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The word SHAMAN means "one who sees" or "Who knows ecstasy".
In his wise knowing, the Shaman travels on threads of time to
weave a certain path by selecting the appropriate threads. By mastering
the art of using this road to the sky or "Kuxan Suum", he is
known to surf the web in this way....
The Shamans of today perform a ceremony at the Temple
of the Cross which contains a stone carving of a shaman dressed in a jaguar
skin, smoking a ceremonial cigar. The door of the temple is a way into
other dimensional space & time. He stands theres at the doorway as
a guardian to the otherworld or PIBNA (Underworld house in Maya language).
On an adjacent carved panel, the main motif is a tree - The World Tree
- at the centre of the world that holds the heavens and arises from the
mask of the Great Earth Monster (the primal energy of the earth). The
branches of the tree form a cross and support a double headed serpent
bar symbol (a primary motif of kingship) with a 'Celestial Bird' perched
on top.
The MAYAs were also known as
the CARA Maya of Ancient Greece and the MAYAX of Ancient Egypt. As great
Masters of Illusion, they were also the Naga
Serpents of India.
Could the etymology of the word MAYA possibly be:
"The mother of the waters" or "the teats of waters Ma -
y - a -", she of the 400 breasts, as they were wont to represent
the Ephesian Goddess??
maya sages had reached similar conclusions, since
they called their country Mayach, that is "The land first emerged
from the bosom of the deep", or 'The country of the shoot",
and the Egyptians according to Herodotus, boasted that their ancestors,
in the "lands of the West", were the oldest men on earth.
Mayach (that is, "the land that first arose
from the bottom of the deep") was the name of the empire whose sovereigns
bore the title of Can (serpent) spelt to-day khan in Asiatic countries.
The title given by the Mayas to their rulers, were derived from the countour
of the empire, that of a serpent with inflated breast, which they represented
in their sculptures sometimes with and sometimes without wings, just as
the Egyptians did with the Uraeus, symbol of their country.
THE MYTH OF QUETZALCOATL
Quetzalcoatl is the Serpent that turns into a bird, Quetzalpetatl is the
caterpillar that turns into a butterfly; in both cases we are presented
with an image of transformation, of a movement from earth to air, from
matter to spirit.
The myth of the PHOENIX seems to have its roots in Graeco-Egyptian culture,
and the myth of the Phoenix presents many striking similarities with the
myth of the plumed serpent. The quetzal bird is said to make its nest
only on the top of trees in the full light of the sun. The serpent that
has turned into a bird thus has to make its way up the trunk of the tree
to move out of the dark into the light. And so it is with the Phoenix,
for it is said to have once been a lowly worm that fed in the dirt, but
then as it slowly made its way up the trunk of the tree, it began to become
transformed into a bird. Once on the top of the tree, it no longer ate
the gross food of earth but the more refined nectar of flowers and rare
essences of herbs. Here in its nest atop the tree it created its own funeral
pyre and was transformed into flames, but from the matter left behind,
the ashes, another Phoenix was born.
In the religion of quetzalcoatl, one not only learned how to teach the
serpent how to fly, but how to open one's heart chakra to the light of
the sun. The opening of the heart chakra to the light is one of the sublime
religious experiences, and this image was used and is still used today,
by the sufis as the insignium of their practice. The Aztecs however perverted
the ancient practice, reduced it to a fundamentalist literalism, and began
to rip open the chests of sacrificial victims so that the priest could
hold the heart up to the sun.
there were no quetzal birds in ancient Egypt or india, but there was an
understanding of what science would now call "The Three Brains of
Man".
Man finds himself in the predicament that Nature has endowed him essentially
with three brains which, despite great differences in structure, must
function together and communicate with one another. The oldest of these
brains is basically Reptilian. The second has been inherited from lower
mammals, the third is a late mamalian development, which in its culmination
in primates, has made man peculiarly man.
