UXMAL: The Temple of the Diviner
Victor. Arturo. Cabello. Reyes.
'In the great times of the Mayab the tortoise was carved on the cornices and on the doors of the temples.
It was like a WORD of the gods that men knew how to understand'
The ancient legends of the tortoise among various peoples, as revealed by documents and sources, symbolize and contemplate various levels of astronomical and mathematical interpretation (shell design), and thus for example longevity, protection and wisdom.
They propose the numbers of the turtle's shell and its adequate celestial position of Templar observation (in temples of the tortoise), takes on singular significance between records of cycles and seasons, together with a particular recurrent and cyclical calendrical vision.
They are the features of an art in which the divine substance or solar celestial fluid of Itzam Na=Itz nourishes the meaning of life. 'Dew and substance of the sky and clouds'.
Hence, there were particular conditions for the development and exhibition of chronological signs and legacy of Maya (connoisseurs of hidden things) under the influence of the sun, among its manifestations of high astronomy, calendar- (lunar and solar, haab = agricultural-solar, writing and mathematics, which manage to crystallize in practical scientific knowledge that decipher mechanisms and recurrent cyclical functions of the cosmos.
In the Peresian Codex there is cosmogonic evidence of astronomical fusion of the Zodiac of the Celestial Tortoise, the Scorpion and the Rattlesnake in the Celestial band of the Codex (pages 23 and 24).
Constellations of the Mayan Zodiac according to Sylvanus G. Morley.
(Codex Peresiano, Luis Azcue Mancera, Plates XIX and XX p.p.124-130)
However, this elaborate aesthetic of the 'master builder' and 'workers of Uxmal' embodies the sense of harmony and perfection, shaping technical architectural features in constant relationship with recurring cyclical movements and cosmological patterns.
Thanks to the wisdom of K'ul Ahaw.
Centuries before Mr. Chaak (997?)
Thus, it is possible to speculate about certain spiritual and psychic needs of Mayans, by executing in the stone a whole 'geometric-mathematical code and pattern' that plays a fundamental role in the construction and architectural-structural design of Uxmal.
Uxmal embodies, poses and reveals a celestial and terrestrial pattern of the Ahaw Khan.
Sol Ahaw-kin is a motif for the forms exhibited in the polished stone work of master Maya craftsmen and workmen led by architects and designers through an elaborate geometric pattern of mature cosmic features expressed in Öxmal's high geometry.
It is certainly no coincidence that the white stone was 'counted', visualized, marked and strictly cut with mathematical-geometric precision preconceived by the Ahaw = Master Architect.
A crucial aspect, if one observes the temples of Uxmal carefully, each one highlights geometric-mathematical elements that transcend the 'profane' configuration of the stone between spiritual concepts and expansion of a unitary constructive style = (Canamayté Pattern), which obeyed the mathematical-astronomical-calendrical regularity of the hidden millenary wisdom of the Baalam.
Consequently, parallel to the conception of the building, various stylistic loanwords were created in temples as dwellings of the divinities.
As we can see, the ajau-divinity inhabits the temple -in its same empirical measurements-, taken from the geometric pattern in the mathematical skin of the ajau.
All this allows us to affirm that: The cult of the Ajaw is chronology, mathematics, solar phallic cult, and cosmological architecture.
On the other hand, it is symptomatic that the geometry of the Ahaw= (Crotalus durissus) is the flagship element of Mayan architecture.
The Baalam is born from the mouth of the ahaw, since Ahau Can is the Sun = Chronological Solar Face stylized between serpentine undulations of architecture in temples of Uxmal.
This suggests that they are representative charges of natural forces or solar energies associated with time, chronology and vital energies = I'tz.
The Serpent Speaks in the Stone (Lintel No. 15 Yaxchilan) and Temple of the 'Governors' Uxmal.
In fact, the misnamed 'Palace of the Governors' = Ajawo'ob, was built on several platforms and terraces superimposed and elevated in a structure of 100 meters long and 13 meters wide = (24 vaulted chambers).
At the same time, highlighting the mosaic and geometric crotalic designs, rhombuses, broken jagged lines and trace of masks in evident and significant exhibition of the chronology of the Ajau Tsáab Can.
In Uxmal, the artistic quality is mature and the refined craftsmanship of masters of white stone is incomparable.
Likewise, in function of spirituality in order to 'honor and offer' the solar energy and Zuhuy ha-del; divine and solar liquid of I'tzamnaaj and its entrance to the Ooch b'iij.
