THE INDIGENOUS SOCIETIES OF MESOAMERICA AND THEIR GEOMETRIC, RELIGIOUS, AND ARTISTIC PATTERN (Part 3 Final)

Víctor Arturo. Cabello. Reyes.

The Crotalus pattern, 'The Sacred Canamayté', is represented in the iconography either in pectorals, belts, sandals, ritualistic clothing and emblems that identify it with the Uay-wayob-KáwiiL, and mannequin scepter.

It is symbolic language with symbolic images.

(Main Signs: 504, 568c, 646, 737, 769a) Portraits: 100c, 1002b, 1081)

The serpent expresses natural cycles, it is time, it is Sun, it is cosmic order and rationality.

The Canamayté represents the trajectory of equinoxes and solstices, the four terrestrial sectors that intersect and join in the center.

In this way, the Canamayté is a symbol of Quadruplicity and of the fifth direction or, Center of the Cosmos.

It derives its quadrangularity from the skin of a snake = Ahaw, and rigorous observation of the annual transit of the Sun.

(Affixes: 5, 24, 64, 89, 113, 173, 181, 288)

"The four sectors that make up the cosmos derive from the cross, so the sacred number par excellence is not four but five, which represents the confluence of the two lines of the cross, the center of the universe.

The four sides cannot be considered outside their relationship to the center or point of intersection of the axes of the cross. And the center is the same for the sky as for the earth and for the underworld, because it is the point of union and communication of the various cosmic spaces."

(De la Garza: 2002)

According to the Motul Dictionary:

(Mérida, 1929: Yucatán)

On page 72 we read:

"Ahau Tzab-Can; there are four different of these and they are: Sac Ahau Can; Ek Ahau Can; Chac Ahau Can; Kah Ahau Khan."

(Cordemex, p. 4)

The sacred Canamayté will be found repeatedly in polychrome vessels, writing, painted walls, codices, stelae and in engraved lintels, ceramics, stucco; mainly associated with the priestly elite and ''Shamans.''

Maya figurative art fundamentally represents serpentine elements that prove the enormous and essential uniqueness of a "unique pattern".

(Slope of a pyramid, El Tajín, Veracruz)

The Sacred Patron-Canamayté, is an Arhythmosophy = (science of numbers), it is in itself the principle of correspondence, the incarnation of the gods as primordial substance.

(Adela Fernández, 1985: p. 54, 108, 109)

“… it is another invocation of Yolcuat Quitzalcuatl whose name means Rattlesnake, Feathered Serpent...".

KáwiiL means "image, idol, sustenance, in Yucatec Maya, it is born from the sky, some "kings" of Tikal are called Siyaj Chan K'awiiL.

(Eric Velázquez García: 2005)

Covered by the sky, darkens the sky, cloud from the sky, fire from the sky... concepts that already spiritual and celestial elements of the serpentine cult.

Pakal, "descends into the underworld personified as K'awiiL."

Pakal's feet are on the Bolon Hom entity, which has the symbol on its body as "way".

(Temple of the Cross, Palenque)

K'awiiL, is "serpent with legs", God of crotalic lineages whose foot ends in a snake's head.

The ''dynastic'' Offspring, the one who carries the "mannequin scepter", acquires its divinity from the serpent of heaven.

Chan/Ka'an, is heaven; Kaan/chan, snake... Both K'uK Balam I, and Siyaj Chan K'awiiL, represent Serpentine Royalty.

Chan K'awiiL, bears in its name (glyph) the representation of the Canamayté and its forked tongue coming out to its right of the Canamayté.

(Martín and Grube, p. 31)

The Sacred Crotalic Patron or Canamayté has been found in Teotihuacán since its beginnings.

Jasaw Chan K'awiiL;" articulated the revitalization of Tikal" ... reviving the symbolism of the once powerful and now collapsed Teotihuacan.

If we believe that on "February 9, 445 A.D., a young provincial dignitary named K'awiiL arrived, who was Ch'away's younger brother, = "The One who Transfigures", also known as = ("Casper", the second ruler of Palenque"), both have Crotalus and serpentine symbolic features in their images, glyphs, headdresses and names.