The old reptilian brain is the SNAKE, it is the brain of the instinctive,
the unconscious, the depository of millions of years of evolution. The
second brain is the LIMBIC Ring, the mammalian brain of "flight or
flight", of emotion and a highly developed olfactory sense as a way
of perceiving the environment. This LIMBIC Ring is the nest of the bird,
phoenix or quetzal. The third brain, the neo-cortex, is the bird, the
creature of the higher realms of thought. The twin hemispheres of this
brain are the two wings at the top of the caduceus, the sign we still
see today as emblem of the medical profession.
Now the reason these three brains are symbolically emphasized in various
esoteric schools of religion is that as soon as one moves out of the conventional
life of society into the mysteries of the temple, he or she undergoes
a spiritual evolution in which the evolution of the nervous system is
re-experienced in a form of recapitulation. When consciousness is focused
with unwavering attention, the body responds.
In the first stages of contemplative tantric practice, the instictive
life is energized and one feels an enormous amount of physical and sexual
vitality. In men this is experienced as the phallic stage, and one should
realise that all the phallic imagery used in the ancient iconographies
of Greece, Egypt or India is not simply referring to fertility and copulative
sexuality. During this stage of earthly energizing, the practitioner is
counseled not to identify with or act out these sexual energies. Celibacy
is the rule. If the rule is followed, and if the contemplative practice
is continued, then the serpent begins to climb the tree of the spinal
column.
In this second stage, the second brain, the mammalian brain, is energized.
it is a time of raw emotion and ancient senses. One's passions begin to
be wildly intense, fits of crying take one over without obvious cause.
Long buried and repressed childhood emotions explode to the surface, and
the sense of smell begins to challenge the supremacy of sight as a way
of interpreting them. One begins to know and respond to people instantly,
the way a dog would: lovingly wagging one's tal at this stranger or barking
angrily at another. And at this stage too, the student is counseled not
to identify with or act out what he is feeling. It is a dangerous time,
for the physical and psychic energies can make the individual appear to
be quite charismatic, but if the individual involves others in his shifting
and unstable life, then great confusion and suffering can be experienced
by more people than simply the student. Jonestown is one of the more extreme
Examples of the dangers of this second stage.
The Third stage is the stage of the bird. In the place where the three
brains come together, "the place where the three roads cross",
is the place of integration, the traditional "Third Eye". "For
the eye is the light of the body, and if thine eye be single, then is
thy whole body filled with light". (Matthew 6:22) After years of
focused concentration and visualization practices, the third eye opens
and the student shifts upward from a physical body to a body of LIGHT.
The mode of thought shifts from a linear one of multi-dimensional geometrical
figures or crystals that are at once musical and mathematical forms: It
is as if two Bach fugues were being played at right angles to one another.
Plato's world of forms and Sufi angelology begin to take on a whole new
level of reality.
Now, just as there is a shadow side to the second stage, there is a shadow
side to this thrid stage. The shadow form could be called "paranoid-schizophrenic
cosmic synthesis." The hieroglyphic mode of thought is isomorphic
to, but not identical with "schizophrenic world-salad." In these
psychotic cases certain traumatic experiences have crushed the ego, and
the being is rawly exposed to altered states of consciousness without
any yogic training whatsoever. In other cases, throuugh drugs or moments
of evanescent artistic rapture, the individual slips out momentarily into
another mode of thought.
Shakespeare long ago noticed that "the lunatic, the lover and the
poet are of imagination, all compact." But the difference that makes
a difference between the artistic genius and the lunatic, or between the
yogi and the lunatic, is that the lunatic is in a condition of acute agony,
suffering, and existential teror, whereas the other is in a condition
of stable, balanced and creative joy. The paranoid organizes his entire
universe around his central dread; his chaos is transformed into one gigantic,
coherent and cosmic conspiracy. He, and only he, has discovered the "Secret".
And here too is another aspect of the shadow form of the third stage:
the cosmic inflation of the ego. A contemplative in a monestary or esoteric
school knows that he or she is simply one of a long line of contemplative
practitioners, stretching back from the present into the mists of prehistory.