On the other hand, by 1936 the archaeologist H.E. D. Pollock claimed to have found a sacbe or astronomical road from Nohpat to Uxmal of high astronomical coincidence with 350 Venusian emblems. (1)
But, without a doubt, we consider it of paramount importance to study the astronomical and iconographic observations and implications related to and recorded with the AK, the Turtle and the 'Three Stars together that are in the sign of Gemini, which with others make the shape of the Turtle'
Ak also Ak means 'Dwarf', 'small in body', the Ak Ximbal and aak winik or tsapa'winik. (2)
Turtle=Áak(3)
Temple of the Corcovado Dwarf=(Äak-P'us-Pu'uk-p'uu'se?)
In the Chilam Balam the 'fried egg' is the Sun.
On the other hand, as revealed by the Mayan Creation Text, in 4 ahaw 8 kumk'u='ilahi yax k'oh ak chak k'u ahaw= 'the first image of Tortoise, great lord god, was seen' (note-the great lord god is not adequate, it would be=Regia Rattlesnake=K'u Ahaw.
'In Mayer's work the text of the new stele tells us that the main event of creation was the appearance of that turtle shell'(4)
And more particularly, Itzam Na = dragon-serpent, is a propitious symbol of the watery energy of the universe, sacred Kul or ch'ul and 'celestial water that falls from the pitcher' and principle of the cosmogony and astronomical arrangement of the K'ul no = temple of the dwarf of Uxmal and the 'water that falls from the 'claws' and inverted pitcher of the Old Grandmother.
(Mayan Codices)
It is probably an astronomical-astrological phenomenon in evident proof of some significant event of a 'metrological' nature.
In the present case, the recurrent appearance of the Comet = But's EK'(Buts'al Ek'), IK'OMNé Halal EK' and the cola lit... Chamal k'utz celeste...
Let us remember Bacocol = The-pourer-of-narrow-necked-vessels.
Grandmother pours the pitcher of celestial water and only she knows the wisdom of the White Path of Sii'an Kaan and Wakah Ka'an of the Ka'anche' Green Ceiba tree.
The Old Woman counts her leaves by the power of ants.
Eric Thompson, commented on the famous Kolop or Wich K'in = 'tears from the eyes-of the Face--Sun-day-ahaw (Ritual of the Bacabs).
It is worth noting that the wise and erudite Ernesto Fórstemann (1822-1906) manages to identify the turtle with the observation of the periodicity of the summer solstice and the sun transformed into a Jaguar, 'whose pints were considered as a symbol of the starry sky. (5)
The dwarf of Öxmal rescues the 'turtle drum' since he is born from the sacred egg of the turtle.
Associated with lightning, 13 Katun and the Mayan deity, Pauahtun.
'Turtle carapaces were widely used as drums... On page 24 of the Codex Borgia, a turtle plays a drum while blowing a conch trumpet'. (6)
In this same sense, the evolution of the concept and architectural tradition of the 'dwarf' among the Mayans is not only representative of Öxmal, but in several places rich iconography demonstrates the existence of this valuable astronomical-astrological tradition of adequate and rigorous celestial observation similar to Calakmul=(Kalak'mul) or Caracol.
'... The man has a similar headdress, his sandals are of late classical design, and he has a DWARF standing at his feet, as in the stelae of this same period in Caracol'. (7)
And in this way the celestial 'Tortoise' is evidenced in relation to the 'glyph of star light according to Proskouriakoff.
John S. Justeson (1975) identified the turtle glyph following the "glyph of starlight" at position B4 of lintel 3 as the emblem of Yaxhá.
(Proskouriakoff, p.107) (Glyph of star light+ Glyph of Yaxhá= (TIK T IV, D,3,B4)
On the other hand, it is essential to emphasize the 'shamanic nature' of the celestial conception of the Tortoise and Dwarf.
To this end, the Ahaw-shaman visualizes 'objective reality' through the various and varied levels of appreciation of the cosmos.
The ahaw ''sees'' and observes in another way and manner of ''seeing'' the ''Otherness and levels of the onion''.
'The sculptural record also shows the shamanic nature of Mayan royalty, fundamentally in the conception of the cosmos, representing the divine ahau as the conductor of ceremonies.'
'Recently, Taube (1988) has provided convincing evidence that the turtle was also employed as a symbol of the earth's surface'( #8)
Powerful Itz-It's vital and solar liquid, celestial sperm that 'links with the sacred knowledge of the universe'; from there the dwarf receives his power in association with the protective Balamoob. (9)
Profound ideological conception of 'what is hidden and hidden,' Balam = The hidden the mystery of the solarization of Kinich Kakmó = Macaw = K'uk'-of-fire-of-Solar-Face-, of Uxmal.