If by "the end of the fourth century", the so-called Supreme rulers were known as K'uhuL Ajaw, it is possible that the symbolism is at its peak for the time.

That's evident in royal attire.

"The emerging classical tradition was most certainly drawn from existing practices, incorporating ideals of government (including specific regal attire) that can be traced back to the time of the Olmecs."

(Grube, p. 17)

The various ways of writing Ajau contain, some of them, the Crotalus pattern, which is also reflected in modalities and expressions of sculpture, painting, writing and architecture.

In TikaL, lintel 3 of temple 4, Yik'in Chan K'awiiL is shown sitting on a large litter with the effigy of a rattlesnake arched above his head.

In a cylindrical vase discovered by Jennifer Taschek and Joseph Ball, = (Buenavista elite burial), (Grube, p. 75).

In the clothing of both, the Crotalus Canamayté pattern is evident.

On the famous lintels of the doors of Temple 23 of Yaxchilan, = (Lintels 24, 25, 26)

(British Museum, National Museum of Mexico)

The crotalic-canamayté pattern is characteristic in the clothing of important characters.

Both in Stela 8 of Piedras Negras, and in the clauses isolated by Beyer in Chichén Itzá, the Canamayté or sacred patron is clearly presented.

(Coe, 154-155:200-)

Let's take a good look at House D, Pilar F, Palenque, Chiapas.

(Maudslay, 1898-1900: IV, plate 37)

The ritual and mythical contexts follow a constant celestial cosmic pattern, which is obviously serpentine and shamanistic.

"The starry night is another aspect of Itzam Na.

Itzam Tzab, Sorcerer of the Water of the Pleiades, is one of his names, because Tzab means snake crotalus, and the group of stars that in Mayan thought are grouped together as the tail of a rattlesnake was also called Tzab."

(Maya Cordemex Dictionary: 849) (Sotelo Santos: 2002, p. 88)

And that: the "Mayans did not do astronomy, but astrology"! according to Alfonso Lacadena García-Gallo.

(Religion and Scripture: 2002, La Religion, p. 178)

The symbol of Mayan religion = the Canamayté-Sacred Patron, is found in the temple of the Cruz Enramada, Temple of the Sun and Temple of the Cross of Palenque.

In Stela K, in Quiriguá, and in Stela F, in Quiriguá.

No one wants to see the serpentine symbolism, and they don't want to see the abundant number of phalluses in Mayan cities.

Phallus and serpent, semen and water, Itz (divine liquid, similar to sperm) and Can.

It's, is "linked with the sacred knowledge of the universe."

Itzam Can, Witch of the Serpent Water

(Laura Elena Sotelo Santos, 2002)

There is astrology in stelae, glyphs, architecture, and Mayan art.

Scripture contains deep astrological elements, unstudied and misinterpreted.

We recognize the epigraphic advances... but with great care and caution.

"The prominence of the phalluses in each quarter of the complex may be significant, as the phallus plays an important role in the nominal glyph of Chichen Itza."

(Peter J. Schmidt), Director of the Archaeological Project of Chichén Itzá. Results and new projects. Mexican Archaeology, Vol. VII-No. 37, p. 39 and, see: Catalogue of the Secret Salon: Ramón Mena, 1926)

The phallic cult has not been properly studied, as has the astrological and serpentine cult.

"The Phallus itself is a solar and active fertility symbol widely believed to be lucky and protective. The overscale erect phalluses sometimes depicted in art usually have symbolic rather than erotic significance."

(Jack Tresidder: 2000, p. 14)

These are unquestionable proofs of shamanic knowledge, which is not lost and resurfaces again in the Mayan jungles among humble priests.

Shamanic worship must be rigorously considered.

"The discussion always revolves around a supposed conservatism, or about the short-sightedness of the curators or those in charge of the collections deposited in Mexican museums, who hide from the eyes of the people, with an excessively modest zeal, the supposed hundreds of objects that would show the sexual act in the most diverse modalities."

(Felipe Solís: Arqueología Mexicana, Vol. XI-No. 56, p. 60, 61, 62, 63)

The scientific study of symbolism, astrology, shamanism and the phallic cult would contribute to clarifying the matter.