And if the monk or nun begins to get a little overenthusiastic about his
divine mission in life, the aboot is there to remind him or her to sweep
the floor and clean the toilets. Ultimately, the third stage must be a
return to the first.
And the end of all our exploring
will be to arrive where we started
And know the place for the first time
When the tongues of flame are in-folded
Into the crowned knot of fire
And the Fire and the rose are one.
When the fire at the base of the spine and the rose at the top of the
spine are one, then there is neither snake nor bird, but a feathered serpent.
Then the energies of the earth and the energies of the sun can be brought
together in a harmony that makes a high civilization possible, for these
energies are not simply personal.
Both the bird and the snake have evolved from a common genus: one went
down into the earth to crawl, the other went up to the trees to launch
into the sky.
When the bird takes up the snake and flies to the top of the tree, as
is pictured in the flag of Mexico, a civilizational ideal is being expressed.
Esoterically, there are two human races: one has fallen to the ground
and become so entrapped in the body that it can no longer remember its
divine origin. The other race is human, but not in what we recognize as
a body, and it is seeking to help us up into a consciousness of the spirit.
Like Isis, this race is seeking to gather up the pieces of the dismembered
Osiris to re-establish their divine marriage. The religion of Quetzalcoatl
is anything but a narcissistic concern for the me. One needs to remember
that the temple of Quetzalcoatl is in the center of one of the largest
cities of aniquity, Teotihuacan. The myth is essentially a vision of civilization,
and the pathos and tragedy of the story is that in the battle between
civilization and savagery, savagery won the day.
And so there are at least three levels of meaning to the hieroglyph of
the feathered serpent that we need to keep in mind. The snake is the earth,
and the bird is the sun; the feathered serpent is the world in harmony
with heaven, an earth sculpted into a "Pyramid of the sun".
The Snake is the fallen human race; the bird is the bodhisattvic race;
the feathered serpent is the human race in the condition of enlightenment.
The snake is the archaic brain; the bird is the neo-cortex and the feathered
serpent is the religious initiate who has consciously moved from physical
to spiritual evolution.
Now just as Nazism was the perversion of the high culture of German Romanticism,
so the mystical militarism of the Aztecs was the perversion of the earlier
religion of Teotihuacan.
The Nahuatl scholar John Bierhorst says that there is another translation
possible for the line:"the inner part of the precious penis rose
upward." The inner part of the penis, the seminal prana, is of course
the very heart of Tantric practice and the raison d'etre for celibacy.
If the inner part of the penis is rising upward to become the morning
star, then we are being presented with a description of Tantric illumination
as the apotheosis of Quetzalcoatl. Clearly the most important parts of
a story is its ending; it is the telos towards which the whole narrative
is moving. If in one's interpretation of the story, one cannot make sense
of the inner part of the precious penis rising upward to become the morningstar,
then one had better go back to the beginning and search for another interpretation.Poetry
is the language which seeks to recall, re-call us to our senses, and poetry
remains superior to history for all the reasons that Aristotle gave long
ago. A scientific history can give us recorded facts, but only poetry
can reveal the meaning of history in the universal truth of events. Poetry
is the place where myth and history meet, the place where the collective
narrative is given individual expression. In a myth the ancient prehistory
of the soul is recast into the imagery and situations of more recent events.
In the telling of a myth, the memory stirs and one realizes that more
is being expressed than simply the story of a DRUNKEN PRIEST'S FALL INTO
SEXUALITY. We are MORE than we KNOW; therefore science never can contain
us, but where the edge of knowing meets the horizon of Being is in the
open landscape of myth.
Lindisfarne Mountain Retreat
Sangre de Cristo Mountains
Christmas Eve, 1981
THE AGE OF MEN - TULA
In the year 1 Reed, it is said,
in the time of the Morning star,
It is told that Topiltzin,
Ce Acatl Quetzalcoatl,
Our Noble Prince, Our Priest, was born.
