Category: History

Codices, Glyphics, Anthropology, Archeology, Oral Tradition

Stela 10 Seibal Guatemala

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Stela 10 is on the north side of Structure A-3 ov this archaeological site. Seibal is located in El Ceibal, Peten, Guatemala. It was inhabited in the Middle Preclassic Period around 800 B.C. It was apparently abandoned between roughly 500-690 A.D. After it was reoccupied in 735, Ruler 3 from the Maya city known today as Dos Pilas, captured the, Yich’ak Balam, ruler ov Seibal and his city, leading to about 60 years of foreign rule.

Stela 10 depicts Wat’ul Chatel, traditional Maya dressed in the Terminal Classic period. The text on this stela displays the emblem glyphs ov Tikal, Calakmul and Motul de San José, describing how he received visitors from those cities. Among the visitors are named Kan-Pet ov Calakmul and Kan-Ek’ ov Motul. Wat’ul Chatel wears a headdress associated with the patron dieties ov Seibal, the heron and K’awiil, deities that were also the patrons of Palenque. This appears to be an attempt by this foreign king to identify himself more closely with the city he came to rule.

Around 830, a non-Classic Maya group settled in Seibal, which witnessed its greatest florescence over the next century, its population reaching about 10,000. The city was permanently abandoned in 930 and not rediscovered until about 1890.

Wat’ul Chatel was also known as Aj B’olon Haab’tal’s.

Aj B’olon Haab’tal NARRATIVE:


He lets the water from the Pasion drown into his field of vision as he glances down at the river that reflects his omniscient gaze. The elite stare intently at his every move, pondering what might be streaming through their leader’s mind. Unknown to their curious looks is the ambition which steams out of their overlord’s heart and perspires out onto his glowing skin. Aj B’olon Haab’tal masks his overflowing aspirations behind a calm and composed face, one that beckons the thought of:


“I want my rule to mimic and surpass the glory that other once dominant cities enjoyed. What Dos Pilas has stolen from us in our cities’ unfortunate span of oppression, we shall restore into future generations of prosperity.”


In the midst of heavy thought, the ruler is interrupted by one of the elite who states bluntly, out of his discomfort at the almost dreary silence that wafts through the humid air:

“K’uhul Ajaw! Are you ready to commence planning out your temple?”

Not one wisp of breath pours out of Aj B’olon Haab’tal’s meditative lips

“Did he hear what I had said?” doubts the puzzled member of the elite.


The other elite share the same question in their own minds. Another individual, who secretly teems with embarrassment as the sun’s spotlight stubbornly hangs above him while it creeps downward into its resting place which stelae shall mark someday, gathers the courage to iterate his companion’s seemingly innocuous act of asking:


“K’uhul ajaw? We have gathered today…”


“I know, I can see that” is his concise, yet ambiguous return of words.


“What would you have us do today, k’uhul ajaw?”


“Do not simply refer to me as k’uhul ajaw. I go by many names, for I am your friend, your mentor, and your leader who shall bring to you an era that sings of happiness and renewed hope in our strength as a city, a city that shall rise in glory above the trees that entrap it. This city shall not lay in the foul muck that has smeared Seibal’s ancestry for all too long! We shall break with this pitiful past and install a future that our descendants will rave about and build upon until the end of time. I am Aj B’olon Haab’tal, invest in me your faith as your friend, your mentor, and your leader who shall help Seibal forge its own history amongst the greatest of all time!”


At this most powerful and endearing moment, the lips of all burst forth into a continuous rampage of uplifting cheers and chants that bear their ruler’s name.

That is all but two. Out of the aura of widespread jubilation emerge two rulers whose own cities, Tikal and Calakmul, tinker on increasingly unstable foundations.

Jewel K’awiil and Chan Pet of Tikal and Calakmul respectively, two cities ancient in embroiled rivalry, now mutual in decline, hover their voices above the crowd in an attempt to bolster their, at best, marginal presence.

As the symphony of vocal support dies down in intensity, K’awiil and Pet’s voices coincidentally echo

“Aj B’olon Haab’tal, we have…”

The two look at each other in spite. The declaration restarts

“Aj B’olon Haab’tal, we have come…”

The two bridge their eyebrows eyes closer while the river’s mirror and the ruler, his turned back still ignoring their every word, share smirks at just how much authority that he retains in comparison to the two once preeminent cities who saw Seibal as a mere pawn of influence.

