ART MOTIFS

Fig.94  Equinox

          Fig.95  Earth Orbits the Sun

 Fig. 96  El Castillo c.1000 CE Chichen Itza

            Late afternoon equinox sun at Chichen Itza casting undulating shadows down the serpent balustrade of the Pyramid of the Feathered Serpent as the sun begins to enter Xibalba, the underworld. The knowledge and effort involved in aligning this pyramid at this location seem to be encoding time and place using ‘feathered serpent celestial mathematics’. The sun setting due west from Chichen Itza on the equinoxes sets directly over the westernmost cape of Mexico’s mainland at Cabo Corrientes. 4:00 PM at Chichen Itza is very close to midnight at Giza and the Nile River delta. (See Xibalba and the Road of The Gods) This pyramid likely encodes all three celestial mechanics involved in the equinoxes. The equinox dawn is about rotation and where on the horizon the sun ‘rises’ as determined by earth’s axial tilt. The cubic temple at the top of this pyramid may symbolize earth’s axis being the Square Root of Three, the diagonal of a cube and by extension the diameter of the sphere enclosing it. (See Fig.115) The temple and the four staircases of 91 stairs each leading up to it totaling 364 stairs likely ritualizes the 364 day year even though the 365 day year was known. The number 364, other than being a more mathematically convenient number than 365, is fundamental to the Portal Formula mathematics and their relation to earth’s celestial mechanics, something possibly known by the Assyians. (Fig.100/Fig.101) (See Portal Gematria)  The last light of the setting sun on the Vernal Equinox marks the beginning of the ‘Resurrection of The Maize God’. 

     Fig. 97  Christ Crucifixion

            The Christ story begins with Jesus’ birth several days after the Winter Solstice and resurrected on or near the Vernal Equinox. The Winter Solstice is the shortest day of the year after which the sun begins its return journey towards the equator and the northern hemisphere. (Fig.12) The zenith passage of the sun passes directly over the equator on the Vernal Equinox as it is ‘resurrected’ or returns to the northern hemisphere. The cross here in Albrecht Durer’s woodcut is more of a ‘T’ shape than the typical cross. The cross piece represents the horizon with the short vertical extension in the center symbolizing the Vernal Equinox with the locations of Christ’s hands to either side symbolizing the solstices. The vertical section likely represents earth’s polar axis with Christ’s feet possibly symbolizing earth’s celestial equator aligning with the plane of the ecliptic on the Vernal Equinox. The Egyptian ankh and the tau ‘T’ symbol likely symbolize something similar. Interesting to note that Durer chose raw logs for this cross in contrast to the hewn beams in his other renditions of Christ’s resurrection. Just as Jesus is about to be born there are three wise men traveling from the east using the Star of Bethlehem to guide them. The Star of Bethlehem could be the pole star Polaris, the star that is always aligned due north with the three ‘wise’ men representing earth’s celestial mechanics and the three locations on the eastern horizon of the rising sun on the solstices and equinoxes. Jesus is often depicted with a shepherd’s crook held in his left hand that very likely symbolizes earth’s tilted polar axis. If this ‘tilt-centric’ iconography accurately reflects some sort Christian monotheism then it seems to emphasize the overwhelmingly significant role earth’s axial tilt plays in life on earth. Along with the iconography and his birth around the beginning of the new solar year and his conception, crucifixion, and resurrection near the Vernal Equinox there is something very ‘feathered serpent’ like about Jesus Christ.