(Chilam Balam, p.62)
'Balam is another name for the jaguar and also denotes witchcraft, and it is because it refers to the hidden, the wrapped. (10)
For a Balam-Jaguar, the explanation of a 'Legend' may contain varying meanings between different non-exclusive levels.
To this end, it is ancestral wisdom embodied in celestial and astronomical patterns of the Ahaw Ah-kuy-Tok = 'rattlesnake of Flint' and Chan-Chak-K'ak'nal-Ahaw, regulus of Uxmal.
Expressed in actions and interrelations with their ancestors through the offering.
'Chan-Chak-K'anal-Ahaw was one of the greatest patrons of architecture in Maya history'. (11)
Itzam caan= (Sorcerer of the water of the Sky!)
Ahau Caan and Itzam Celestial quadruple and ahaw-serpentine or Serpent of the Sky associated with the set of stars and with the tail of the rattlesnake = Tzab.
Iconographic elements associated in ÓXMAL with the energy of the phallus and the snake.
Recurring motifs of Maya art in Öxmal and Chichen Itza. (12)
'In Yukatek, itz refers to substances like nectar, tree sap, candle wax, morning dew, and other sacred liquids. Itz also means 'to make magic, 'so that this building is a house where magic was made.'
For them, Itzam no is 'House of Sorcery', the House of Magic of the khan's power and Celestial Kaan. (13)
On the other hand, Eric Thompson refers to the 'turtle head' and the glyph name of the tortoise deity (determinant of AC, turtle) as a bearer of rain.
The tortoise helps the Maya to overcome drought, according to Thompson. (14)
'According to certain current proposals, the God of Corn may emerge from the shell of a double-headed turtle that represents the face of the earth and, at the same time, the <Orion's Belt>'. (15)
In Uxmal = Öox Máal we must not forget the prominent existence of phallic sculptures and a 'hidden' Temple of the Phalluses, in clear representation of the I'tz in continuity and an example of rich phallic tradition, similar to Chi'ch'e'n Itsa'.
The scripture contains profound astrological elements that are not studied 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." (16)
(Peter J. Schmidt, Director of the Chichen Itza Archaeological Project)
Astrology and astronomy depended on observation and rigorous recording of rhythms and seasonal changes within the periodicity of recurrent and cyclical celestial movements fused to oral and written tradition.
Yum ac uinic=Grandfather-Man-Turtle.
Jun Nal Ye is born from the shell of a turtle. (17)
'Yax Coc Ah Mut is undoubtedly the name of a star or group of stars. He appears together with Yax Aclam, Turtle-Green...'(18)
As its excellent location suggests that same suitable location of the turtle temple in Öxmal confirms that it is a functional celestial observation structure. Naaj Kaan Ka'an = House of the solar serpent.
(confirmed in the symbolic iconography of the Codex Dresden Tables)
'... the Pleiades, which they called Tzab, that is, "rattles", because they found some resemblance to the crotals of the tail of the rattlesnake; Gemini, which they called Ac, "turtle", probably because they saw a resemblance to it". (19)
We see how the Mayans 'observed' the aesthetic aspects and meanings of the serpent of the cosmos, the bells of the ajau Tsáab Kaan and the celestial turtle. Baalam no is his Power.
It is an essential and significant feature in sculpture whose symbolism -associated with Quetzalcoatl-Hurricane-Venus-, extends and expresses itself in a particular way in the Tajín (Monument or Sculpture 184-Building 4).
Let's see: 'In the central part, and from bottom to top, we see a ''turtle'' under a ''vessel or container'', from which two ''snakes'' emerge that intertwine to form a ''shield'' with a flower in the center...''(20)
'Mediz Bolio translates Canhel here as ''Serpent of Life'', as in the other fragment; zabac, as "rattles of its tail" and ix kukil, ix yaxum as "feathers of Quetzal", which presents the Canhel as the celestial serpent, which was a feathered rattlesnake. It is the vital principle of heaven, without which the world is destroyed'(21)
'The Chilam Balam of Chumayel, p.73, mentions Itzam Na Itzam Tzab. Tzab is the bell of the crotalus and also the Pleiades'(22)
'As for the perfection of the stonework, with the fineness of the carving and the precise adjustment of the pieces, that city was not surpassed or even equalled anywhere else'(23)
The Celestial Tortoise, the rattles of the serpent Ahau Can=Tzab=Pleiades, and the dwarf of Uxmal, contain elements and symbols=''another parallel reality'' of astronomy and astrology that master builders of the white stone recreate with cosmic images = Tortoise, peccaries... corn kernels and Hun-Na-Ye, which is born from the shell of the Celestial Turtle!