“Aj B’olon Haab’tal, we have come…” K’awiil’s voice regretfully yields to Pet who, with more pomp in his speech, continues

“We have come before you in celebration on this great day. Oh, what a glorious day it is to be in your presence for the end of the first k’atun of the tenth bak’tun.”

Aj B’olon Haab’tal ambiguously scrolls his eyes toward the two “rulers” behind him before returning to his former relaxed poise and perspective like that of a cat lazily peeking out in response to a sudden sound whereupon sleep then fills its focus.

“I have….” K’awiil starts

“We have…” Pen interjects “…wanted to bear witness to your decision concerning your magnificent future temple.”

The other elites’ expressions flip from uniform smiles to uniformly crossed arms and rolling eyes at Pen’s empty remark.

K’awiil attempts to break open his lips from the embarrassment that seals them shut. He engages the ruler on a lighter subject.

“How do you today, k’uhu.. Aj B’olon Haab’tal?”

Aj B’olon Haab’tal slyly rolls his head to the side, his neck as straight as a jaguar peeking up at its unknowing prey while hiding in the shadow of its own silent gratification.

He was feeling especially delighted today. The whites of his eyes wrap around darkened cores of energy and innovation that his constituents have not fully seen. His hands clasp together into tightened grips around his bright destiny.

The eyes now depart from their pair of twins in the water. As they stubbornly voyage to meet those Chan Pen and Jewel K’awiil’s, the body now makes a slow effort to turn in the same direction. The mouth bursts open into bemusing satire.

“I am feeling especially horrible today. What’s more? Your question only serves as fodder for my unfortunate ears which have to carry your screech of a sound to my most clouding headache.”

Chan Pet now smiles happily in his imagination. Nevertheless, neither Chan nor the now humiliated K’awiil make one more sound and step back to stand among the ranks of other elite.

All eyes now meet the ruler’s headdress, so rich in splendor, so intimidating in appearance that even the lowly dirt beneath his feet frantically follows the wind to avoid being covered by his headdress’ shadow.
His field of view extends over the crowd onto the vacant plot of land that will be holy in his name.

He envisions a structure with four sets of stairs climbing to one origin. Each entry door shall bear his image in all of his splendor to his people and his future generations of subjects….


Sources:

http://www.primidi.com/seibal

https://cosmolearning.org/images/stela-10-at-seibal-maya-world/

https://www.peabody.harvard.edu/cmhi/detail.php?num=10&site=Seibal&type=Stela#

https://sites.google.com/site/s14anth137/project-definition/seibal

Stela 9 Piedras Negras Guatemala

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By Obzidian


Maya, classical period, 600-900 A.D
18,9 x 18,11 x 2,36 inch

Photo from the Millon Gallery

Stela 9 of Piedras Negras is being auctioned by the Millón Gallery , which will be held on September 18 at the Drouot Hotel located in Paris, France .

As one ov the “most important deities” ov a “Maya pantheon” is being presented for auction, the archaeological stela number 9 ov Piedras Negras, Petén. However, they do not have any permission to promote it and less to sell it, since it is owned by Guatemala, says the Ministry ov Culture and Sports (MCD).

According to the Ministry, since August 1st ov this year, the Department of Prevention and Control ov Illicit Traffic in Cultural Property communicated in writing with the Guatemalan Embassy in France about the ” intention to auction property of Guatemala”, which motivated the beginning ov various processes that seek to prevent the piece from being sold and, instead, the repatriation.

The archaeological piece was discovered by Teobert Maler in 1899 in Piedras Negras, Petén, but in the 1960s it was stolen by looters.

“With bibliographic antecedents and archaeological studies it can be determined with precision that the piece was in Guatemala and that it was deprecated and smuggled abroad illegally . Situation that does not legitimize, nor accredit any particular person to be able to adjudicate the legal possession of good culture, “says the DCM, through a statement.

The Association ov Archaeologists also called on the French Embassy in Guatemala and the Guatemalan Embassy in France to make their best effort to recover the stolen piece from the country.

Spearthrower Owl or “Atlatl Cauac” (364-439 AD) Early Classic period.

