglyphs are expansive, ground-based artworks that rely on landscape manipulation rather than vertical rock modification.^[15]^[16]

Physical Properties

Geoglyphs vary significantly in scale, typically ranging from a minimum length of 4 meters to several kilometers, allowing them to serve as expansive landscape features visible from afar.^[17] For instance, the straight lines at the Nazca site in Peru extend up to 48 kilometers in length, while figurative designs there often span 50 to 370 meters.^[18] These dimensions underscore the monumental effort required for their creation, with some figures covering areas of approximately 200 square meters or more.^[19] The materials employed in geoglyph construction emphasize durability against environmental wear, commonly involving the removal of dark surface pebbles or oxidized stones to expose lighter underlying subsoil, creating a negative space effect through color contrast.^[20] Alternatively, positive space is achieved by arranging stones, earth mounds, or ditches, and in some cases, incorporating vegetation or wood, all selected for their resistance to erosion over centuries.^[21] Such materials must endure prolonged exposure without significant degradation, as evidenced by the preservation of many geoglyphs for millennia in stable conditions.^[22] Visibility is a core physical attribute, with geoglyphs engineered for observation from elevated positions, such as hillsides or aerial perspectives, rather than from ground level where details may be obscured.^[19] This is facilitated by deliberate contrasts in color, texture, or elevation against the surrounding terrain, enhancing detectability from a distance.^[23] Geoglyphs are predominantly situated in arid, flat landscapes like deserts or plateaus to mitigate natural degradation from wind, rain, or vegetation growth.^[3] Local geology plays a crucial role in their longevity; for example, the iron-rich, oxidized soils of Peru's Nazca pampas provide a stable, erosion-resistant base that preserves the designs.^[24] These environmental adaptations ensure that geoglyphs remain intact despite their exposure to harsh conditions over extended periods.^[18]

Historical Context

Prehistoric and Ancient Geoglyphs

Geoglyphs first emerged during prehistoric times, with some of the earliest known examples linked to hunter-gatherer societies in arid environments such as Chile's Atacama Desert, where human occupation dates back to approximately 10,000 BCE; however, known geoglyphs in the region date primarily to 1000–1450 CE and reflect communal, symbolic, and practical expressions tied to migration and ritual.^[9] These motifs, often created by arranging stones or clearing earth, represent foundational land art tied to survival and ritual in challenging landscapes. Major concentrations of ancient geoglyphs appeared between 900 BCE and 600 CE, coinciding with the rise of complex societies that integrated such earthworks into their cultural practices. Globally, prehistoric geoglyphs demonstrate diverse adaptations across continents. In Australia, the Wurdi Youang stone arrangement near Melbourne, constructed by Indigenous Wathaurong people, may date to around 11,000 years ago and likely served astronomical functions, marking seasonal changes for early communities.^[25] In the Middle East, Jordan's desert kites—large stone enclosures resembling V-shaped traps—originate from the Neolithic period around 7,000 BCE, built by prehistoric hunters to channel and capture gazelle herds during migrations.^[26] These structures highlight geoglyphs' practical roles in prehistoric subsistence strategies, evolving from simple markers to elaborate systems. In ancient South America, geoglyph creation flourished among Andean cultures. The Paracas culture in southern Peru, active from 800 BCE to 100 BCE, produced extensive linear geoglyphs in the Chincha Valley, possibly guiding pilgrims to ceremonial sites and reflecting early agricultural and ritual organization.^[27] This tradition peaked with the Nazca culture (200 BCE–600 CE), which etched thousands of straight lines—some extending up to 48 kilometers—alongside over 300 figurative designs depicting animals, plants, and humans into the Nazca Desert pampa, showcasing advanced planning and communal labor.^[5] In Europe, ancient Britons carved the Uffington White Horse, a stylized equine geoglyph on a Berkshire hillside, between 1400 BCE and 800 BCE during the late Bronze Age, symbolizing territorial or mythological significance.^[28] The recognition of these prehistoric and ancient geoglyphs accelerated in the 20th century through technological advances. In 1927, Peruvian archaeologist Toribio Mejía Xesspe first documented the Nazca lines during ground surveys, but their vast scale became evident only via aerial photography by commercial pilots in the 1930s, revealing patterns invisible from the surface.^[29] Similar aerial methods later uncovered or confirmed sites worldwide, transforming scholarly understanding of geoglyphs from isolated artifacts to interconnected elements of ancient cultural landscapes.

