The Dropa stones represent one of the most enduring mysteries in pseudoarchaeology. These alleged ancient granite discs have captivated UFO enthusiasts and conspiracy theorists for decades. According to the tale, 716 mysterious stone discs were discovered in 1937 in China’s remote Bayan Har mountains. The story claims these artifacts contain hieroglyphic markings that tell of an ancient alien crash landing on Earth 12,000 years ago.
However, extensive investigation has revealed no credible evidence supporting the existence of these supposed extraterrestrial artifacts. No museum has ever displayed them. No academic institution has verified their discovery. The entire narrative appears to be an elaborate hoax that has grown more complex over time.
The Original Discovery Story of the Dropa Stones
The earliest known version of the Dropa stones tale appeared in July 1962 in a German magazine called Das vegetarische Universum. According to this account, archaeologist Chi Pu Tei led an expedition into the Bayan Har mountains in 1937. His team allegedly discovered 716 granite discs in a series of caves. Each disc measured approximately one foot in diameter and featured a central hole with spiral grooves containing tiny hieroglyphic markings.
The story claimed that alongside these discs, the expedition found skeletal remains of beings with unusually large heads and thin bodies. Star maps were also supposedly present at the site. After decades of study at Beijing’s “Academy of Prehistory,” Chinese researchers allegedly translated the markings. Their conclusion was startling: the discs told the story of extraterrestrial visitors who crashed in the region and were stranded on Earth.
The translation work was supposedly published by Tsum Um Nui in an academic journal. However, his findings were met with ridicule from the scientific community. According to the tale, Tsum left for Japan in self-imposed exile and died shortly afterward. This dramatic narrative would become the foundation for decades of speculation about ancient alien contact.
Soviet Additions and Physical Claims
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In 1966, the story gained new life when Soviet writer Vyacheslav Zaitsev republished it in Sputnik magazine. Zaitsev added significant new details that enhanced the mystery. He claimed that several discs had been shipped to Moscow for analysis by Soviet researchers. These scientists allegedly discovered that the stones contained high levels of cobalt and other metals.
Even more intriguingly, Zaitsev claimed the discs behaved as electrical conductors. When placed on a special turntable, they supposedly produced a humming sound. These additions gave the story a more scientific veneer and helped fuel interest in the West. The Smithsonian Institution and other major museums have never reported possessing such artifacts, despite claims of their scientific importance.
The Soviet version of the story also emphasized the advanced metallurgical properties of the discs. This detail appealed to Cold War-era audiences fascinated by technological competition between superpowers. The idea that ancient aliens possessed superior technology resonated with contemporary anxieties about scientific advancement.
The Austrian Engineer’s Photographs
In 1974, Austrian engineer Ernst Wegerer supposedly visited the Banpo Museum in Xi’an, China. According to his account, he saw two of the mysterious discs on display. Museum staff allegedly provided no information about the artifacts when questioned. However, Wegerer claimed he was allowed to handle one disc and photograph both specimens.
These photographs became crucial “evidence” for believers in the story. Wegerer’s images showed circular stone objects with central holes and what appeared to be grooves or markings. By 1994, however, the discs could no longer be found at the museum. This disappearance only added to the mystery and conspiracy theories surrounding the artifacts.
Critical analysis of Wegerer’s photographs reveals significant problems. The images are too low in resolution to show any hieroglyphic markings clearly. More importantly, the objects in the photographs closely resemble bì discs – common Chinese jade artifacts dating back thousands of years. These ceremonial discs feature central holes and decorative grooves, matching the description of the supposed alien artifacts.
Unraveling the Hoax
Extensive research has revealed fundamental flaws in the Dropa stones narrative. No record exists of Chi Pu Tei or Tsum Um Nui in Chinese archaeological or academic databases. Neither name follows typical Chinese naming conventions, suggesting they may be fictional. The original German article was credited to Reinhardt Wegemann, but no writer by that name can be found.
The story cites a DINA news agency in Tokyo that has left no historical trace. The supposed “Academy of Prehistory” in Beijing doesn’t appear in any official records. These missing elements strongly suggest the entire tale was fabricated. French ufologist Jacques Vallée has extensively investigated the claims and concluded they represent an elaborate hoax.
The 1978 book “Sungods in Exile” by David Gamon added further fictional details to the story. Gamon later admitted his entire book was a satirical hoax, yet elements from it continue to appear in modern retellings. This demonstrates how fictional details can become accepted as fact in pseudoarchaeological narratives.
The objects photographed by Wegerer are almost certainly bì discs – ancient Chinese jade artifacts that were common in the Shaanxi region. When buried, these jade discs develop the multi-colored appearance that matches descriptions of the supposed alien artifacts. Some bì feature parallel grooves and markings that could be mistaken for hieroglyphs by untrained observers.
The Dropa stones story serves as a cautionary tale about the importance of critical thinking and proper evidence evaluation. While the narrative captures the imagination with its blend of ancient mysteries and extraterrestrial contact, it lacks any credible supporting evidence. The tale demonstrates how compelling stories can persist and evolve even when built on entirely fictional foundations.