However, information is already found on the website of the Gallery , where it is identified as article 55 and is described as an ” exceptional piece under relief , presenting the head of the deity of the celestial birds in the form of a night raptor. It has a stepped crown of geometric constructions with interwoven shapes. It is made of stone carved in round. The piece is Maya ov the classic period and measures 48 x 46 x 6 centimeters. “

Meanwhile, the initial bid to acquire the piece, which is presented with others from other countries, starts at 25 thousand euros, about 212 thousand quetzals . The offer can be made online and by phone. In addition, they indicate that it was “obtained from a collection of Pierre Langlois, Paris, May 1965. Acquired from Earl Stendahl, in the 60s”.

According to the MCD, the piece represents a zoomorphic face, has a headdress composed ov feathers and rectangular geometric figures. It is carved in limestone and its temporality dates from the Classic Period (250 to 900 AD). According to investigators David Stuart and Ian Graham, the wake was found by Teobert Maler in 1899, at the Piedras Negras archeological site, where it remained until looters predated the place clandestinely.

Source:

https://www.soy502.com/…/guatemala-reclama-pieza-arqueologi…

http://www.millon-associes.com/html/fiche.jsp…

Awautli, Axayakatl

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Awautli (Ahuautle), which literally means “water amaranth.” The Awautli are Krizousacorixa (= Kirzousacorixa; = Ahauhtlea) azteca, egg, nymph, from the Corixidae and Notonectidae families in scientific terms. They were a delicacy for ancient Mexicans. Yet, awautli are still served in different parts ov Mexico.

By Obzidian

Axayakatl (axayácatl) which in Nawatl (Nahuatl) means “water horsefly”, a species of aquatic mosquito, rather bed bugs, that live on the shore of the lakes and serve as food for wild ducks. The Axayakatl is fished with a net placed on the shore of the lakes, ov some tulli (tules), cob leaves or a bundle ov grass or dried branches tied to a stake. They remain there for 15 or 20 day periods. Where thousands ov eggs whose size does not exceed one millimeter in diameter will have been deposited. The growing season starts in July and ends between September and October, that is, during the rainy season.

After which the Axayaka are toasted, but also its eggs are edible and are called Awautli (Ahuautle), which literally means “water amaranth.” The Awautli are Krizousacorixa (= Kirzousacorixa; = Ahauhtlea) azteca, egg, nymph, from the Corixidae and Notonectidae families in scientific terms. They were a delicacy for ancient Mexicans. Yet, awautli are still served in different parts ov Mexico.

In Iztapalapa a man called Don Manuel Flores would harvest the eggs and sell them in the neighborhood. Until recently, his health has deteriorated and has not been seen selling awautli. Unfortunately his family members do not seem to continue the tradition.

Apparently the appetite for insects is diminishing as well. Axayakatl proliferate the lacustrine zone of the Valley of Mexico but, the desiccation of Lake Texkoko (Texcoco) has significantly reduced its population.

That is why the awautli is less common in the diet of Nawa descendants such as the ximalwakateka (chimalhuacanos) because less and less people are dedicated to cultivating it, so this delicacy is eaten only on special occasions.

Pablo Buendía Arrieta, a resident of the San Pedro neighborhood, argues that the pride of his hometown, descends from the Toltecs, in its culinary wealth, based mainly on aquatic animals such as fish, amphibians, insects and birds.

Chronicles of the Spanish invaders stated that this food was offered as an offering to the deity Xiuhtekuhtli, guardian ov the fire, also that it was taken daily to the court of Moktizuma (Moctezuma) in Tenoxtitlan (Tenochtitlan), and Kuitlawak (Cuitlahuac). It was consumed fresh at breakfast and eventually the invaders learned to consume them in cakes.

The sixth ruler of the Azteks, Axayacatl. Telleriano-Remensis codex.

Today there are very few people who still extract the awautli from Lake Nabor Carrillo, these are small owners of the properties known as Los Tlateles, which border the federal reserve area; those that still continue with this tradition.