Chimalma was his mother's name,
and they say this was the manner
in which Quetzalcoatl came
God-Like into his mother's womb:
Chimalma swallowed an Emerald.
War Lord, his father, Mixcoatl,
Was killed and buried in the sand;
Upon his birth his mother died.
There came the years 2 Flint, 3 House,
4 Rabbit, 5 Reed, 6 Flint, 7 House, 8 Rabbit, 9 Reed.
In 9 Reed Quetzalcoatl
Asked about his absent father:
"I wish to see my father's face."
"He is dead. There is he buried."
Quetzalcoatl went at once
To search the earth, to turn the sand.
He brought the bones into the light,
And at the shrine of Quilaztli,
he prayed and buried them again.
In the year 2 Rabbit it was
Quetzalcoatl came to stay
For Four years in Tulancingo.
There he built his house of penance,
His house of turquoise, house of beams.
From there he went through Cuextlan;
In that place he crossed a river
with a bridge of his own making,
All of stone, they say, still it stands.
In the year 5 House the Toltecs
came and asked Quetzalcoatl
to become their king, to rule them
in Tula as their sacred Priest.
In the year 2 Reed he built his house,
House of penance, house of prayer.
he built his house as four: a house of
Turquoise, a house of Whiteshell, Redshell, and precious feathers.
There he worshipped, there he fasted.
Even at midnight he went down
To the stream called Edge of Water,
There in the dark where the moss was.
Of Jade and maguey were the thorns
He set in penance in his flesh.
On the summit of Xicocotl,
On Tzincoc, on Nonohualca,
Only his prayers could be heard.
Fumed with incence, sacred copal,
Were his thorns of turquoise, of jade.
And the offerings that he made
were never men, but only snakes,
Birds, butterflies in sacrifice.
They say he sent up his prayers
To the deep heart of the the Sky,
And they knew taht he was crying
Out to the place of Duality
Beyond the gods' Ninefolf heavens.
And thus they knew, those who dwelt there,
That he called upon them, humbly
And contritely, he prayed to them.
And in his time he discovered
Great Riches: Gold, silver, turqouiise,
Jadestone, Redshell, Whiteshell, feathers,
Plumes of Quetzal, of cotinga,
Blue heron, roseate spoonbill,
Trogon, and the oropendola.
And Cacao, he discovered Cacao
Of many colours, and cottons
Of all the colors like birds' feathers.
Truly in his time he was great
in all the arts; the simple pot
From which he ate and drank could hold
Painted gods in the earthenware.
Also in his time he began
His Great temple, our pyramid
He lifted its serpent pillars
To the sky, but he did not stay
To finish it before he went
Beyond our mountains to the sea.
In the time he lived he did not
show himself in public, but dwelled
Deep within his hoise, protected.
In every room there were pages,
And his guarded room was the last.
Many times sorcerers had tried
To force our Quetzalcoatl
into making offerings of
Men, of human sacrifice,
But never would he give consent
For he loved his Toltec subjects.
Always he would offer only
Rites of snakes, birds, and butterflies.
So it is told he angered them,
The Sorcerers, and they conspired
To find the way to make him flee.
And this is how they say he left,
How Quetzalcoatl fled the land.
When he refused to sacrifice
His beloved Toltec subjects,
The Sorcerers assembled, they
Whose names are Tezcatlipoca,
Ihuimecatl, and Toltecatl.
"He must leave his city, let us
Corrupt him, let us make Pulque,
So that, drunk, he will no longer
Perform his priestly sacraments."
Then Tezcatlipoca said: "I,
I say we give him his body to see
in the smoking mirror."
But who can say how or in what
Manner they conspired to act?
Tezcatlipoca went there first,
Carrying the smoking mirror
Concealed in a soft wrapping.
And when Tezcatlipoca came
Before the pages of the house,
he said: "Announce to the Priest, say
'Lord, a servant has come to show
You your body, that you may see.'"
The pages went into the house;
They stood before the Lord who said:
"What is this? What body of mine
Can he bring? Examine it first,
only then may you let him in."