''Among the ancient Maya, the Pleiades were called Tzab, ''rattlesnake'' tail'', a form by which this hieroglyphic representation is recognized in various passages of the codices (Dutting, 1979)''(24)
Just as Grandma-Old Woman places in the place of the Home Three Stones of Fire... watch out for the K'ahol of the corcovado dwarf=(Äak-P'us-Pu'uk-p'uu'se?)!
Tortoise-peccary and cloven shell.
'For the ancient Maya that was the day when the celestial artists placed the three stones of creation in the home of Orion. August 13 is the day of creation'(25)
Aah... The Old and Legendary Uxmal, the beauty in Y'uk Kaan T'aan.
'EK Coc Ah Mut, The Star-Turtle-announcement, will be his Face in the reign of Great Wisdom...'
Chilam Balam 3 Ahaw... This is Bala'an Tsíibtaj.
Uxmal: The Temple of the Diviner
Victor. Arturo. Hair. Kings.
Former Professor of American History, archaeo-explorer and researcher on various general topics.
Victor. Arturo. Cabello. Reyes.
Professor: Cabello is a specialist in Iconography of the Ahaw in Mayan and Olmec representations. Founding Member of the Board of Directors of A.R.C.O.M.I. (Association for the Rescue and Preservation of Indigenous Monuments of Puerto Rico and the Caribbean)
He was considered by the wise man of Yucatan Don José Díaz Bolio as his outstanding disciple.
He lived in Mérida, Yucatan, Mexico under the tutelage of Don José Díaz Bolio, studying with him everything related to the cult of the Ahaw Kan (rattlesnake) and its connotations in Mayan art and iconography.
He has published several books in Mayan Culture (The Sacred Patron Canamayté Maya and The Purple Rose and the Canamayte Maya), among other books and dozens of articles in specialized magazines.
Archaeo-explorer of the Center of the Central Cordillera and Sierra de Cayey, Puerto Rico, (5 decades) discovers dozens of settlements and ball games.
Bibliography:
1. Dr. E. C. Krupp, Echoes of the Ancients Skies. The Astronomy of Civilizations, p.p.250-251.
2. Cordemex Mayan Dictionary, p.p.4,5.
3. Popular Mayan Dictionary, Academy of the Mayan Language of Yucatan, p.466.
4. David Freidel, Linda Schele, Joy Parker, The Mayan Cosmos, p.61.
5. William Brito Sansores, The Writing of the Mayas, pp. 46 and 65.
6. Mary Miller and Karl Taube, An Illustrated Dictionary of The Gods and Symbols of Ancient Mexico and the Maya, p.p.174-175.
7. Tatiana Proskouriakoff and Rosamary A. Joyce, Historia Maya, p.58.
8. Linda Schele and David Freidel, A Jungle of Kings, p.p.95 and 104.
9. Diccionario Maya Cordemex, p.p.271 and 272, Oswaldo Baqueiro López, Magia, Mitos y Supersticiones entre Los Mayas, p.27.
10. Alfredo Barrera Vásquez and Silvia Rendón, El Libro de los Libros de Chilam Balam, p.31.
11. Linda Schelle and Peter Mathews, The Codex of Kings, p.p.259, 260.
12. Laura Elena Sotelo Santos, The Gods: Energies in Space and Time, p.p.84 and 86, Cordemex, 849.
13. Linda Schelle and Peter Mathews, The Codex of Kings, p.265 and 267.
14. J. Eric S. Thompson, A Commentary on the Dresden Codex p.p. (74(54),74, 168, 172 and Madrid Codex, p.17b.
15. Beatriz de La Fuente, Art as an Expression of the Sacred, p.148.
16. Peter J. Schmidt), Director of the Chichen Itza Archaeological Project. Results and new projects. Mexican Archaeology, Vol. VII-No. 37; p. 39 (See: Catalogue of the Secret Salon: Ramón Mena, 1926).
17. Enrique Florescano, Quetzalcoatl and the Founding Myths of Mesoamerica, p.p.54-55 and 329.
18. Chilam Balam, p.162.
19. Alberto Ruz, El Pueblo Maya, p.157.
20. Román Pina Chan and Patricia Castillo Pena, El Tajín, La Ciudad del Dios Huracán', p.65-66.
21. Mercedes de la Garza, Los Angeles Mayas; in Estudios de Cultura Maya, p.173.
22. J. Eric S. Thompson, History and Religion of the Maya p.265.
23. Jacques Soustelle, The Maya, p.109.
24. Anthony F. Aveni, Observers of the Sky in Ancient Mexico, p.55.
25. Schele and Parker, 1999, p.113.
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