Fig. 98 Tablet of The Cross c.700 CE Palenque

The narrative depicted links Pacal’s patriline to the knowledge of earth’s celestial mechanics thereby legitimizing Kan Balam II’s right to rule. GI’ represents earth’s celestial equator. “GI’ Prepared/dedicated the Raised-up Sky Place” describes the process that creates/places the pole star, Heart of Sky in the location in the night sky where it is seen. “Set in motion” likely refers to earth’s rotation while “Image made visible at Closed-Sky Place” may refer to a pre-historical period or possibly to the time when there is no star in that particular location in the sky as was the case for several centuries prior to Polaris becoming the pole star when the area in the sky circumscribed by earth’s rotating tilted polar axis between the constellations Ursa Major and Ursa Minor was an ‘empty’ space. The phrase “Three Stone Place” likely refers to the three locations on the horizon of the rising and setting sun on the solstices and equinoxes and or the relationship between the three stones, the sun, the earth, and the pole star, especially at an equinox dawn. Though strictly earth rotation dependent, the appearance of a pole star correctly understood is the logic that proves heliocentrism.                                    

            The ‘T’ or cross motif likely symbolizes the zenith sun returning to the northern hemisphere on the Vernal Equinox. It appears that this Mayan ‘T’ motif, similar to the Christian cross, conflates earth’s horizon and its equator into a single concept or symbol. The vertical section represents earth’s axis on the an equinox with the horizontal section symbolizing either the horizon where the solstice and equinox sun rises and sets, and or the Zenith Passage of the sun over the equator on the equinox. The figure at the right stands on a flat baseline and offers something to the bird deity (Itzamna?) at the top of the ‘T’ while holding on his forearms the deity Kawiil (?). The artistic device hanging from the bird’s mouth includes several circumpuncts and bar-mat motifs at the axial tilt angle with one of the trailing ends shown at the rotation angle, the other perfectly vertical. To the left of the base of the ‘T’ is a kin-cross type bar-mat motif that mimics earth’s axial tilt. The figure at the left stands on what appears to be a deity’s (Kawiil?) head that likely symbolizes earth’s tilted polar axis. The entire narrative is placed on an extended baseline that suggests the plane of the ecliptic with the ‘earth monster’ superimposed over it suggesting the twin role the earth’s tilted polar axis plays on an equinox (Fig.114).

            Why are the dates on this tablet and the founding date of the Mayan Long Count Calendar dated to the same century as the founding of Egypt in 3100 BCE? Why is Pacal’s mother Lady Sak included in this lineage narrative dated millennia before Lakamha was founded? The Mayan and Egyptian scribes that designed both Pacal’s tomb lid (Fig.114) and the Weighing of the Heart scenes from the Papyrus of Hunefer (Fig.117) and the Papyrus of Ani (Fig.118) used the exact same design platform using the circle’s geometry to encode similar afterlife conceptualizations of the importance of the Square Root of Three. (See Portal Grid)  “A White Headband was closed for Sak” in 2360 BCE, a somewhat conspicuous date in ancient Egyptian history. King Unas 2375-2345 BCE, the last king of the Fifth Dynasty apparently died without leaving a male heir. After a certain amount of instability someone named Teti marries Iput, one of Una’s daughters thereby ‘legitimately’ creating the 6th Dynasty that went on to produce the long and successful reign of Pepi I. Pacal, who also had a long and successful reign, inherited his right to rule from the Mayan queen Lady Sak who married Kan Mo’ Hix. King Una’s tomb is also known for ‘The Pyramid Texts’ carved on the walls of his burial chamber, the earliest known examples of what eventually became the Egyptian Book of The Dead.

            Were there ancient Egyptians in Mesoamerica? Not likely. Who knew the ancient Egyptians longer and better than anyone else? The Phoenicians traded with Egypt for millennia and some of them likely became very wealthy and powerful merchants. Who better to marry into a troubled patriline? Who could have possibly known any of this and brought it to Masoamerica? Did the Carthaginians completely disappear after the fall of Carthage in 146 BCE? They had boats that could withstand the Mediterranean Seas, the motivation, and the celestial mechanics Feathered Serpent body of knowledge to guide them. Quite the coincidence.

            Compare this narrative and the feathered deity facing to the right in Fig.101.           