Modern and Contemporary Geoglyphs

Modern geoglyphs emerged in the 20th century, coinciding with the rise of land art movements that emphasized large-scale interventions in natural landscapes. One early example is the Readymix logo, a massive advertising geoglyph carved into the Nullarbor Plain in Western Australia in 1965 by the Readymix company, measuring approximately 3.2 kilometers by 1.6 kilometers and designed for visibility from passing aircraft.^[30] This structure, once recognized by Guinness World Records as the largest piece of man-made writing, highlighted the commercial potential of geoglyphs in remote areas.^[31] Similarly, during World War II, the U.S. military constructed numerous training targets resembling geoglyphs across western states including Utah, Nevada, and Idaho to simulate enemy installations for bomber crews.^[32] These earthen formations, often depicting ships, buildings, or insignia, were integral to preparing thousands of airmen for combat, with remnants still visible in aerial imagery from sites like those near Wendover Airfield in Utah.^[32] In the late 20th century, artistic motivations gained prominence, producing enigmatic and symbolic works. The Marree Man, discovered in 1998 near Marree in South Australia's outback, depicts a 4-kilometer-long Aboriginal hunter figure etched into the earth, its creator remaining unknown despite theories of artistic or promotional intent.^[33] Around the same time, the Desert Breath installation in Egypt's eastern Sahara, completed in 1997 by the artist collective D.A.ST. Arteam (Danae Stratou, Alexandra Stratou, and Stella Constantinides), formed interlocking logarithmic spirals covering 100,000 square meters using sand displacement to evoke themes of infinity and environmental change.^[34] Unlike ancient geoglyphs built for permanence, these modern examples often prioritize ephemerality, with Desert Breath gradually eroding due to wind and sand.^[35] The advent of aviation and globalization profoundly shaped modern geoglyph creation, enabling designs optimized for overhead views and facilitating international collaborations. Post-WWII air travel spurred advertising geoglyphs like quarry symbols or logos visible from commercial flights, while artists leveraged global connectivity for cross-cultural projects.^[30] Australian artist Andrew Rogers exemplifies this through his "Rhythms of Life" initiative, launched in 1999, which has produced 51 monumental geoglyphs across all seven continents using local stones and symbols to represent universal human narratives.^[36] These works, such as the 200-meter-wide structures in Antarctica and China, underscore environmental statements about humanity's relationship with the earth.^[37] By the 2020s, technological advancements and temporary installations marked further evolution, with drone-assisted planning enabling precise large-scale designs and festivals hosting ephemeral geoglyphs. Recent advancements, including AI-driven analysis as of 2024, have uncovered hundreds more ancient geoglyphs worldwide, bridging historical and contemporary research.^[10] At events like Burning Man in Nevada's Black Rock Desert, participants have created ground-based art installations, including symbolic patterns and figures visible from above, blending performance with landscape modification for short-term impact.^[38] Rogers' project continued into the decade, adding geoglyphs in diverse locations to emphasize sustainability amid climate concerns.^[36] These developments reflect a shift toward accessible, tech-enhanced creation, contrasting ancient geoglyphs' ritualistic endurance with contemporary focuses on visibility, artistry, and transience.^[39]

Creation Techniques

Traditional Methods

Traditional methods of geoglyph construction relied on manual labor and rudimentary tools to manipulate the landscape, primarily through subtractive, additive, or mixed approaches tailored to local materials and terrain. In subtractive techniques, prevalent in arid regions like the Nazca Desert of Peru, workers removed the top layer of dark, weathered pebbles or gravel to expose the lighter underlying soil or clay, creating visible contrasts that formed lines and figures.^[3]^[19] Additive methods involved piling stones, earth, or other materials into ridges or low walls to outline designs, as seen in geoglyphs across South America and other regions where surface removal was impractical.^[40] Digging trenches, sometimes up to 4 or 5 meters deep, was another common practice, particularly for enclosing structures or emphasizing patterns in earthworks found in Amazonian sites.^[40]^[41] These constructions employed simple implements such as wooden stakes driven into the ground and ropes or cords stretched between them to ensure straight lines and precise measurements, with archaeological recoveries of such stakes providing direct evidence from Nazca sites. Surveying was achieved through visual estimation or basic geometric principles, allowing for the alignment of extensive figures without advanced instruments. Communal labor forces, potentially numbering in the hundreds, were organized into coordinated groups under minimal leadership, enabling the completion of large-scale projects over several months, as inferred from the uniformity and scale of the works in the Nazca-Palpa region.^[19] Planning typically began from a central reference point, with radial extensions marked out to form symmetrical designs, and archaeological surveys reveal evidence of initial trial lines or minor corrections etched into the surface at ancient sites, indicating iterative adjustments during construction. In the Nazca culture, for instance, this process facilitated the creation of intricate animal and geometric forms spanning hundreds of meters.^[19]^[3] Environmental conditions heavily influenced these methods and their longevity; in dry, stable arid zones, such as the Peruvian desert plains, the lack of rainfall and erosion required little ongoing maintenance, preserving geoglyphs for millennia through natural stability. In contrast, wetter or more vegetated areas prompted the use of durable stone piling or deeper trenches to resist weathering and overgrowth, ensuring visibility on slopes or open terrains worldwide.^[40]^[3]

Modern Technologies

Since the mid-20th century, mechanized equipment has revolutionized geoglyph creation by enabling rapid excavation and shaping of vast designs, far surpassing the manual labor required in prehistoric times. Bulldozers, tractors, and graders allow for efficient removal or rearrangement of earth and stones over large areas, as demonstrated in the 2016 re-etching of the Marree Man geoglyph in Australia, where a grader was used to outline the 2.7-mile-long figure with precision. Similarly, in Michael Heizer's monumental land art project City (1972–2022) in Nevada, bulldozers and earth-movers facilitated the construction of expansive earthworks incorporating geoglyph-like formations from on-site materials.^[42]^[43]^[44] Precision tools such as GPS and laser leveling have further enhanced accuracy, ensuring straight lines and complex curves in modern geoglyphs. GPS guidance systems were employed in the Marree Man's recreation to plot coordinates for the design's intricate details, while laser leveling technology, commonly used in contemporary earthworks, achieves millimeter-accurate slopes and surfaces by projecting a laser plane to guide machinery. In Andrey Astafyev's geoglyphs on the Central Asian steppes (2017), GPS was integral for scaling designs inspired by ancient petroglyphs, combined with a drone for aerial monitoring during construction.^[42]^[44]^[45]^[46] Digital planning tools have enabled detailed pre-construction visualization and site assessment, integrating satellite imagery, CAD software, and geographic information systems (GIS). Australian artist Andrew Rogers utilized high-resolution satellite images from 400–700 km altitudes to plan his Rhythms of Life geoglyphs across seven continents, selecting sites that align with cultural symbols and ensure visibility from space. CAD programs, such as those from Autodesk, support 2D and 3D modeling for landscape-scale projects, allowing designers to simulate terrain alterations before execution. Drones facilitate real-time adjustments and monitoring, as in Astafyev's steppe works, where a quadrocopter drone captured progress and refined layouts on-site. For temporary installations, 3D modeling previews ephemeral designs, like Rogers' short-lived gravel patterns on Antarctic ice. GIS aids site selection by analyzing terrain data for optimal placement, promoting scalable and contextually appropriate creations.^[39]^[47]^[46]