But Tezcatlipoca would not
Permit them to see his mirror.
"I, only will show the Priest..
Tell him no other is allowed."
Then the pages informed their Lord:
"He refuses now to show it,
He insists that only he can
Himself show your body to you."
And the Quetzalcoatl said:
"Let him come in, grandfather page."
Then Tezcatlipoca entered,
And greeted him, saying: "My son,
Priest, 1 Reed Quetzalcoatl,
Lord, I have come to salute you
And to show you your body."
Quetzalcoatl said to him:
"You have taken great pains, Old One.
From what great distance do you come,
And what is this body of mine?"
Then Tezcatlipoca answered:
"My son, Priest, I am your servant
Come from your Mount Nonohualca.
May it please you to see your body."
And then Tezcatlipoca stretched
And held out the darkening mirror:
"Behold your body. Envision
In obsidian your true form.
It is here in this glass you shall
Appear in the smoke that mirrors."
When he looked into the mirror,
Quetzalcoatl was afraid:
"If my subjects were to see me,
They would run in horror."
For he saw his eyelids swollen,
The eyes sunken, the face bilious,
Green and distended out of shape.
"Never shall my subjects see me thus;
I will stay in my house alone."
Tezcatlipoca left the house
And went back to the sorcerers.
Ihuimecatl said: "Let us mock
Quetzalcoatl; let the artist
Coyotlinahual be the one."
Then the sorcerers informed him,
Told him that he must be the one
To taunt the Priest with skillful craft.
The artist Coyotlinahual
Agreed at once to work his art:
"I shall see Quetzalcoatl."
he went at once and to the Lord
He shouted out in the courtyard:
"My son, I say, come out, be seen!
I will dress you for all to see."
Coyotlinahual went to work.
First he made him his turquoise mask,
with red stone for the mouth, yellow
For the forehead, then serpent's teeth
And a beard of cotinga plumes.
And when he had arranged the mask
For Our Lord Quetzalcoatl,
He gave him a mirror to see.
And Quetzalcoatl greatly
Admired himself and felt transformed;
At once he abandoned his refuge
In procession for all to see.
The artist Coyotlinahual
Went back to Ihuimecatl.
"I have lured Quetzalcoatl
Out of his house. He stands exposed."
"it is well, said Ihuimecatl,
And then he found Toltecatl
and together they took the road
And traveled to the distant place
Where Onions are Washed. There they lodged
With the old harvestman, Mixtla,
The keeper of the Toltec Mountain.
There they began to blend a stew
Of herbs, tomatoes, hot peppers, Young corn, red onions, and black beans.
This they cooked for several days,
And with the maguey they made pulque.
It was they too who discovered
the wild honeycombs, adn with these
They made a new kind of pulque.
And then with the stew and the pulque
They returned to TULA to tempt
Our Noble Prince, our Sacred Priest.
When they arrived the guards refused
To let them enter; two and three
Times they were stopped and turned away.
At last they were asked for their home.
"There beyond is our land, see it",
The Priests' Mountain, Toltec Mountain."
When Quetzalcoatl overheard
The words of the two sorcerers
he told his guards, "Let them enter."
Quickly they entered and greeted him
And offered him the stew of herbs.
And when he had eaten, they gave
The pulque to him for his drink.
"No, I cannot drink it. I abstan.
Does it take away the senses?
Is it deadly?" Then they answered:
"Merely with the fingertip, taste
Only the tiniest amount.
it is strong. It is newly made."
With merely his small fingertip
Quetzalcoatl tasted it,
and finding it good, then he said:
"I would drink more, Grandfather, three
More draughts." But the sorcerers answered:
"Four more shall you dringk, only four."
Thus they gave him even his fifth,
saying: "This is your sacrament."
When Quetzalcoatl had drunk,
They served all his pages, they too
Took their five draughts and fell down drunk.
Then the sorcerers turned and said:
"Quetzalcoatl, we have songs,
My son, May it please you to sing:
House of Quetzal, of quetzal,
Of Zacuan, of redshell,
I leave thee! An Ya!"