Fig. 99 Tablet of The Foliated Cross c.700 CE Palenque                                                                                                                                                                                          

The figure at the left standing on some sort of earth monster is GII posing as GI’s celestial mechanic partner, earth’s tilted polar axis. The beaded net skirt he wears symbolizes earth’s celestial mechanics with an axial tilt emphasis. Pacal also wears one on his sarcophagus lid in Fig.114. (See also Fig.142) He offers or introduces a deity to the bird deity at the top. The bird deity, (Itzamna?) represents the pole star and the deity in GII’s hands symbolizes earth’s tilted axis. The semi-concentric oval motifs very likely symbolize earth’s celestial mechanics on the Vernal Equinox. The one on the thigh is shown tilted in the symbolic axial tilt angle with the one on his back as vertical as his spine. Just below the bird’s tail feathers is a circumpunct, a circle with a dot in the center, with three feathers hanging down that symbolize the solstices and equinoxes. This same motif is found on Pacal’s sarcophagus lid just above his right hand. Behind his ankles is a quatrefoil motif enclosing the kin-cross type bar-mat glyph that symbolizes earth’s axial tilt that just touches something scroll like connected to the earth monster’s head. Compare this narrative and the feathered deity facing to the left in Fig.100.

            ‘The Resurrection of The Maize God’ is essentially a mythologized encoding of the Zenith Passage of the sun as it returns to the northern hemisphere from the Winter Solstice on or about the Vernal Equinox. The cross motif narrative here very likely shares the same Vernal Equinox symbolism as the Christ story and possibly also the Egyptian Osiris myth. The Maize God wears a solar type medallion with possibly the face of a younger version of him self, the sun. The ‘baby’ Jesus was born just after the Winter Solstice, was ‘sacrificed’ on or just before the Vernal Equinox, and resurrected on or just after the Vernal Equinox. The vertical section of the cross represents earth’s axis with the earth monster deity at its base symbolizing either the deity of the plane of the ecliptic, Sovereign, or more likely earth’s axial tilt at its furthest extent or distance from the sun on the solstices. The faces in the corn sheaves likely symbolize the solstices with the one at the left symbolizing the new solar year and the one at the right representing the peakgrowing season.

            Lady Sak (?) having appeared on The Tablet of The Cross and the birth of GI is mentioned here in association with the birth of GII and the Resurrection of The Maize God as having “conjured up gods in a mythological place” represents when and where earth’s celestial equator, its tilted polar axis, and the plane of the ecliptic come into alignment on the equinoxes. Linking Lady Sak to the Resurrection of The Maize God and very likely the Vernal Equinox and the pole star as well, along with the birth of GI seemingly attempts to establish or record a continuous and long lasting patrilineal dynastic lineage preserved by Pacal’s mother Lady Sak thereby legitimizing Kan B’alam II’s right to rule.                                    

 Fig. 100 Assyrian Cylinder Seal Rollout

            The feathered deity at the top faces to the left, possibly west on the Vernal Equinox (Fig.96) and is sitting in a semi circle with curled hook motifs scrolling away to either side just above its wings. The ends of the serpent like elements streaming down below him are held by two individuals standing either side of the ‘tree of life’ with two winged creatures standing behind them carrying slightly different Assyrian buckets. The bucket at the left clearly has tilted sides that suggest earth’s axial tilt as compared to the other mostly square bucket at the right that may in this context symbolize earth’s tilted polar axis aligned to the plane of the ecliptic on the Vernal Equinox. The ‘tree of life’ motif is composed of a base with three horizontal elements supporting three vertical elements topped by a circumpunct like circle or sphere (Fig.104) with hooks dropping down to either side that likely symbolize the solstices, with the ‘seven flowers’ suggesting earth’s 364-day orbit around the sun. There are a total of 15 flowers with two columns of 7 flowers each to either side of the tree of life. Dividing the total number of flowers, 15 by the total number of flowers in the two columns, 14 results in 15/(2x7)14 = 1.0714285; 1.38888888/1.0714285 = 1.2962962. The Zenith Passage of the sun ‘moves’ (orbital angular momentum?) north or south across the surface of the planet at the rate of .3333333 degrees every 1.2962962 days. (See Portal Gematria) This number is integral to the Portal Formula described below (Fig.101) by similarly counting the flowers of another Assyrian tree of life. Compare this narrative with the feathered deity facing to the left with Fig.99.