Cultural Significance and Interpretations

Ancient Purposes

Ancient geoglyphs, particularly those from prehistoric and early civilizations, are believed to have served ritual and ceremonial roles within their respective cultures. In the case of the Nazca Lines in Peru, scholars propose that these figures were integral to water rituals and fertility rites, reflecting the arid environment's dependence on scarce resources. Johan Reinhard argues that the geoglyphs embodied mountain and fertility concepts, with animal figures symbolizing totems or deities invoked during ceremonies to ensure rainfall and agricultural abundance. These structures often aligned with underground aqueducts (puquios), suggesting processional walks along the lines to sacred sites for offerings that appeased water deities.^[48] Astronomical alignments represent another key function, indicating calendrical or navigational purposes for some geoglyphs. Maria Reiche's extensive measurements revealed that certain Nazca lines and figures oriented toward solstices and constellations. For example, the Heron's beak aligns with the June solstice sunrise, and the Condor figure aligns with the December solstice sunset. These orientations likely aided in timing agricultural activities tied to seasonal changes, though later verifications using tools like Stellarium confirmed only a subset of alignments while critiquing others for statistical weakness. The "astronaut" figure at Nazca has been interpreted as a shaman or celestial observer, underscoring potential ritual connections to the cosmos.^[49] Social and territorial functions further highlight geoglyphs' practical roles in community organization. In Jordan's Black Desert, desert kites—V-shaped stone enclosures with converging walls—functioned as communal hunting drives, funneling gazelle herds into traps for mass kills, as evidenced by their strategic placement near migration routes and dated to the Neolithic period through associated lithic tools. These structures marked territorial boundaries and facilitated group cooperation, possibly serving as pilgrimage markers or signals for seasonal gatherings. Broader examples suggest geoglyphs reinforced social cohesion by delineating sacred landscapes for communal rituals. Archaeological evidence supports these interpretive theories, revealing geoglyphs as sacred spaces. Excavations near Nazca and Palpa sites have uncovered pottery shards, stone platforms at geoglyph endpoints, and offerings like camelid bones and seeds, indicating ceremonial use linked to water and fertility cults. Reinhard's water ritual hypothesis contrasts with Reiche's astronomical focus, yet both are bolstered by such finds, which show worn paths and compacted soil from repeated human activity, affirming the geoglyphs' enduring cultural significance.^[50]

Contemporary Motivations

In the 20th and 21st centuries, geoglyphs have been created as part of the land art movement, which emerged in the 1960s as a response to the commodification of art and a desire to engage directly with natural landscapes. Artists like Robert Smithson, whose 1970 Spiral Jetty in Utah's Great Salt Lake consists of a 1,500-foot basalt spiral, sought to explore themes of entropy and the interplay between human intervention and environmental processes, often aiming to heighten awareness of ecological fragility and human impermanence.^[51]^[52] Similarly, Australian artist Andrew Rogers has produced 51 geoglyphs worldwide as part of his "Rhythms of Life" project since 1998, collaborating with local communities to form large-scale stone and earth designs that symbolize cultural narratives and provoke reflection on humanity's relationship to the earth.^[39]^[36] These works challenge perceptions of space by integrating art into vast, remote terrains, often visible only from above, to underscore the scale of environmental change. Contemporary geoglyphs also serve commercial purposes, particularly in advertising where visibility from aircraft or satellites enhances brand exposure. A notable example is the giant Coca-Cola logo etched into the Atacama Desert in Chile using gravel, created in 1986 as a promotional landmark along flight paths to promote the beverage in remote regions.^[53] Symbolic uses include representations of national or institutional identity, such as military-inspired earthworks that echo badges or emblems, though these are less documented and often blend into land art traditions to convey collective pride or historical commemoration. Activism drives many modern geoglyphs, with creators using them to protest environmental threats or commemorate cultural losses. The Marree Man, a 2.8-mile-long geoglyph of an Aboriginal hunter discovered in Australia's outback in 1998, is widely attributed to artist Bardius Goldberg and interpreted as a statement on Indigenous heritage, drawing global attention to the enduring presence of Aboriginal culture amid colonial legacies.^[54] Environmental activism features in earthworks like those protesting resource extraction, where artists form large-scale designs to highlight anti-mining campaigns, though specific examples remain tied to broader land art efforts emphasizing ecological advocacy.^[55] Cultural revival motivates Indigenous communities to recreate or adapt traditional geoglyph forms, fostering heritage preservation in the face of modernization. Through collaborations like Rogers' projects, local Indigenous groups in regions such as Australia incorporate ancestral symbols into new earthworks, bridging historical practices with contemporary identity to revitalize cultural narratives and assert land rights.^[39] These efforts differ from ancient ritualistic intents by focusing on documented community-driven reclamation rather than speculative ceremonial functions.^[56]