In the phallic cult and its relationship with shamanism and nahualism we can find a truer interpretation of serpentine-spiritual symbolism.

Serpentine cult that evidences were Ahaw Serpent Masters.

THE INDIGENOUS SOCIETIES OF MESOAMERICA AND THEIR GEOMETRIC, RELIGIOUS, AND ARTISTIC PATTERN (Part 3 Final)

Víctor Arturo. Cabello. Reyes.

Minimum bibliography:

Coé, Michael D. (1962) Mexico, page 96, figure 21 (page 84, figure 56).

Soustelle, Jacques (1984). The Olmecs, plate 64. Mexico.

Coe, Michael D. (1966). The Maya: unknowns and realities. (Page 77, Plate 24).

Sejourné, Laurette. A Palace in the City of the Gods, Teotihuacan. Mexico 1959.

Revista Arqueología Mexicana. Vol. VIII - No. 48, Page 85.

Spinden, Herbert J. A Study of Maya Arte. New York, 1975.

Bernal Romero, Guillermo. Mayan Glyphs and Representations of the Underworld. In, Revista Arqueología Mexicana, Vol. VIII - No. 48, pages 42-47.

Bibliography

Baqueiro López, Osvaldo. (2003). Magic, Myths and Superstitions. Maldonado Editores, Mérida, Yucatán, Mexico.

Barrera Vázquez, Alfredo and Rendón Silvia. (1984). The Book of Books of the Chilam Balam. Fondo Cultura Económica, Mexico.

Bernal Romero, Guillermo. Mayan Glyphs and Representations of the Underworld. In, Revista Arqueología Mexicana, Vol. VIII - No. 48, page 42-47

Beyer, H. (1937). Studies on the inscriptions of Chichén Itzá, Carnegie Institution, Washington Pub. 483, Contrib. 21. Washington.

Codex Dresdensis. Die Maya-Handscrhrift der Königlichen Bibliothek zu Dresden, presented by Prof. Dr. E. Forstemann, Leipzig, 1980.

Codex Peresianus. Manuscrit hiérratique, presented by Leon de Rosny, Paris, 1887.

Codex Tro-Cortesianus. Códice Maya..., Madrid, 1892.

Coe, Michael D. (1995). The decipherment of the Mayan Glyphs. Fondo Cultural Económica, Mexico.

Coe, Michael D. The Mayas: Unknowns and Realities (1986). pp. 13-14, 47-50, 65, 77-78, 129-132, 135, 170, 215.

Coe, Michael D. (1962). Mexico, p. 96, Fig. 21.

Coe, Michael D. (1966). An Early Stone Pectoral, from Southeastern Mexico. Dumbarton Oaks, Washington, D.C.

Coe, Michael D. Mexico (1984). pp. 82-84.

Covarrrubias, Miguel. Indian Arte of Mexico and Central America. New York, 1959.

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Séjourné, Laurette. (1983). Archaeology and History of the Valley of Mexico (1983). Nahuatl thought encoded by calendars.

Séjourné, Laurette. Archaeology and History of the Valley of Mexico. Figure 39, 95, 96, 119, 126, 129, 159, 175, 176, (1983), Mexico.

Séjourne, Laurette. The Nahuatl thought coded by the calendars 1983, Mexico. pp. 16, 79, 114, 117, 118, 119, 121, 128, 162, 163, 174, 184, 187, 235, 242, 272. Fig.: 30, 65, 68, 75, 85, 104, 106, 117, 139, 142, 153, 155, 157, 169, 202 (b), 209, 235, 239, 264, 265, 279, 282.

Séjourné, Laurette. A Palace in the City of the Gods, Teotihuacan, Mexico, 1959.

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Mexican Archaeology Journal

Vol. IV-Num. 20

Vol. IV-Num. 22

Vol. VI-No. 33

Vol. VIII-No. 45

Vol. VIII-No. 48

Vol. XI-Num. 65

Vol. XII-No. 71

THE INDIGENOUS SOCIETIES OF MESOAMERICA AND THEIR GEOMETRIC, RELIGIOUS, AND ARTISTIC PATTERN (Part 3 Final)

Víctor Arturo. Cabello. Reyes.