 Fig. 101 Assyrian Wall Panel

            The feathered deity at the top is facing to the right, possibly towards the east and the Vernal Equinox dawn. He is looking in the direction of a single ‘hook’ motif embedded in his feathers and is sitting in something round similar to the feathered deity in Fig.100. The ‘tree of life’ covered in flowers is composed of many interlocking’ hook’ motifs that along with the three tall vertical columns topped by a nine petal stylized flower motif likely symbolizes the Vernal Equinox. The Assyrian Buckets carried by the feathered figures show straight and slanted slides similar to those in Fig.100 with the more slanted bucket carried by the figure at the right instead of at the left. It is more than likely that this placement also reflects the difference in direction the feathered deity at the top is facing which in this case may be towards the Vernal Equinox sunrise with the one in Fig.100 facing the equinox sunset. There are a total of 29 flowers with two columns of 14 flowers to either side of the tree of life. By dividing the total number of flowers, 29 by the total number of flowers in the two columns, 28 we have 29/(2x14)28 = 1.0357142. This number encodes an alternate formula bypassing 1.2962962 (Fig.100) on the way to the final 1.7710777 of the Primary Portal Formula. This alternate route ends with 1.7710712. (See Portal Gematria) Though stylistically different and likely centuries apart the narrative encoded on both uses the same iconography the same way. By comparing these to the Mayan Tablets of the Cross and Foliated Cross Fig.98 and Fig.99 it appears likely that the narratives are very similar if not identical. These feathered deities are essentially Assyrian Feathered Serpents. The one facing to the right with the single hook in its wing represents earth’s celestial equator, its rotation on its tilted polar axis similar to GI of the Palenque Triad. The one facing to the left with the two curled hook motifs is similar to GII of the Palenque Triad that symbolizes earth’s tilted polar axis’ relationship to the plane of the ecliptic. The ‘flower’ portal mathematics described above seems to confirm this notion in the most astonishing way. The number 1.2962962 not only describes the north/south movement of the sun’s Zenith Passage over the earth’s surface, but as mentioned above, it is also integral to the Primary Portal Formula and its final result, 1.7710777. By default, the alternate route’s final result 1.7710712 mentioned above along with the feathered deity with the single hook in its wing and the slanted bucket at the right it is associated with not only seem to suggest the encoding of earth’s celestial equator but with the emphasis placed on earth’s most active dynamic, its rotation. Note the identical skirt at the left in both mages. The pole star is not readily apparent in this narrative, though it may be encoded in the feathered deity’s iconography. The floral iconography likely symbolizes the fertile or vegetative nature of earth’s tilted polar axis and the beginning of spring. Compare this narrative with the feathered deity facing to the right with Fig.98.

Fig. 102 Codex Feveray-Mayer

              This Aztec calendric codex and its quadripartite design encode earth’s annual orbit around the sun through the ‘four stations of the sun’, the solstices and the equinoxes. (Fig.95) Xiutecuhtli, the Fire God in the center wields three spears in his right hand and an atlatl, a ‘hook’ motif, in his left, suggesting the ‘hacking’, ‘hooking’, or measuring of time with the three spears symbolizing the three locations ‘hooked’ on the horizon of the setting sun on the solstices and equinoxes. The horse shoe like motifs in between the corners have solar-bird motifs with hooked beaks flying down towards vertical elements that mimic both the celestial equator angle, down from left to right, and the axial tilt angle, down from right to left. Of particular note is the iconography at the bottom left. The solar bird with the hooked beak and the ‘ellipse with hook’ motif link the ellipse and possibly The Square Root of Three to earth’s tilted polar axis.