Notable Geoglyph Sites

South American Geoglyphs

South America hosts some of the world's most extensive and diverse geoglyph concentrations, particularly in arid regions of Peru, Brazil, and Chile, where dry conditions have preserved these ancient earthworks for millennia. These geoglyphs, created by removing surface layers to expose lighter soil or arranging stones, reflect the ingenuity of pre-Columbian societies in marking landscapes for ritual, practical, or symbolic purposes. The Nazca Lines in Peru represent one of the most iconic clusters, spanning a vast desert plain and showcasing a blend of geometric precision and naturalistic forms.^[3] The Nazca Lines, located in the Nazca Desert of southern Peru, consist of over 800 straight lines, more than 300 geometric shapes such as trapezoids and spirals, and approximately 70 biomorphic figures depicting animals, plants, and humans. These geoglyphs were created by the Nazca culture between 200 BCE and 600 CE, covering an area of about 450 km² in the arid coastal plain roughly 400 km south of Lima. The lines, some extending up to 48 km in length, and figures ranging from 50 to 370 meters, were etched by removing dark desert pebbles to reveal the underlying pale soil, a technique that has endured due to the region's minimal rainfall and stable climate.^[18]^[3]^[57] Nearby, the Paracas Candelabra on Peru's Paracas Peninsula is a prominent trident-shaped geoglyph measuring approximately 180 meters in height, carved into a coastal hillside overlooking Pisco Bay. Attributed to the Paracas culture and dated to around 200 BCE, this figure was formed by excavating up to 3 meters deep into the hillside, possibly serving as a navigational aid for ancient mariners or a ritual symbol associated with sacred plants. Its visibility from the sea underscores the maritime connections of Paracas society in this hyper-arid environment.^[58]^[59] In western Brazil's Acre state, over 450 geometric earthworks known as the Acre Geoglyphs form another major cluster, featuring shapes like squares, circles, and U-forms excavated as ditches up to 11 meters wide and 4 meters deep. These structures, linked to complex pre-Columbian Amazonian societies, were constructed and used between approximately 1,000 and 1,300 CE, within a broader timeframe of 2,000 to 650 years BP, often in areas of managed forests for ceremonial or communal gatherings. The geoglyphs, spanning about 13,000 km², highlight sophisticated landscape modification in the rainforest fringes, distinct from the desert-based Peruvian examples.^[60] Further south, the Atacama Geoglyphs in northern Chile's Tarapacá Region include anthropomorphic (human-like) figures, often termed troglodyte representations, alongside depictions of llamas and herds, as well as geometric forms like rectangles and circles. Created between 900 and 1,500 CE during the Late Intermediate Period, these over 5,000 geoglyphs likely marked herding paths and caravan routes for llama traders traversing the hyper-arid Atacama Desert between the Pacific coast and Andean highlands; recent threats from off-road vehicles and mining activities as of 2024 have damaged some sites. Sites like the Pintados complex illustrate the role of these figures in facilitating trade networks and ritual practices among indigenous groups.^[61]^[62]^[63] The prevalence of geoglyphs in South America stems from the continent's extensive arid zones, such as the coastal deserts of Peru and Chile's Atacama, which prevent erosion and vegetation overgrowth, allowing preservation over centuries. This concentration contrasts with sparser distributions elsewhere, and several sites, including the Acre Geoglyphs, are on UNESCO's Tentative List for their cultural and ecological significance in demonstrating human adaptation to extreme environments.^[60]

Geoglyphs in Other Regions

In North America, the Blythe Intaglios in California represent some of the most prominent geoglyphs, consisting of large anthropomorphic figures etched into the desert floor by removing dark rocks to expose lighter soil beneath. These include human-like forms, with the largest measuring 171 feet (52 meters) in length, and are dated by radiocarbon to between 900 BCE and 1200 CE.^[6] The figures are associated with Native American narratives, such as those of the Mojave and Quechan peoples, depicting Mastamho, the creator deity, and Hatakulya, a mastodon hunter.^[6] Further north, in Wisconsin, the effigy mounds constructed by the Late Woodland Effigy Mounds culture feature earthen sculptures shaped like animals, birds, and other forms, serving as burial sites and ceremonial markers. These mounds, built between 650 and 1200 CE, include examples up to 1,300 feet long, such as bear and bird effigies, and were created by piling earth into raised designs visible from elevated vantage points.^[64] Australia hosts both ancient and modern geoglyphs that reflect Indigenous astronomical and cultural practices. The Wurdi Youang stone arrangement near Ballarat in Victoria is an egg-shaped enclosure of over 100 basalt stones, potentially functioning as a solar calendar by aligning with solstice and equinox sun positions, with estimates placing its construction between 11,000 and 20,000 years ago based on regional archaeological context.^[65] In the Kimberley region of Western Australia, Wandjina figures depict cloud and rain spirits central to Aboriginal mythology, often rendered as large-scale rock art motifs up to several meters tall, dating back approximately 4,000 years and occasionally extended into ground-level arrangements for ceremonial purposes.^[66] A notable modern example is the Marree Man in South Australia, discovered in 1998, which portrays an Aboriginal hunter wielding a boomerang; this geoglyph spans 3.5 kilometers in length and 28 kilometers in perimeter, making it one of the largest known, though its anonymous creator remains unidentified.^[42] In Europe, geoglyphs often take the form of hill figures and linear earthworks adapted to the landscape's contours. The Uffington White Horse in Oxfordshire, England, is a stylized equine geoglyph carved into chalk hillside by removing turf to expose the underlying white chalk, measuring 111 meters from head to tail and dated to the late Bronze Age or early Iron Age, around 1400–210 BCE.^[67]^[68] This abstract design, maintained through periodic rescouring, stands out as the oldest surviving hill figure in Britain.^[68] Across the Irish Sea, cursus monuments near White Park Bay in Northern Ireland consist of long, narrow enclosures defined by parallel ditches and banks, constructed during the Neolithic period around 4000–2500 BCE, and likely used for processional or ritual activities spanning up to 1 kilometer in length.^[69] The Middle East and Asia feature geoglyphs tied to hunting and pastoral practices, with recent aerial surveys revealing extensive networks. In Jordan, desert kites are vast stone structures resembling arrowheads, formed by converging walls up to several kilometers long leading to enclosures, built primarily between 7000 and 9000 years ago (circa 5000–7000 BCE) as communal traps for driving game like gazelles into kill zones.^[70] Over 6,000 such kites dot the arid landscapes of the Levant and Arabian Peninsula, demonstrating large-scale prehistoric engineering.^[71] Further east, satellite imagery has uncovered geoglyph-like earthworks in China's Yangtze River basin, including linear and geometric patterns associated with Neolithic settlements around 6000 years ago, though their full extent and purpose continue to be explored through remote sensing.^[72] Globally, geoglyphs outside South America tend to be fewer in number but often larger in scale, particularly in non-arid environments where vegetative cover allows for more expansive earth-moving without rapid erosion, contrasting with the dense clusters in desert regions.^[73] This distribution highlights adaptations to local terrains, from arid stone removals to temperate mound constructions, with ongoing satellite-based discoveries expanding known sites in varied climates.^[73]