Then with joy, Quetzalcoatl
Cried: "Bring me my elder sister,
Quetzalpetlatl. Now may we
Drin, sing and sleep together."
Alone on Mount Nonohualca
The pure lady prayed and fasted.
There the pages found her and said:
"Penitent lady, my daughter,
We have come commanded to take
you back to Quetzalcoatl;
The Priest awaits you in his house.
Now you must go to be with him."
"Then let us go, Grandfather Page."
Down from the mountain to the house
The Lady came and sat by him,
Our Noble prince, our Sacred Priest.
There she was given the pulque,
And she took her four draughts, even
Her fifth. Thus Ihuimecatl
And Toltecatl made both them drunk.
Then to her, Quetzalcoatl,
They chanted together this song:
Where now is your home,
My sister, my Quetzalpetlatl?
Oh it's here in your bottle
With the drunk Quetzalcoatl.
Ayn Ya! Ynya yn ye an!
Now that they were drunk, no longer
Did they fast, no longer did they
Pierce their flesh with maguey thorns,
Not down to the river alone
At dawn on mountains did they pray.
This dawn when they awoke they grieved,
Heavy indeed were their spirits.
Then Quetzalcoatl composed his lament for leaving TULA.
No more!
No more will the days
be counted in my house.
I awaken to the east.
From earth, from flesh,
From pain and burning,
I quickly depart.
No more shall I thrive here.
Then he sang yet another song.
My mother of the earth,
She will nurse me no more.
She of the Serpent skirt,
She will hold me no more.
Ah! the holy one!
I, her child, alone
Am weeping, Iya ye an!
The songs made all the pages sad;
They too wept and began to sing:
No more can we
Delight in him,
Our Noble One,
Quetzalcoatl.
No more your crown;
the bleeding thorns
are broken now.
We mourn for him,
we weep and cry.
When the lament of the pages was ended,
Quetzalcoatl spoke to them: "Grandfather, enough!
Now I must go from this city;
Give the command to carve at once
A funeral urn large enough
to hold my suspended body."
Quickly the Toltecs crafted it,
And when it was finished, placed
The priest in trance within the crypt.
But he lay for only four days
In his skillfully crafted urn.
"Enough, Grandfather, we will go!"
"But everywhere conceal the things
Created from our Toltec arts:
Our Joy, our beauty, all of it."
And this the pages did; they hid
all at the edge of the water,
where the green water moss was,
The place where Quetzalcoatl
Used to bathe alone at midnight.
When the pages had finished this,
He called them once more together,
And weeping over them, he left;
for Tlillan Tlapallan, he searched,
The Black Land, The Red Land, he sought.
Quetzalcoatl traveled far,
But no place was pleasing to him.
And everywhere he went, he wept.
Finally in the year 1 Reed
He searched the shore, the water's edge.
There they say he wept and once more
Put on his quetzal plumes, his mask;
and when he was thus attired
In all his priestly robes, he set
Himself on fore, surrendering
In silence to the burning flames.
They say also that as he burned
His ashes rose into the air,
And all the precious birds were seen:
Roseate spoonbill, Cotinga,
Trogon, White and yellow parrot,
Blue heron and scarlet macaw;
All rose with his ashes to the sky.
And when all the ashes were gone,
The heart and the innermost part
Of the precious quetzal penis
Rose upward to the morning star.
Such was the life of him who was
Truly called Quetzalcoatl.
He was born in 1 Reed; he died in
1 Reed. Now it is finished,
in the time, in the year, 1 Reed.
For further reading, please see: - Secrets of Mayan
Science/religion by Hunbatz men - The Mayan Shamans travellers in time
by alloa Patricia Mercier - Owning your own shadow by Robert A. Johnson
- Blue Jade From the Morning Star by William Irwin Thompson.