           Fig. 103  Mandala Thangka Tibet

            Compare this mandala to Fig.102 above and earth’s orbit around the sun (Fig.95). Though the circles do not seem to mimic the ‘four stations of the sun’, by rotating the square forty-five degrees into the vertical-square net position the circles then imitate the solstices and equinoxes. Note the corners of the square do align to the circles. The ‘square in the circle’ motif may be encoding the relationship between the Square Root of Two and the Square Root of Three. (See, The Portal; Portal Grid) The four circles around the central figure very likely symbolize earth’s orbit around the sun, its rotation, its axial tilt, and the Precession of the Equinoxes(?). Though difficult to see, the two figures in the center are in the yab-yum mating posture that likely symbolizes earth’s celestial mechanics on the Vernal Equinox. 

Fig. 104 Tutankhamun Pectoral

            Twins Isis and Nephthys with wings and wearing vertical-square net skirts along with two cobras likely symbolize the Egyptian Feathered Serpent cosmology’s encoding of earth’s celestial mechanics on the Vernal Equinox. The djed pillar is associated with Osiris with the golden orb at the top symbolizing the sun at dawn on the equinox. The four horizontal bars may refer to the plane of the ecliptic, earth’s rotation on its tilted polar axis and the tilted axis and its relationship to the plane of the ecliptic on the equinoxes. The upper pair of wings touch, with one wing noticeably touching the sun while the other does not. The bottom pair support or stabilize the base of the pillar that probably symbolizes earth’s polar axis. The wings have three rows of feathers similar to those in Fig.42 and Fig.105 that symbolize earth’s orbit of the sun represented by the outer row of feathers with the second row symbolizing its rotation and the third golden row of feathers alluding to the effects of earth’s axial tilt. Similar to the wings in Fig.42, the feathers are arrayed in pairs in the alternating earth’s celestial equator and axial tilt angles suggesting the complimentary nature of earth’s rotation and axial tilt. (Fig.76)

           Fig. 105 Tutankhamun Pectoral

            The winged scarab and the three orbs symbolize earth’s celestial mechanics and the locations on the horizon of the rising and or setting sun on the solstices with the center orb symbolizing the equinox sun. The scarab is a dung beetle that rolls a ball of dung full of its eggs across the earth’s surface. The rolling of the ball of dung likely symbolizes the earth rotation as it rotates into the equinox dawn with the ‘T’ like separation between its wings further symbolizing the horizon on the equinox. Its wings have three rows of feathers suggesting earth’s orbit around the sun, its rotation, and axial tilt. (See Fig.42 and Fig.104)

 Fig. 106 Milarepa Thangka Tibet

            The arrangement of three deities at the top, similar to Fig.105 above likely symbolizes the solar year and the locations of the sun on the solstices and the equinoxes. They are all slightly tilted suggesting earth’s axial tilt. The smaller deity in the center located high up in the mountains with rays emanating out towards the other three deities likely represents the pole star and its relationship to earth’s celestial mechanics.

          Fig. 107 Tetitla Mural Teotihuacan

            What is being depicted and encoded in this mural from Teotihuacan are earth’s celestial mechanics symbolized by the Netted Jaguar as it approaches a temple on a golden path just before dawn on the Vernal Equinox. The jaguar is a composite creature made up of all the feathered serpent components intertwined together. One of the more relevant clues is the jaguar’s eye. The gold and red half sphere and dividing line symbolize the sun returning to the equator from the southern hemisphere just before dawn on the Vernal Equinox. All of earth’s celestial mechanics are encoded in the various spherical objects it wears or carries. Along with the net, the circular object at the bottom right suggests earth’s rotation and or orbit around the sun with the two above its head each showing combinations of round and ‘vertical’ elements and cross hatching displayed in both the earth’s rotation and axial tilt angles. The looped circular motif most probably symbolizes earth’s rotation and tilted polar axis as it aligns with the plane of the ecliptic on the Vernal Equinox. Note the elaborate ‘hook’ motif it carries towards the temple. There are three temples at the top but only the temple in the middle is shown as a complete structure. These temple entrances represent the Winter Solstice to the left and the Summer Solstice to the right with the equinox temple centered between them. Located due east from Tetitla is a temple that the sun rises over on the equinox dawn and likewise from that temple the equinox sun can be seen setting due west over Tetitla. (Fig.108)