Preservation and Research

Conservation Challenges

Geoglyphs face significant threats from natural erosion processes that gradually degrade their visibility and structural integrity. In arid desert environments, such as those hosting the Nazca Lines in Peru, wind and occasional heavy rainfall contribute to the wearing away of surface materials, while shifting sands can bury features over time. For instance, El Niño-induced floods in the late 1990s and 2000s caused mudslides that damaged several Nazca geoglyphs, washing away protective pebble layers and exposing underlying soil to further erosion. In contrast, geoglyphs in temperate regions, like the chalk hill figures of southern England, are particularly vulnerable to vegetation overgrowth, where grass and weeds quickly obscure the exposed bedrock if not regularly maintained through scouring.^[74]^[75]^[76] Human activities exacerbate these natural processes, often leading to irreversible damage through direct physical interference. Tourism-related foot traffic compacts soil and creates cracks in fragile geoglyph surfaces, accelerating erosion in high-traffic areas like the Nazca Lines, where thousands of visitors annually contribute to the degradation of shallow trenches. Vandalism, illegal mining, and urban expansion pose additional risks; for example, geoglyph sites in Brazil's Acre state are threatened by deforestation for agriculture and logging, which removes overlying forest cover and exposes earthworks to accelerated weathering. Vehicle incursions and unauthorized construction have also scarred sites, as seen in instances where trucks have plowed over protected Nazca figures, leaving deep tire tracks, and off-road vehicles damaging ancient geoglyphs in Chile's Atacama Desert as of November 2024.^[77]^[78]^[79]^[62] Climate change intensifies these vulnerabilities by altering weather patterns and environmental conditions. Increased frequency and intensity of droughts in desert regions heighten wind erosion by drying out soils, while more severe storms and floods—linked to shifting precipitation regimes—can rapidly scour geoglyph surfaces, as evidenced by amplified El Niño events affecting Peruvian sites. Rising global temperatures further promote microbial degradation, as warmer conditions accelerate bacterial and fungal activity on exposed soils, breaking down organic binders that stabilize geoglyph materials. These combined effects are projected to worsen degradation rates for unprotected earthworks worldwide.^[80]^[20] Legal and management shortcomings compound these threats, particularly in remote or under-resourced areas. Many geoglyph sites lack comprehensive legal protections, leaving them susceptible to looting for associated artifacts and unregulated land use; in Peru's Nazca region, recent proposals to reduce protected zones by nearly half raised alarms over increased mining and squatter encroachments before being reversed. In isolated Amazonian locations like Acre, Brazil, remoteness hinders enforcement against illegal activities, allowing deforestation and extraction to proceed unchecked despite tentative UNESCO recognition. Inadequate funding and monitoring in such areas often result in delayed responses to emerging damages, perpetuating cycles of degradation.^[81]^[82]^[83]

Methods of Study and Discovery

The discovery of geoglyphs has relied heavily on aerial photography since the 1920s, when pilots first identified the Nazca Lines in Peru from the air, revealing vast patterns invisible from ground level.^[84] This method, using aircraft to capture overhead images, enabled initial mapping of large-scale figures across arid landscapes. Satellite imagery has since expanded these efforts, with tools like Google Earth uncovering hundreds of geometric earthworks in the Amazon rainforest, previously hidden by dense vegetation and only visible after deforestation or through high-resolution orbital data. Drone surveys provide even finer detail, offering sub-centimeter resolution orthomosaic maps for precise documentation, as demonstrated in studies of the Pista Geoglyph near Palpa, Peru.^[85] Analytical methods complement discovery by probing deeper structures. Ground-penetrating radar (GPR) detects subsurface features associated with geoglyphs, such as buried channels or artifacts, through electromagnetic wave reflections, as applied in surveys of the Nazca Lines to reveal construction layers without excavation.^[86] LiDAR technology creates 3D models by penetrating vegetation canopies with laser pulses, exposing earthworks like those in the Amazon's Acre region that are obscured by forest cover.^[87] Radiocarbon dating of organic artifacts found near geoglyph sites, such as pottery or wooden stakes, establishes timelines; for instance, dates from Acre earthworks range from 2500 to 1000 BP, linking them to pre-Columbian land-use practices. Preservation strategies emphasize non-invasive protection and international oversight. Physical barriers like barbed-wire fencing and warning signage restrict access to fragile sites, as implemented around the Nazca Lines to prevent vehicle damage.^[88] Controlled tourism, limited to aerial viewpoints or elevated observation towers, minimizes foot traffic while allowing public engagement. UNESCO World Heritage status, granted to the Nazca Lines in 1994, facilitates global funding and legal safeguards.^[3] Community involvement in monitoring, through local patrols and reporting in regions like southern Peru, enhances ongoing vigilance against erosion. Recent advancements up to 2025 integrate artificial intelligence and advanced sensing for efficient analysis. AI-driven image recognition, trained on aerial datasets, has accelerated pattern detection across vast areas, identifying over 300 new figurative geoglyphs in the Nazca region in 2024 alone.^[89] Multispectral imaging assesses soil health by capturing data across wavelengths, revealing moisture and degradation patterns in geoglyph soils, as used in remote sensing surveys of the Nazca Plain to inform conservation priorities.^[90]

