The following is a series of correlations which can be drawn from the text of Dennis Tedlock's Popol Vuh. The details will be worked out later, based upon experience at the ancient sites, and other research

Deity in Popol Vuh - Celestial Correspondence
Thunderbolt Hurricane - Cosmic Creator, Undifferentiated Cosmos
Sudden Thunderbolt - Deliverance of differentiation, Cosmic Medium
New Born Thunderbolt - Subject of differentiation, Cosmic Subject

Tohil - Quiche' version of Thunderbolt Hurricane
Auilix - Quiche' version of Sudden Thunderbolt
Hacauitz - Quiche' version of New Born Thunderbolt

Auilix and Hacauitz may be reversed. This Maya trinity is the same as the Egyptian and Christian Trinities. The trinity represents the three essential aspects of communication; message, medium, subject. The subject when fulfilled through the medium is the message, and the message and the medium are father-mother.

Deity in Popol Vuh - Celestial Correspondence
Xpiyacoc - Constellation Sculptor at the bottom of the galactic axis.
Xmucane - Constellation Virgo, which includes Coma Berenices, the "ear of corn."

There is absolutely no doubt about these correlations. Read the Popol Vuh in reference to the corn in the attic of Xmucane's house, and the earth aspects of Xpiyacoc. Interestingly, Xpiyacoc does not get identified as completely masculine. This was the exact same fate of Oranous in the Greek myths. Gaia and Oranous are Xmucane and Xpiyacoc. In Egyptian mythology, Nut and Geb serve part of the roles of Xmucane and Xpiyacoc, however, their metaphors are further developed. The Nu and the Nun of Egypt carry the undeveloped metaphor of Xmucane and Xpiyacoc. Also, Re-Horu-Khuti, Horus of Two Horizons is Thunderbolt Hurricane as the Milky Way, with Neith substituting for the Nu and the Nun and Tefnut. Interestingly, Shu correlates to One Hunahpu. These difference are significant, for they demonstrate the reluctance to accept overly rational (Shu) explanations of the cosmos by the Maya. This will result in a very strong correlation of the gods of the Maya myths with actual celestial phenomena. Egypt attempted to maintain the celestial connections, however, their desire for rational perfection in the cosmos caused them to invent many gods that do not have direct celestial (cosmic) material houses, e.g., Seshat-Thoth-Maat.

Deity in Popol Vuh - Celestial Correspondence
One Hunahpu - Ophiuchus
Seven Hunahpu - Sagittarius

These two constellations mark the cosmogenesis location at the ecliptic and the Milky Way. They are also three quarters of the way around from Virgo in the precessional direction. Thus, they are the children of Xmucane and Xpiyacoc.

Deity in Popol Vuh - Celestial Correspondence
Egret Woman - Cygnus/Grus
One Monkey - Hercules
One Artisan - Bootes

Egret Woman is most likely the constellations Grus, or Stork and Cygnus, the Swan. The Swan is important in myths of twin sibling births. These first two children of One Hunahpu are very learned, and they stay to care for their grandmother before Hunahpu and Xbalanque come to take their places. When Hunahpu and Xbalanque shoot a bird in the Tree of Life, they ask their stay at home siblings, who are very adept and intelligent, to help get the bird from the tree. In the end, Hunahpu and Xbalanque make monkeys out of them by having them take off their clothes and fabricate tails. After grandmother worries about her first two grandsons, Hunahpu and Xbalanque try to get them to come back four times. Finally, the older siblings become so fascinated by the trees, that they never come back. This suggests that they found "satisfaction" in the Tree of Life and finally left home. Satisfaction is the bird at the very top of the tree, Cygnus. Thus, the Grus became a swan in the afterlife, and her sons returned to nature with her. The story of Egret Woman and her sons is very similar to the story of Zeus and Leda, for Zeus becomes a swan to satisfy Leda who has twin boys, nine precessional months later. Keep this in mind when we see how the second set of twins is conceived.