Sources:

http://www.bbc.com/travel/story/20190910-mexicos-ancient-caviar?ocid=ao&fbclid=IwAR2s9oQ-rvNVb7HXi25PmVeqo6DoE0VQrjnJmsh9rwmBM3cDsJIta9wnaPw

https://tuul.tv/es/cultura/ahuautle-desayuno-moctezuma

Prehispanic delicacy Awautli…

Koyolli, Chachayotl, Ayoyotl

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Koyolli “coyolli” (rattle) appears in the Classical Nawatl (nahuatl), but currently they are also known as Chachayotl (to play an instrument) and Ayoyotl (watery rattle); that when shaken are a type idiophone percussion instrument which sounds like rain.

By Obzidian

According to Nawa oral tradition koyolli “coyoleras”, rattles or also known as jingle bells on the ankles represent the triumph used by Wuitzilopoxtli (Huitzilopochtli). The koyolli symbolize the 4 elements -water, fire, earth and air, which were used by the Jaguar and Eagle Warriors and whose sound evokes that produced by the storms associated with fertility and abundance…

Which makes sense because this is part of a warrior armor. The dances were part of warfare. We wore these combat armors during battle primarily. Dances and music were part of our daily life. We drum and blow the conch or play the teponaxtli during rituals.

Koyolli (coyolli), rattle appears in the Classical Nawatl (nahuatl), but currently they are also known as Xaxayotl (Chachayotl) which means to play an instrument and Ayoyotl, watery rattle; that when shaken are a type idiophone percussion instrument which sounds like rain.

In the current Aztek dance society we practice with one of the fundamental elements that make up the attire which are the koyolli or rattles on our ankles. These have a deep meaning associated with the philosophy from our ancestors that comes alive when they sound.

The sound of the koyolli is also associated with Tlalok “the nectar of the rain that feeds the earth”. When dancing, at times only the rattles are sounding, a torrent of rain is clearly heard, therefore, with our movements we also ritualize the fecundity of the earth in this union of rainwater with the earth.

Tlalok in a philosophical sense symbolizes the condensation ov energy given that, it is the liquid that that descends from the sky, from Father Sky to make seeds sprout into flowers and generate fruits that give sustenance to humans.

It is customary that the rattle of each foot should be composed of 52 koyolmeh representing a turn in the time count, therefore when joining both koyolli they add up to 104 coyolmeh; which are the years it takes Venus to pass in front of the Sun and in this time its 13 pentagonal synodic cycles are fulfilled. These koyolli are earned by learning dances and passing tests. Nothing is given to anyone without earning it even the Tlatoani and people with authority or what were called Nobles had to earn them.

As we dance and rattle the koyolli with our energy; with our will, we ritualize the living presence of Tonantzin Tlalli “our venerable Mother Earth.” Aztek Dance is an activity in which we offer our energy so that the earth continues to generate the precious fruits that nourish us. In each step that has a particular meaning we recognize ourselves as part of nature.

The koyolli are very well represented in Koyolxauhki “the one that is adorned with precious rattles”. She governs the creative and life-giving feminine energy, associates with the moon but above all is the regent of the Zentzon Huitznawak “The four hundred warriors ov the South.”

When we dance and sound our koyolli we recognize ourselves as one of the warriors of the south, those who forge their will, as Huitzilopochtli does, the left-handed hummingbird that resembles the Sun from the south, the winter sun.

In the first instance the koyolli refers to the rattle of the serpent. In ancient Mexican thought the rattlesnake is symbolism that denotes the presence of our Mother Earth. Firstly, because its ripples resemble the valleys and mountains. In the second stance, because in its skin rhombuses are drawn and within each they are associated with the four directions that make up the universe. Thirdly, because every so often their old skin falls off, in the same way that the earth in winter gives off its old skin that is renewed in spring.

We dance together, in harmony, in the same sense and in duality since what the left side of our body does is also done by the right side. When we dance we learn that we are the same, unified by the heart of Mother Earth, which is the Huehuetl “drum”.

When we dance and rattle the seeds, we unite the sky with the earth, as the serpent fecundates with the nectar of the earth to create the flowers and fruits that nourish the human race. We dance, we become warriors ov the essences who have detached themselves from their selfishness to offer their time and energy in harmony together with our brothers and sisters on the way. As we dance, we learn that each step has a purpose, a meaning that is none other than to honor the life that is given to us by the duality ov Mother Earth and Father Sky, the venereated and creative duality.