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Jun 7, 2019 · A geoglyph is a design drawn on the earth, usually longer than 13 feet, using landscape elements like stones or earth. It can be positive or ...
[10]
Geoglyphs - Worldwide Ancient Art of the Landscape - ThoughtCo
Dec 6, 2018 · A geoglyph is an ancient ground drawing, low relief mound, or other geometric or effigy work that was formed by humans out of earth or stone.Missing: etymology | Show results with:etymology
[11]
Geography word of the week: Geoglyph | Canadian Geographic
Dec 15, 2015 · Geoglyph [gee-o-glif] · Definition A large sculptured character or symbol on the ground. · Origin From the Greek ge?, meaning “the earth,” and ...Missing: authoritative | Show results with:authoritative
[12]
geoglyph, n. meanings, etymology and more
There are two meanings listed in OED's entry for the noun geoglyph. See 'Meaning & use' for definitions, usage, and quotation evidence.Missing: scholarly | Show results with:scholarly
[13]
Rock Art: What are Pictographs, Petroglyphs, and Geoglyphs?
Nov 19, 2024 · Pictographs are painted rock art, petroglyphs are carved into rock, and geoglyphs are massive designs using stones or landscape.
[14]
Geoglyphs and Petroglyphs: The rock art of our ancestors
Oct 9, 2024 · Geoglyphs are giant drawings on the ground, visible from above, while petroglyphs are carvings engraved into rock surfaces.¿What Are Geoglyphs and... · Key Differences Between... · Famous Examples of...
[15]
10 Ancient Geoglyphs - Heritage Daily
Apr 19, 2018 · A geoglyph is a large design or motif (generally longer than 4 metres) produced on the ground and typically formed by clastic rocks or ...
[16]
Why the Nasca lines are among Peru's greatest mysteries
The lines are known as geoglyphs – drawings on the ground made by removing rocks and earth to create a “negative” image. The rocks which cover the desert ...
[17]
Nasca Geoglyphs - Smarthistory
Oct 1, 2016 · Also referred to as the Nasca Lines, they are more accurately called geoglyphs, which are designs formed on the earth.Missing: authoritative | Show results with:authoritative
[18]
In Peru, Learning from the Nasca - Earth Island Institute
May 1, 2017 · The “Nasca Lines” were created by removing the oxidized surface rocks to reveal lighter earth beneath. At ground level, they are hard to spot, ...
[19]
Geoglyphs of Acre - UNESCO World Heritage Centre
The Acre Geoglyphs are earthen excavated structures in the ground and formed by low walls and ditches representing geometrical figures of different shapes.Missing: definition etymology scholarly
[20]
AI-accelerated Nazca survey nearly doubles the number of known ...
Sep 23, 2024 · We set the ratio of positive to negative training images to 10:25 for a reasonable balance between precision and recall (SI Appendix).
[21]
(PDF) Geoglyphs - Academia.edu
Geoglyphs are large-scale, humanmade features on the earth's surface, created through techniques of adding or removing materials to enhance visibility.
[22]
Geophysical, petrographic and geochemical survey on the Nazca lines
The investigation of shallow structures beneath the Nazca lines aims at a better understanding of the alteration and weathering processes of the desert soils.
[23]
The world's oldest observatory? How Aboriginal astronomy provides ...
Oct 12, 2016 · Scientists studying the stone arrangement say it could date back more than 11,000 years and provide clues into the origins of agriculture.
[24]
Stone Engravings of Mysterious Ancient Megastructures May Be ...
May 17, 2023 · The engravings, estimated to be about 7,000 to 8,000 years old, are precise plans for nearby structures archaeologists call “desert kites”— ...
[25]
Geoglyphs in Peru older than thought, likely marked cultural events
May 6, 2014 · The earliest known settlements in Peru's Chincha Valley were part of the Paracas culture, which existed from 800 BCE to 100 BCE. Previously ...
[26]
Nazca Lines | History, Location, Lima, Spider, & Facts | Britannica
Oct 11, 2025 · Nazca Lines, groups of geoglyphs, large line drawings that appear, from a distance, to be etched into Earth's surface on the arid Pampa Colorada.Missing: characteristics | Show results with:characteristics
[27]
Against All Odds, England's Massive Chalk Horse Has Survived ...
Jul 6, 2017 · This is the Uffington White Horse, the oldest of the English hill figures. It's a 3,000-year-old pictogram the size of a football field and ...
[28]
The Enigma of the Nazca Lines: Strange Theories and Unanswered ...
The figures, in fact, were discovered only in 1927, when Toribio Mejia Xespe, an airline pilot, flew over the area and discerned the various huge shapes. Parrot ...
[29]
Giant Readymix Logo - Atlas Obscura
Mar 5, 2018 · At some point in 1965, someone, somehow, and for debatable reasons, came up with the idea of etching a giant Readymix company logo into the ...
[30]
the story of the giant Readymix logo on the Nullarbor. - Document
Readymix Ltd had been founded in Sydney in 1939 as the Ready Mixed Concrete Co., expanding into quarrying in 1957 with the purchase of Australian Blue Metal ( ...
[31]
Twentieth Century Geoglyphs - Military Training Targets of World ...
The authors present examples of both aerial imagery and ground-level photographs for various target types examined during field projects in Nevada.
[32]
Marree Man - NASA Earth Observatory
Dec 28, 2019 · It is unclear who created the giant geoglyph or why, but the large earthen figure has drawn attention to a remote part of South Australia ...
[33]
Desert Breath - Danae Stratou
Desert Breath expands in an area of 100.000 m2, in the eastern Sahara desert bordering the Red Sea in El Gouna, Egypt. It is a site-specific work that generated ...Missing: geoglyph | Show results with:geoglyph
[34]
Desert Breath: A Monumental Land Art Installation in the Sahara ...
Feb 20, 2014 · Located near the Red Sea in El Gouna, Egypt, Desert Breath is an impossibly immense land art installation dug into the sands of the Sahara ...Missing: geoglyph | Show results with:geoglyph