Deity in Popol Vuh - Celestial Correspondence
One Hunahpu - Orion & Cepheus
Seven Hunahpu - Sculptor

These are the places where the "fathers" were placed at the Place of the Ball Game Sacrifice. Sculptor is under the trunk of the tree with his feet on the pre-2012 side of the galactic axis. Orion has no head, for it was cut off and placed in the Calabash Tree as Cepheus. In the New Testament, the "place of the skull" on the tree correlates with the crucifixion of Christ, and makes the cross of Christ the Calabash Tree.

Deity in Popol Vuh - Celestial Correspondence
Calabash Tree - A very large asterism which has the Great Square as its trunk.
Ball Court - Under side of the ecliptic
Place of Ball Game Sacrifice - Andromeda and Sculptor, with Perseus taking the heart.

The whole Maya story hinges on the ability to find a path for the sun under the Milky Way. Since Orion and Sculptor were defeated, their sons would have to recover their remains and reestablish the order in their father's house. However, Xmucane could not help, because she is a Virgin without experience of the underworld, and her husband is not a complete man.

Deity in Popol Vuh - Celestial Correspondence
One Death - Ophiuchus
Seven Death - Sagittarius
Seven Macaw - Bow of Sagittarius and Big Dipper
Blood Gatherer - Cepheus
Blood Moon - Andromeda

There is much repetition in the use of asterisms. The essential approach taken by the Maya was the replacement of selfish lords by benevolent sons. The Sagittarius-Seven Macaw battle of rational wits is explained in the main text. Blood Gatherer can be derived from the location of Cepheus at the "end times" position above the Place of Ball Court Sacrifice, and by the relationship between him and Blood Moon. Blood Moon learns of the Calabash Tree and One Hunahpu's miraculous skull from Blood Gatherer. The skull then tells her to reach out her hand, at which time the skull spits into the hand. The blood gathering and the spitting are allusions to the Milky Way being at the chin of Cepheus. But, the clincher is where Blood Moon acquires the information about the "word of One Hunahpu" and what she has to do to get the word. Those actions are carried out by Andromeda, who is stretched out under the head of Cepheus with one arm stretching up toward his mouth.

Deity in Popol Vuh - Celestial Correspondence
Hunahpu - Gemini-Castor, Auriga, Andromeda, Sagittarius, Ophiuchus, Bootes
Xbalanque - Gemini-Pollux, Perseus, Aquarius, Hercules

Nine precessional months after Andromeda's hand is the location of Gemini. These twins split differently than the prior set, for they set out to find the "word" of their father which came from their mother, a full blood Xibalban. This blood relationship makes them the rightful ruling descendants of the Heart of Sky and the Heart of Earth. Armed with the "word" of their father's defeat, they have sufficient rational information to defeat the subliminal Lords. Armed with the blood of the subliminal Lords, they have sufficient visceral information to out trick the subliminal Lords at their own game. The moral is quite clear, "walk a mile in my moccasins," whether those moccasins traveled the paths of rational or intuitional truth.

The fact that Seven Hunahpu developed Alzheimer's symptoms and was confined to stay at the house of Sculptor as eyes, nose, and mouth, suggests that he can be found near the rattler's tail on the caiman of Quetzalcoatl. It should also shake one's soul to realize that Moses "looked" over the Promised Land and then died and was returned to the place where he had smote a rock to acquire water for the Israelites. The rock smiting occurred at Andromeda, and his eternal burial place is the same as the Sagittarius of the Maya, the bottom of the galaxy at Sculptor. Regardless, this should be enough information to cause one to gasp for air, under a flood of celestial waters.