Fig. 108a Teotihuacan Map

            Map of Teotihuacn showing a lone temple located due east of Tetitla. The Portal Grid software shows an angle of 15 degrees using Tetitla and Teotihuacan’s layout as the baseline. Teotihuacan is aligned approximately 15 degrees east of north. Tilting Teotihuacan’s alignment back north15 degrees  places this temple and Tetitla on the same baseline.

         Fig. 108b Teotihuacan Map

                        Note the alignments of the temple groups just below the Pyramid of the Moon. Also note the paired 75-degree rays intersecting at the top of the Pyramid of the Sun. The Street of the Dead is aligned 15+ degrees east of north placing the Pyramid of the Moon north of the Pyramid of the Sun with the pole star directly overhead suggesting the possibility that the Street of the Dead may represent earth’s polar axis with the Pyramid of the Moon actually being the Pyramid of Earth further suggesting earth’s orbit around the sun and knowledge of earth’s celestial mechanics. The alignment of the sun, the earth, and the pole star is very likely the source for the Mayan term ‘Three Stone Place’ with the pole star, ‘Heart of Sky’ mentioned together on the Pyramid of the Sun and Pyramid of the Cross tablets found at Palenque. Though not aligned 23.4 degrees east of north, the Street of the Dead and the Pyramid of the Sun are directly coupled as if imitating or encoding earth’s tilted polar axis and its alignment to the plane of the ecliptic on an equinox. Note the temple structure at the far right where the 45-degree and 30-degree rays intersect. This is the same structure shown aligned due east of Tetitla in Fig.108a. The top of the Pyramid of the Sun, unlike the Quetzalcoatl Pyramid at Chichen Itza on the Yucatan Peninsula or the many Mayan temples in the Peten with treetop views of the horizon, does not have a clear view of the eastern horizon on an equinox further suggesting the significance of the pole star and true north symbolically and for alignment purposes.

Fig. 108c Teotihuacan Map

                        Note the blue centerline aligning the Pyramid of the Sun. This line represents the Square Root of Three suggesting the idea that earth’s polar axis, being the diameter of a sphere and the diagonal of the cube it houses can also be thought of as the Square Root of Three. The most accurate measurement of earth’s circumference is through the poles. There are some who believe the dimensions of the Pyramid of the Sun, difficult to determine with any accuracy, and the Pyramid of Khufu at Giza both sharing essentially the same footprint encode earth’s circumference through the poles. Also note the temples just below the Pyramid of the Moon aligned to the 60-degree rays that also represent the Square Root of Three. All of the long lines of the 6-Pointed Star represent the Square Root of Three. (See Portal Grid) Note also that the Zacuala Palace and Tepantitla are both located on the circumference of the circle suggesting possibly some sort of connection between them.

          Fig. 109 Crozier

            Croziers, carried as symbols of office by Christian bishops, appear to be a variation of the Shepherd’s Crook carried by Jesus. (Fig.120) Compare this ‘hook’ motif with that carried by the Netted Jaguar Fig.106.

 Fig.110 Double Crozier

            Compare this double serpent crozier’s coiled underbelly with that of the feathered serpent in Fig.111).