[35]
Land Art | Andrew Rogers
Andrew Rogers has created “Rhythms of Life”, the largest contemporary land art undertaking in the world. A connected series of 51 monumental stone sculptures.
[36]
Rhythms of Life Land Art - Google Arts & Culture
'Rhythms of Life' geoglyph in China is the largest horizontal stone structure in Rogers' global project. It measures 200 meters by 200 meters (656 x 656 ft).
[37]
In relation with Land Art | The Land Art
Apr 1, 2012 · Burning Man is an American music festival that brings Land Art to the Nevada desert. Visitors create sculptures just before ...
[38]
The Contemporary Geoglyphs of a Globe-Spanning Art Project
Sep 30, 2016 · Australian artist Andrew Rogers has traveled the seven continents creating modern geoglyphs with local populations, representing symbols significant to the ...Missing: examples | Show results with:examples
[39]
(PDF) Geoglyphs - ResearchGate
The term's etymology is of Greek origin, although the suffix 'glyph' in Spanish is related to the concept of the linguistic sign (see Real Academia Española ...
[40]
EarthView–Marree Man Geoglyph in Australia Does Reappearing Act
Jan 11, 2017 · In August 2016, the Marree Man was re-etched. A grader and GPS were used to re-create the outline, and this time the geoglyph is expected to last longer.
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https://www.cambridge.org/core/journals/antiquity/article/geoglyph-sites-of-acre-brazil-10-000yearold-landuse-practices-and-climate-change-in-amazonia/6E74670EB776FB3DE3EE426A87847C33
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https://www.usgs.gov/news/science-snippet/earthview-marree-man-geoglyph-australia-does-reappearing-act
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8 Easy Steps to Laser Leveling Your Landscape - Grass Plus
Nov 9, 2023 · Laser leveling is a modern landscaping technique that uses advanced technology to ensure precise and accurate ground leveling.
[44]
Canvas Earth: Geoglyphs on the Central Asian Steppes
### Summary of Methods Used to Create Geoglyphs in Central Asia
[45]
Landscape Design Software | 2D and 3D Design - Autodesk
Landscape designers and landscape architects can use Autodesk software to create 2D drawings or 3D models that save time, cost, and materials.
[46]
Astronomical Investigation to Verify the Calendar Theory of ... - MDPI
During her 40 years of research in Nasca, Maria Reiche identified many lines, areas and figures which have an astronomical relationship to various celestial ...
[47]
New Studies on the Settlements and Geoglyphs in Palpa, Peru
Evidence for ceremonies and offerings associated with water and fertility were also 497 identified in excavations near Nasca geoglyphs on the coast, in ...
[48]
Spiral Jetty | Holt/Smithson Foundation
Built at the mouth of a terminal basin rich in minerals and nearly devoid of life, Spiral Jetty is a testament to Smithson's fascination with entropy.
[49]
The Environmental Entropy of Robert Smithson's Spiral Jetty
May 19, 2023 · Robert Smithson's primordial Land Art masterpiece survives as a timeless reminder of our insignificance in the cosmos.
[50]
Modern geoglyph in the Atacama, a giant Coca Cola logo made ...
Modern geoglyph in the Atacama, a giant Coca Cola logo made from desert gravel. File: E2X1541.jpg Title: Modern geoglyph in the Atacama.
[51]
Exploration Mysteries: Marree Man - Explorersweb »
Mar 29, 2023 · In Australia's interior desert, a 4km-long outline of a hunter was bulldozed into the earth almost overnight in 1998.<|separator|>
[52]
Negative Ecology: Robert Smithson's Spiral Jetty at 50
Sep 12, 2021 · This essay reassesses the significance of Robert Smithson's land art for environmental politics in a time of climate crisis.
[53]
See how ancient Indigenous artists left their mark on the landscape
Apr 16, 2024 · ... geoglyphs help connect our past to present to future. For Native-descendant communities, this art represents a return home and a ...<|control11|><|separator|>
[54]
(PDF) The Nazca Lines - Academia.edu
These Lines appear to have been etched into the sun-baked Pampa Colorada region of Peru, and have remained self-preserved for thousands of years.
[55]
[PDF] Storke Memorial Field Course to Peru 2019 Field Guide
Early Intermediate Period – 200 or 400 BCE In this southern region, the Nazca people wove intricate textiles and also created largescale marvels with their ...
[56]
[PDF] 10 Unsolved Ancient Mysteries - HISTORY - Boston University
Mar 13, 2023 · To the northwest of the Nazca Lines, carved into a hillside overlooking Peru's. Pisco Bay, lies the Paracas Candelabra, another massive geoglyph ...
[57]
Impact of pre-Columbian “geoglyph” builders on Amazonian forests
Feb 6, 2017 · We reconstructed environmental evidence from the geoglyph region and found that earthworks were built within man-made forests that had been previously managed ...
[58]
Pintados Geoglyphs Archaeological Complex in the Tarapacá Region
One of the most famous geoglyph sites is the so-called Nasca and Palpa Lines and Geoglyphs in Peru, located on the arid Peruvian coastal plain.
[59]
Effigy Mounds Culture | Wisconsin Historical Society
The Effigy Mounds culture, named for unique burial mounds, built earthen mounds resembling animals and spirits, often as grave markers, between 650 and 1200 C. ...
[60]
View of SETI and Big History
The Wurdi Youang stone arrangement dating to between 11,000 and 20,000 years ago in Victoria, Australia, seems to have served this purpose. England's famous ...
[61]
Wandjina Art & Paintings - Kimberley WA - Japingka Gallery
Wandjina is Rainmaker Creation Spirit of the Kimberley area, recorded on ancient rock art sites & a living presence with local artists, at Japingka Gallery.
[62]
History of Uffington Castle, White Horse and Dragon Hill
The White Horse, which measures 111 metres from the tip of its tail to its ear, has been dated to the later Bronze Age or Iron Age, between 1740 and 210 BC.Missing: Park Bay cursus geoglyphs