Our ancestors taught us that every step in life must have a purpose, a usefulness, a why and a value, therefore they must be conscious movements that take us along the path that goes towards Father Sun, towards the light, towards the truth.

Xhupa Porrazo

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By Obzidian

In ancient Mexhiko, black was the color of the incorporeal, because it represented the absence of attributes, that is, the ABSTRACT. It was the color of the West, the course of the naguals. That is why the sages dressed or painted their skin black, they wanted to return to the beginning when all was dark. Interestingly, one of the titles of a “Supreme Being”-which the invaders interpreted as an allusion to the “devil“-was actually Yowalli E’ekatl, “Darkness Wind”. The Spaniards did not understand the wind has four colors and darkness or black is one of them.

In the photo: Three Xhupa boxers in helmets with sections ov conch on their hands as weapons. Hand to hand combat. A form ov boxing.

The white, on the other hand, was the color of the bones, and therefore, of the corpses and corruption. White was associated with the direction of the North, where the mouth of the Underworld was. Today this symbolism has been reversed.

The practice of Xhupa Porrazo finds its origin in the Isthmus ov Tehuantepec, in Oaxaca, where there are four neighborhoods that practice it: Juchitán, Ixtepek, Tehuantepec and Ixtaltepec. Tournaments are held within the communities, in which both youth and adults participate. The pure Xhupa Porrazo is a way of fighting to fracture, seriously injure or knock out the opponent.

Xhupa

Etymology:

Xhupa Porrazo, which in Zapotec means “two strokes” or “two falls,” taking the Zapotec variant ov the Isthmus of Tewantepek (Tehuantepec), where Xhupa (chupa) is “two”.  The “thump” is understood as a fall or a blow. “Porrazo”, however, is not a Zapotec word, but comes from Spanish. What does exist in Zapotec is the word “porra” which means knot, being able to give a similarity to the keys or padlocks used in the fight.

The origins of Xhupa Porrazo date, according to Adrián Romero Díaz, from 300 B.C, a date close to the height of the splendor of the Zapotec culture.  There is even visual evidence in engravings found in the ruins ov Monte Albán.

 The Xhupa Porrazo is based on the imitation of movements of seven animals with which you have a physical and ritual connection.  The animals are the snake (bandage), the eagle (biphia), the ocelotl (peye), the monkey (migu), the deer (biguina), the iguana (buxhashi) and the armadillo (

 Weapons are also assimilated, which over time were modified or replaced.  We have a machete (nayula), spear with tip (ichi-corto), normal spear (agucha-larga); curved spear (guiche), sling (dova), knife (gulliu), stick with a stone point (llaga ille) and the corded triple ball (do ille).

To be able to master this art it is recommended to start from childhood. Thus the body eventually assimilates the techniques better, because the key is flexibility. The Xhupa Porrazo practiced by children is called Chechite Nu. The difference is that while in one the training and technique are handled gently, in the other, the opponent is injured in its entirety.

The pure Xhupa Porrazo differs from other martial arts by the imitation of its movements with animals; the way of using the hands (swipes); the ease of disarticulating and fracturing the opponent; the use of fists, kicks and headers; all in the form of a dance with low positions; very close to the ground.

The greatest exponent of the Zapotec technique is Gaudencio González, known as Papa Gude, for obtaining 7 titles and in the 80’s was the only Master of the art.

Ramón Yee was the first to receive direct training by Papa Gude in the 80’s and it was he who later took this martial art to the capital. In a short time, Yee became famous because he obtained the Ginness record, breaking a ton of ice tiles with his chin. Now the Xhupa Porrazo is manifested in the Xilam, which is a martial art where the Xhupa Porrazo is taken as the base, since there are seven levels, representing the seven animals (the snake, the eagle, the ocelotl, the monkey, the deer, the iguana, and the armadillo).

http://research.mayavase.com/kerrmaya_hires.php?vase=500

https://images.app.goo.gl/fCBRF1tvgv3ejgoD7

Pialli mazewaltin!

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Pialli!

Hello world, welcome to Tamoanchan. This is where warriors may finally come to life. Please feel free to post and comment information about Native American history, language, philosophy, art, music, dance, science, warfare, weaponry, math, but please stay within the realms meaning no pseudoscience. Tlazokamati!