          Fig.111 Maya Vase (K5164)

            This Codex Style vase was the first clue that suggested to me that possibly earth’s celestial mechanics were known and understood in ancient Mesoamerica and specifically the encoding of the Vernal Equinox. The glyph directly above the woman’s head with two concentric circles with another one offset that touches the inner circle while circling a dot in its center with dot(s) centered on its right side circumference, the eastern dawn facing horizon, and three curls that represent the solstices and equinoxes emanating from the inner concentric circle, all together are the perfect symbolic description of earth orbiting the sun as it rotates on its tilted polar axis into the equinox dawn sunrise with the dot in the center of the off set circle representing Heart of Sky, the pole star. (Fig.98) See ‘The Maya Book Of The Dead’ by Francis Robicsek and Donald M. Hales for examples of other Codex Style vases with very similar glyphs. The oval glyph to the right, similar to the Olmec Bucket motif with the round handle (Fig.4), likely encodes the same celestial event with the three circles at the bottom symbolizing the locations of the rising sun on the horizon on the solstices and equinoxes. The round handle represents the sky overhead, the ecliptic, with the two dark bars shown to either side of a clear channel also symbolizing the solstices with the clear center representing the first rays of sunlight on the equinox lighting up the circle below. Compare this glyph to the device held in the deity’s left hand in Fig.112. Note the ‘T’ symbol with the hook ‘feather’ and crosshatching just above her head placed not quite touching her forehead, earth’s horizon, as a semi-circular sun rises on the equinox dawn. Her hair is also tied back in a concentric circle motif. The right leg of the creature, or earth deity at the left is a serpent with crosshatched scales and coiled underbelly. The three outlines of the serpent likely symbolize earth’s celestial mechanics. The underbelly coils symbolize earth’s rotation with the crosshatching representing the effect earth’s tilted polar axis has on its rotation and the sky above. Note how the concentric oval motifs interspersed throughout the cross hatching not only appear to change size and shape as the narrative moves from left to right but also seem to rise above a horizon created by the lower underbelly outline with the top of the motif merging with the outer outline, symbolizing earth’s orbit around the sun. Compare this circular ‘orbital’ type motif with those found in the serpent’s crosshatching in Fig.112. Though very difficult to see, those appear to start out very similar to those in Fig.111 but once the serpent breaks through the horizontal beam at the top they clearly touch or merge with the outer outline only. Fig.111 appears to be encoding the approaching Vernal Equinox dawn with Fig.112 encoding the very moment earth’s celestial equator aligns to the plane of the ecliptic. Compare these two versions of the same event to the ongoing ‘Weighing of the Heart’ in The Papyrus of Ani and the finished ‘Weighing of the Heart’ in the Papyrus of Hunefer.  The index fingers seem to be pointing down at the serpent merging with the baseline that likely represents the plane of the ecliptic, earth’s orbital path the sun. Note that there is no corresponding upper ‘baseline’ below the border at the top of the vase. The index finger of the right hand is shown not quite vertical compared to the index finger of the left hand. The bracelets composed of four circles on both wrists shown at the symbolic earth rotation angle represent the solstices and equinoxes. The belt also shown at the earth rotation but with the four divisions at the symbolic axial tilt angle suggest earth rotation and tilt, the celestial equator. Its left foot represents earth’s tilted axis and its relationship to the plane of the ecliptic (orbital angular momentum?). There may also be a phallus-as-polar axis component (Fig.114) to the narrative represented by whatever is dangling down between it’s ‘legs’ with a circumpunct, a circle with a dot in the center, symbolizing the pole star at the top of what is very likely celestial mechanic imagery symbolized in part by the four conspicuous ‘bones’ dropping down below a rotation motif with the trailing banners merging with the serpent. The serpent is coiled around the woman whose right palm is placed firmly on the plane of the ecliptic in a posture of resistance suggesting the ‘reluctant prude’ and one half of the ‘Golden Womb’ to quote the Vedas above, that symbolize earth’s fertility and the 23.4 degree opening between the plane of the ecliptic and the celestial equator. (Fig.1). The entity seeming to beckon her to the celestial rendezvous while conspicuously touching the serpent’s coiled underbelly and crosshatching that very likely represents earth’s tilted polar axis’ half of the celestial equator that is about to align with the plane of the ecliptic allowing for the sun’s most direct ‘impregnating’ solar rays and the beginning of Spring. Note the slanted columns of glyphs at the bottom angled in the symbolic axial tilt direction along with the ‘T’ symbol tilted in the celestial equator angle seemingly connecting two ‘serpent’ scrolling motifs with one rising above the glyphs and ending with a rectangular motif also slanted at the symbolic celestial equator angle. This motif or symbol features an ‘L’ shape with a short horizontal line in the center and is shown intersecting with an oval motif with an oval center slanted down at the axial tilt angle in the deity’s forehead both suggesting the plane of the ecliptic and earth’s orbit and rotation leading up to the equinox alignment.