[63]
Uffington White Horse - Oxford Archaeology
We can trace mentions of the White Horse in medieval documents writtent 700 to 1000 years ago, but scientific dating confirmed that it was originally carved ...
[64]
Prehistoric Monuments Discovered in Ireland - Archaeology Magazine
Jun 11, 2024 · The monuments include Bronze Age structures and five Neolithic cursus monuments, which are long and narrow earthwork enclosures built some ...
[65]
Desert Monoliths Reveal Stone Age Architectural Blueprints
May 17, 2023 · Engravings found in Jordan and Saudi Arabia appeared to match nearby ancient megastructures known as desert kites as seen from above.
[66]
Desert Kites - World History Encyclopedia
Jun 26, 2020 · Desert Kites are mega-constructions that consist of two long walls converging upon an enclosed space that has on its periphery small stone constructions called ...Missing: Russian White Horse Yangtze
[67]
Extinct Baby Horse—Its Skin and Hair Intact—Found in the Siberian ...
Aug 28, 2018 · The foal lived between 30000-40000 years ago.
[68]
Predicting ancient city sites using GEE coupled with geographic ...
Feb 11, 2025 · In the Yangtze River Basin, the birthplace of civilization in China, it is necessary to further discover and investigate ancient remains.Missing: geoglyphs | Show results with:geoglyphs
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(PDF) Geoglyphs - ResearchGate
Jan 28, 2020 · PDF | This updated entry in the Encyclopedia of Global Archaeology is a comprehensive synthesis of geoglyphs from a wordwide perspective.
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Weather Damages Peru's Nazca Lines - Latin American Studies
Feb 8, 1998 · The mudslides, which followed hard rains caused by the weather phenomenon El Niño, damaged several lines and one of the Nazca triangles and ...
[71]
Rare heavy rains damage Peru's Nazca lines - NBC News
Jan 19, 2009 · Archeologists have warned the lines are vulnerable to flooding. But Olaechea said it was the first known instance of rain damage.
[72]
Britain's oldest chalk figure gets a makeover | Countryfile.com
Jul 10, 2024 · The archaeologists' main objective was to carefully remove the overgrown turf to reveal the original edge of the horse and re-distributed some ...Missing: vegetation | Show results with:vegetation
[73]
Why The Mystery Of 2000-Year-Old Nazca Lines In Peru Still Baffles ...
Aug 30, 2025 · The desert's dry climate has preserved them for over 2,000 years, but human interference, especially foot traffic, can quickly erode the shallow ...
[74]
Who will save South America's vast, ancient earthworks from ...
Jan 15, 2025 · The geoglyphs of the Brazilian rainforest and the deserts of Chile continue to be threatened by careless human activity.Missing: protest anti-
[75]
Truck Driver Plows Over Peru's 2,000-Year-Old Nazca Lines ... - NPR
Jan 31, 2018 · A semitrailer driver ignored warning signs and drove over Peru's famous Nazca Lines on Saturday, causing significant damage to the UNESCO World Heritage site.
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The impact of climate change on archaeological sites
Jul 1, 2025 · Once exposed, artefacts are often fragile and prone to rapid degradation unless quickly stabilized and preserved. Yet heritage management ...
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Lines and Geoglyphs of Nasca - World Monuments Fund
Since the announcement of the 2012 Watch, the lines and geoglyphs of Nasca have faced many threats including groups of illegal squatters, mining and drilling in ...Vast Desert Artworks · Fascinating Generations · Threats And Plan Completion<|control11|><|separator|>
[78]
Peru Halves Protected Area Near Nazca Lines - Art News
Jun 3, 2025 · The Culture Ministry of Peru has cut roughly half of the protected area surrounding the Nazca Lines, a move that archaeologists warn could subject the UNESCO ...
[79]
New conservation model calls for protecting Amazon for its ...
Oct 4, 2024 · Earthen mounds known as geoglyphs, for instance, have been revealed to stretch from Acre state north into neighboring Amazonas; formally ...
[80]
Stunning images of the mysterious Nazca Lines in Peru - Live Science
Jun 12, 2023 · The first Nasca geoglyphs were rediscovered by Peruvian aircraft pilots in the 1920s; now more ... This Nazca geoglyph, discovered with AI, ...
[81]
High Resolution Drone Surveying of the Pista Geoglyph in Palpa, Peru
Dec 13, 2018 · The use of drone shows advantages of this technology to achieve high resolution object documentation and analysis, which provide new details.Missing: contemporary | Show results with:contemporary
[82]
Resistivity and Georadar Survey on the Nazca Lines - ResearchGate
Dec 10, 2018 · Our paper reports the application of a combined resistivity and georadar survey at a single test site. The resulting images of the two methods indicate similar ...
[83]
Contribution of Lidar to the Understanding of Settlement Patterns of ...
Apr 28, 2020 · The architecture of Geoglyph sites can be complex, juxtaposing square and circular ditches, walled enclosures, mounds and causeways, suggesting ...Missing: worldwide | Show results with:worldwide
[84]
Peru's ancient lines face 21st-century threats - NBC News
Oct 19, 2005 · A tiny, hand-painted sign mounted on a flimsy barbed wire fence warns visitors to Peru's Nazca lines: “No entry. Area off-limits.” It's not ...
[85]
AI uncovers 303 new Nazca geoglyphs, including knife-wielding ...
Sep 25, 2024 · Researchers have used artificial intelligence (AI) to uncover over 300 previously unknown geoglyphs in the Nazca Desert of southern Peru.Missing: 2020s examples
[86]
[PDF] Documentation of geoglyphs on Nazca Plain, Peru using remotely ...
Geoglyphs are commonly known as drawings produced on the ground. They are created either by accumulation of material (usually stone) or by dispatching the upper ...