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Throughout Mayalands one can find potent energy places sanctified by centuries
of ceremonies by Elders /shamans and the Maya Ahob. These energy centers
are also known as dorways or portals beyond the third dimension. These
may be found within the natural physical world as mountains, trees, caves
or wanterfalls. The portals of pyramids, carved statues and temples are
the earthly third-dimensional access point to other realities.
We read in the ethnic table of Genesis (chapter
x, verse 15), "Canaan begat Tzidon his firstborn", which means
that Tzidon was probably the earliest settlement founded by the Maya-
speaking colonists from Egypt; when according to the book of Nabathoean
agriculture, it seems that the Phoenicians were expelled from Babylon
in consequence of a quarrel with the Cushite Monarch then reigning. They
had therefore been in close relations with the Ethiopians of the coast
of the Erythraean sea and the Chaldeans of Babylonia. Then, even if they
used also MAYA words in giving names to the countries they conquered and
the cities they founded, it could also be easily accounted for; as also
for the similarity of their alphabetical characters with those carved
on the walls of the temples and palaces of Mayach, where portraits of
bearded men of unmistakable Phoenician types, are seen.
TZIDON-RABBAN is one of the epithets given in the
Bible to the old Capital of PHOENICIA, and is translated "ZIDON the
Great". The Maya however gives Tzidon the meaning of "ANCIENT".
Rabbah would read in Maya "Labal", the
meaning of which is "to become old", or "to age".
When the Phoenicians became such a mighty maritime
power as to render them redoubtable to their neighbours, the Egyptians
called Phoenicia, Zahi, (anciently there was a town in Yucatan called
ZAHI, the ruins of which still exist a few miles to the southwest of those
of the great city Uxmal) - a Maya word the meaning of which is "Full
of menace, or to be feared" is certainly most expressive of their
opinion of the Tyrian merchant princes.
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Lord Pakal
was also called Ahau (AHOB for plural) - or solar lord. Most scholars
read his name as Ahau Shield Snake. PAK means : "Look through the
dimensions" and "shield" , whilst Votan means Snake.
Pakal Votan left a message in the Temple of Inscriptions as references.
He made certain the survival of his own time thread.
The royal lineages carried a special essence encoded in heir blood which
was linked to the name VOTAN
PALENQUE
Father
Ordonez claims that PALENQUE was originally founded by a man named VOTAN
and his people came from across the Atlantic. Votan and his followers
came from a land called CHIVIM by sea. Valum Chivim was interpreted by
Ordonez as the Lebanese (Phoenician) city of Tripoli. According to Bishop
Nunes, in his publication "Constituciones Diocesianos de Chiapas",
he suggests this city to have been Babylon.
BA,
in Maya, has various meanings; the principal however is "FATHER"
or "Ancestor"
BEL
has also several significations: amongst them it stands for "Way"
or "Custom".
BA-BEL
would therefore indicate that the sacred edifice was constructed according
to the way and customs of the builders' ancestors.
The
principal GOD worshipped by the Phoenicians was the SUN, under the name
of BAAL, or BEL, which we are told meant "Lord", "Chief".
This is exactly the meaning of the word Baal (in Maya). As for Bel, it
is in Maya "The Road", "The Origin".
Palenque
verifies the relationship between the "T" and the number 9,
as the "T" is associated with the mystical Number 9. The crypt
discovered in the Temple of inscriptions measures 9 meters long by 4 meters
wide, and the walls bear stucco reliefs depicting NINE Priests. These
NINE, represent the Bolonti K'u, the roots of Hunab K'u, the Only giver
of Movement and Measure. This symbology can be para-phrased as "The
Place which marks the sacred cycles of human beings in union with the
Tree". The Nine Lords symbolize the Bolonti K'u, Lords from beyond
the 3rd dimension.
In
Mayan the number 9 , means "To Stop", or "To Limit".
It appears with this symbol that the ancestors are saying that the Tree
is the boundary of some type of teaching.
TULUM
Some enlightened Atlanteans managed to escape secretly through underground
tunnels to what is now the Mexican Caribbean Coast. The palce where the
tunnels ended was to become the location of TULUM. |