The Maya had figured out the complete universe from an intuitive perception point of view. They added much to the story, but most of the story was ancient when the Olmec's came to Mesoamerica. That's right, "came" to Mesoamerica. For now, it does not matter where they came from, the information was already part of their oral heritage. Later generations kept up their goal of putting it in stone. The myth tells us that Hunahpu and Xbalanque performed ritual self sacrifice on themselves before they tricked One Death and Seven Death into asking to be sacrificed. The fact that One death and Seven Death do not come back to life means that no Lord of Death can rule over a true descendant of Thunderbolt Hurricane. But, before this light in the Maya story can be seen, the sun has to rise. That occurs on December 21, 2012. However, Hunahpu and Xbalanque conquered the Lords of Death before the sun rose. Thus, the Mother-Fathers of the Maya, have intuitively seen the afterlife which will come when the sun begins to rise. We all can see the afterlife beyond 2012. But, only a few will be prepared to open the ways to witness the Cosmogenesis of 2012. Now it is to choose. Full Sun, or Full Moon, which will it be? Anything else, and One Death/Seven Death will regain Xibalba.

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An Artist's Quest for Unity

Jaguar on a Tree, Cosmic Stealth.
Xbalanque is the hero twin who came to take control of the underworld.
The Tree of Life grows in the garden of the underworld.
But, the path of the sun, who is Hunahpu, is blocked by the Lords of Xibalba.
The hero twins clear the pathways, and Xbalanque stays on the Tree of Life to guard the way.

When Life was a Bloodshot Eyeball, 1970.
Frame was taken from a house warming gift with a K-Mart type artwork print,
which showed the Jaguar in a jungle walking on a tree.
Note the circle-dot theme with four pathways in the border of the frame.
This was not intentional, but it supported the work's theme perfectly.

Original Color Scheme, 1970.
12:00 Red, 1:30 Orange-Red (13 Ball), 3:00 Gold, 4:30 Yellow
6:00 Green, 7:30 Blue, 9:00 Pale Reddish Purple, 10:30 Fuchsia

The essential theme is the quest to emerge from rational paradigms into a world of total visibility, which had been blinded by the quest for rational understanding. The result is a reunification with cosmic powers which are not inherent to rational processes. This emergence becomes a partnership with the Universal Being as the hidden light meets the mind's eye. Then, the senses begin to function as media for communication. The stealth of the Jaguar regains the Tree of Life by perceptive attention, rather than by internal recognition.

Within the central darkness is the creative genius, which emerges as forms of identity. This is the central theme of all mystery and revelatory religions, or cosmic consciousness in general. Paths of identity are necessarily limited by the eye of the forming mind. The classic falsifications are ego building spirals, or ego destroying spirals. The whole eye is a Six-Step-Place above the black center to the black perimeter; earth, water, air, fire, son, mother, father. Death is the black regions, where identity is lost in the absence of light of any color. The black perimeter is black, because it represents the level at which cosmic consciousness reveals the degree of enlightenment which any forming mind can have is not a significant proportion of the Cosmic Oneness. Even so, the black perimeter circumscribes all lessor experiences and identities. The black perimeter represents true humility, for it knows itself within the blinding white light of the Cosmic Oneness. Two paths lead out to the greater world by taking each step without modification.

Two inner paths lead to distortion of the originating circle. The Maya Popol Vuh alludes to these two paths via the sons of Seven Macaw, who is himself arrogant reason. The first son is Zipacna, the mountain builder, the growing spiral. The second son is Kab'raqan (Earthquake), the mountain destroyer and the shrinking spiral. Additionally, the Lords of Xibalba known as One Death and Seven Death relate to the inner self identity and the outer self identity corresponding to the limitations of the mortal mind. The Hero Twins use the posthumous knowledge of their fathers, One Hunahpu and Seven Hunahpu, plus the intuition of their Xibalban mother, Blood Moon, to defeat One Death and Seven Death in the Ball Court where the tricksters had used distorted rationality to defeat the fathers.

The whole composition of colored paths signifies the various perceptions caused by rational processes in the mind's eye. The colors are all false light. Combined by subtraction into black, the mind falls back into the darkness of negative perception. Combined by addition they become white, as the positive perception expands reality without distinction, or shadows. But, neither of these mixings can occur without loss of individual identity. The only identities than can reach the external world are the red and green paths. These too must also lose their identifies, as they transcend into the Cosmic Being. The green represents true love of self, while the red represents true love of another.

