AI – ‘11,700 to 40,000+ Years Old Hypothesis – Independent researcher Matthew LaCroix, who has participated in recent dive expeditions at Lake Van alongside filmmaker Tahsin Ceylan, has publicly argued that the deeper, megalithic components of the site are far older than traditionally accepted. [1, 2]

• The Geological Argument: LaCroix bases his hypothesis on the area’s volcanic and geological history. He points out that Lake Van’s natural basin was sealed by lava flows from nearby Mount Nemrut, which caused water levels to rise dramatically. While mainstream geologists view the major lava blockages as occurring hundreds of thousands of years ago, alternative timelines cite shifts closer to 40,000 years ago. LaCroix argues that the stone monuments had to be constructed on dry land before the basin completely flooded, making them at least 11,700 and potentially up to 40,000 years old. [1, 2]
• The “Lost Civilization” Claims: Proponents of this view point to advanced stonework, circular megalithic designs, and symbolic carvings (such as a motif resembling the “Flower of Life”) as evidence of a highly sophisticated, prehistoric culture that predates recorded history. [1, 2]

The Mainstream Archaeological Consensus (3,000 Years Old)Academic archaeologists and the original Turkish research teams view the site through a much more recent historical lens. [1, 2]

• The Urartu Kingdom: Mainstream experts from institutions like Van Yüzüncü Yıl University attribute the primary stone structures to the Urartu Kingdom (the Kingdom of Van), an Iron Age civilization that flourished between the 9th and 6th centuries BCE (roughly 3,000 years ago). [1, 2]
• Fluctuating Lake Levels: Archaeologists note that the water level of Lake Van has fluctuated drastically over the millennia. During the Urartian period, the lake was hundreds of meters lower than it is today, allowing for shore-side construction that was later swallowed by rising waters. Some structures also show signs of being repurposed during the Middle Ages. [1, 2]

Depth and “Deepest” Status

While the Lake Van ruins are highly notable and sit at depths ranging from 15 to over 23 meters (approx. 50–75+ feet) below the surface, labeling them definitively as the “deepest underwater monuments in the world” is a frequent talking point in alternative history circles rather than an established scientific record. Various other underwater ruins, such as structures off the coast of Alexandria, Egypt, or the controversial Yonaguni Monument in Japan, sit at comparable or greater depths. [1, 2, 3]

Because stone itself cannot be carbon-dated, researchers from both sides have noted that finding and dating organic materials trapped beneath or within the masonry will be required to conclusively resolve the age of the ruins. [1, 2]’

The ‘Flower of Life symbol’ is carved out out Basalt. Balsalt and andesite – see my previous blog – the ‘Sun Cross of Ayanis’, are nearly identical in hardness, generally sharing a rating of 5 to 6 (and sometimes up to 7) on the Mohs hardness scale. Because both are fine-grained volcanic rocks that cool rapidly on Earth’s surface, their internal mineral structure gives them highly overlapping physical properties.

Basalt and Andesite cannot be directly carved or cut using bronze tools alone, and while iron tools are harder, they still struggle significantly with these dense volcanic rocks. Both basalt and andesite are highly durable igneous rocks, with andesite ranking between 6 and 7.5 on the Mohs hardness scale, making them harder than bronze and typical historical iron. If a mason tries to strike basalt or andesite with a bronze chisel, the metal tool will simply blunt, deform, or shatter without leaving a significant mark.

AI – ‘To carve precise geometric symbols like the Flower of Life or a Sun Cross onto exceptionally hard igneous rocks like basalt or andesite today, modern stone masons and artists rely on high-hardness abrasive tools, mechanical guidance, and computer automation. Basalt and andesite score between 5 and 7 on the Mohs hardness scale, making traditional steel chisels ineffective because the rock will dull or break the metal.Here is exactly how these symbols are carved today, ranked from the most advanced industrial methods to manual studio techniques:1. Computer Numerical Control (CNC) Milling

The most precise method for complex geometry like the Flower of Life.

Because the Flower of Life requires perfectly interlocking circles, manual carving is prone to human error.

• The Tool: A 3-axis or 5-axis CNC stone router equipped with sintered diamond burrs or diamond-tipped end mills.
• The Process: The symbol is uploaded as a vector file (DXF/SVG) into CAM software. The stone is submerged in water or continuously doused to cool the diamond bit and suppress hazardous silica dust. The machine automatically executes perfectly uniform, multi-pass geometric grooves into the basalt.

2. Laser Engraving and EtchingBest for shallow, highly detailed, or dark basalt surfaces.

• The Tool: High-power CO2 or Fiber laser engraving machines (typically 100W to 300W+ for stone).
• The Process: The laser beam generates intense localized heat, causing the microscopic crystals in the basalt or andesite to fracture and melt (vitrify). On dark, polished basalt, this creates a high-contrast, frosted white line that perfectly captures the fine lines of the Flower of Life without physically touching the stone.

3. Pneumatic Carving with Tungsten CarbideThe modern upgrade to traditional hand-carving.

• The Tool: A pneumatic air hammer (resembling a miniature jackhammer held like a pen) fitted with tungsten carbide-tipped chisels. Tungsten carbide is hard enough to easily fracture the feldspar and pyroxene minerals in andesite.
• The Process: The artist glues a stencil of the Sun Cross or Flower of Life directly onto the stone. Using the pneumatic tool, they trace the lines, letting air pressure do the heavy lifting of spalling (chipping) away the stone.

4. Rotary Micro-Grading (Dremel / Die Grinder)The most accessible method for studio artists and hobbyists.

• The Tool: A high-RPM rotary tool or die grinder paired with diamond-grit core bits or diamond cutting wheels.
• The Process: A physical template or stencil (often made of thick plastic or metal to prevent slipping) is clamped to the stone. The artist uses a flexible shaft attachment to manually grind the grooves into the stone, using a constant drip of water to preserve the tool’s diamond coating.

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Comparison of Methods

Method	Precision Level	Depth Capability	Best Suited For
CNC Milling	Extremely High	Deep relief or V-grooves	Flawless geometric symmetry (Flower of Life)
Laser Engraving	Maximum	Very Shallow / Surface level	High-contrast line art on dark stone
Pneumatic Chisel	Medium (Artistic)	Deep, textured relief	Rustic, traditional aesthetic (Sun Cross)
Rotary Diamond Bits	High (User dependent)	Medium grooves	Small-scale studio work and custom detailing