 Fig. 112 Maya Vase (K2772)

            The first thing to notice is the similarity of this ‘deity’ with the one in Fig.111 and the reversal of the serpent and foot motifs. The other deity ‘dances’ while motioning with its hands and fingers while this one holds a perfectly round semi-circular handled object with its left hand while wielding something atlatl like with his right hand held at the symbolic earth rotation angle with the top part ending with a hook slanted down at the axial tilt angle. The vertical pillar the serpent is coiled around represents earth’s polar axis and where the serpent crashes through the horizontal beam at the top represents the moment earth’s celestial equator and its tilted polar axis align with the plane of the ecliptic on an equinox, very likely on the Vernal Equinox. The human beast like entity grasping the pillar and the serpent together with its left hand likely represents earth’s ‘tilted’ rotation as it rotates into the equinox dawn alignment of the tilted polar axis with the plane of the ecliptic. Compare the vertical pillar and horizontal beam motif to the borders of the Tepantitla mural at Teotihuacan (Fig.5) and the birds on Mayan Vase K4464. (Fig.142) The four concentric circle motifs that decorate the pillar symbolize earth’s three celestial mechanics. From bottom to top, its orbit, rotation, and tilted axis along with the pole star at the top, its location a product of earth’s rotation and axial tilt something especially significant when on an equinox the pole star, true north, and the equinox sun rising due east triangulates with the observer or any point on the planet’s surface exposed to the first rays of light. This part of the narrative seems to be specifically focused on the serpent coiling around the pillar between the rotation circles and the tilted axis circles seemingly encoding earth’s celestial mechanics in motion. Compare these with the arrangement of the three concentric collars of the astronomer priest’s tunic and the ear spool just above them at La Venta (Fig.4) Note the circle with an inverted ‘T’ motif hanging down from the deity’s neck slanted at the symbolic axial tilt angle. The narrative on this vase and the deity with the left serpent leg and right foot likely encode earth’s celestial mechanics as earth rotates east into alignment with the sun and the plane of the ecliptic at dawn on the Vernal Equinox. The earth deity with the right serpent leg and left foot in Fig.111 seems to be suggesting earth’s tilted polar axis as it approaches its alignment with the plane of the ecliptic on the equinoxes.  Compare the scene at the far right to The Papyrus of Hunefer (Fig.117) and the Papyrus of Ani (Fig.118). Note the circle with an inverted ‘T’ motif hanging down from the deity’s neck slanted at the symbolic axial tilt angle.

            Fig.113 Maya Vase (K1183)

            Sovereign, the Mayan plane of the ecliptic earth orbit deity makes offerings to the Hero Twins, the twin aspects of earth’s axial tilt when on the equinox earth rotates on its tilted axis into the dawn sun as the tilted polar axis comes into alignment with the plane of the ecliptic, a moment that a perceived dominant celestial mechanic role by Sovereign, earth’s orbit, over its rotation and axial tilt is negotiated or called into question during the equinoctial alignment. Note that he sits on a throne three steps up from the baseline that has four kin-cross type bar-mat motifs that emphasize earth’s tilted axis above a border that extends below the Hero Twins (Fig.142) that includes the reverse rotation bar-mat motifs.  Note the ‘T’ symbol in the crosshatched basket of offerings.