True love is the key ingredient, and it does not matter whether it is directed toward inner or outer being. The medium of true love nurtures and expands through intuition, while the medium of reason places boundaries to love by the individuation processes required for rational actions. The personal construction of these boundaries is ninety degrees to the passages leading to Universal Consciousness, blocking identity development beyond individuation processes. This is why the Popol Vuh begins with the hero twins Hunahpu (Upper Direct Light) and Xbalanque (Lower Reflective Light) battling with Seven Macaw and his two sons. In the final analysis, Hunahpu (Upper Direct Light) places the image of the defeated Seven Macaw on a perch, as a spiritual guide for subsequent generations. The upper direct light intuits that rationality is not the enemy. The enemy is bondage which prevents light from changing color, or becoming black or white. Hunahpu then is transformed into the sun, or total enlightenment of being. Xbalanque (Lower Reflective Light) is the Jaguar on the Tree of Life, (Leo and Aquarius) which resides in the subliminal cosmic consciousness after eliminating the Lords of Xibalba. He is the essence of the sun when it is on the other side of the world. He is the full moon. He is the Redeemer. He is the revealed self identity which has intuitive access to the unrevealed Cosmic Self.

The red and green paths reach the perimeter of the eye, and are joined with the border of the frame, which was a maroon velvet. The maroon velvet is connected through the region of pure light (white canvas) to the two truths. These connections form the letter "G" on the left and "D" on the right. The oval of the eye is the shape of a crying "O" which completes the word for Universal Being. The bloodshot eye is a result of the suffering caused when the individual mind attempts to accomplish what the Universal Mind cannot accomplish, i.e., being more, or less, than what it is.

This theme is shown in a cosmic perspective as the dot, four sectioned circle, and outer circle etchings on the border of the frame. They were not part of the artist's composition of the eye. As a result, they have to be read as Cosmic Intent. The theme of the Cosmic Intent is three concentric rings. The central dot is subjective communication. The sectioned ring is the medium with four passage ways. The outer ring is the boundary of Cosmic Intent. These three are the primordial components of communication, which are not dependent upon the communicators. Immortal Beings are just as bound by these three as mortal beings. This represents the ultimate failure of all rational processes. They attempt to attach subjects to cosmic messages, without proper regard for the medium through which subjects must travel. The paths through the medium are intuitive.

The "medium" ring in the border of the frame is sectioned into four parts. These four parts are the created elements; earth, water, air, fire. The total count of the component parts is seven, representing the seven spirits of God. God was intended in the artist's composition of the eye, but the symbols on the border and the Jaguar in the Tree were supernatural communications.

This is the nature of the First Father of the Maya called Hurricane. It is hard to believe that the author's of the Popol Vuh did not see the metaphor of the hurricane weather cyclone and the Mind of God. Thus, to the Maya, the real universe as it can be known is just the eye of the storm. To communicate through the torrent of the storm requires inner peace. Hurricane causes a flood to destroy the "Wooden People," who have no feelings or spiritual being. These "Wooden People" represent dogmatic behavior similar to puppets. The flood represents the change from wooden emotionless creatures, as the "Wooden People" become the monkeys in the jungle. Ultimately, the siblings of Hunahpu and Xbalanque, One Monkey and One Artisan, are led to the Tree of Life, and find sufficient satisfaction to leave their mother's house and never come back. Hunahpu and Xbalanque tend the fields and the garden where the great fruit tree grows for all the generations of the Maya people to follow in their footsteps. This preserves the culture of the Maya, and the Popol Vuh, or council book, converts divine myth into human history.

Age of the 5th Sun

Astronomical Data, Maris Multi-Media

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Appendix: Ambilac's Time December 21, 2012 22:18:13


The Humble Approach
Analysis of the Circular Zodiac at Denderah, Egypt