Tlaloc as the Evening Star aspect of the planet Venus:

By Carl de Borhegyi
On the left is an image of the Mexican Rain God Tlaloc from a painted
mural at Teotihuacan. Note that the artist has encoded a sort of
rainbow-shaped symbol that appears to emerge from two green stones
(jade?) in Tlaloc’s headband which loop around two circles encoded as eyes. Tlaloc’s headband depicts a total of five stones, which I believe is code for the five sacred cycles of the Venus calendar in which 5x 584 days equals eight solar years to the day, identified in the Dresden Codex. The olla, or vessel on the right (photographed
by Justin Kerr), depicts the god Tlaloc with an encoded Venus symbol
overlapping his trademark goggle eyes, forming a Venus glyph that
identifies him with the planet Venus as the Evening Star.

The Return of Quetzalcoatl-Tlaloc as Venus

By Carl de Borhegyi

I found a photograph of a dated Aztec stone tablet, that depicts what might be an image of the prophesied return of the dualistic (Venus God) Mesoamerican god Quetzalcoatl-Tlaloc, returning to earth as a killer comet, at the end of the Fifth Sun, according to the Five Suns cosmogonic accounts.

The carved image depicts the Mesoamerican god Tlaloc, who can be easily identified by his trademark goggled eyes, feline fangs, and handlebar mustache. In the carving above, Tlaloc is likely depicted as the Evening Star aspect of the planet Venus, and the god of ritual decapitation, by the way the artist has shaped Tlaloc’s eyebrows and nose to create a Venus symbol which halfway surrounds his goggled eyes. Tlaloc’s goggled eyes represent I believe, the vision of divine immortality, the vision of Tlaloc’s paradise, called Tlalocan.

Note that just to the left of Tlaloc are two flint knifes shaped like footballs, symbolizing his connection with decapitation, period endings, and the completion of time in the ritual calendar. On the right in the upper right hand corner is an image I would argue represent the artist’s conception of a doomsday comet. The fact that the artist has created an image of a fiery killer comet shooting down to earth, just above an icon that can easily be identified as Quetzalcoatl’s “Wind Jewel” , links both Quetzalcoatl and Tlaloc with a doomsday comet associated with the planet Venus, and the completion of time. The “Wind Jewel” which represents one of Quetzalcoatl’s most famous trademark attributes, is a cross-cut section of a conch shell worn as a pectoral by priests associated with the cult of Quetzalcoatl. Just above Quetzalcoatl’s “Wind Jewel” are two swirly dots which I’m certain represents 2-Wind in the Five Suns cosmogonic accounts.

In the Codex Chimalpopoca, Quetzalcoatl is referred to as a spirit of regeneration and as the Morning star. A passage from that Codex reads…”Truly with him it began…Truly from him it flowed out…From Quetzalcoatl all art and knowledge” (Thomas 1993, p.183)

Quoting Spanish chronicler Fray Bernardino de Sahagún, (Florentine Codex, Historia General de las Cosas de Nueva España 1547-1582)

“The ancients worshiped an idol called Quetzalcoatl who was a ruler of Tula they named Topiltzin. He was a man; he was mortal, for he died. He is no god “His body died, here on earth it became dust.”

“Although this Quetzalcoatl was a man [the Indians] they held him to be a god….This Quetzalcoatl who was a mortal and perishable man they called a god. Although he had some appearances of virtue, judging by what they say he was nevertheless a great sorcerer, a friend of demons…and deserves to be assigned to the flames of Hell… When your ancestors said that this Quetzalcoatl went to Tlapallan and would return, that you must await his return, they lied, for we know that he is dead, that his body was reduced to dust and that Our Lord God hurled his soul into Hell where he suffers eternal torment.” ( Sahagun, 1969, book 1, chapter 5)

“Only one was their god; they showed all attention to, they called upon, they prayed to one by the name of Quetzalcoatl. The name of one who was their minister, their priest [was] also Quetzalcoatl. “There is only one god” [he is] Quetzalcoatl (Sahagún, 1950-75,10:160).

In my examination of pre-Columbian art I have discovered that the gods that appear to be linked to mushroom imagery are clearly linked to the planet Venus as both a Morning Star and Evening Star. The name Quetzalcoatl has been interpreted to mean “Precious twin,” indicating that the Morning Star and Evening Star are one and the same (Caso, 1958:.24; Duran:325).

According to anthropologist Daniel Brinton, (Myths of the New World, 1876, pp. 234-235) these ominous events [comets] were believed to occur on the last night of each of the 52 year calendar round cycles. In order to prevent this cosmic catastrophe, the Aztecs and likely all Mesoamericans, performed a New Fire ceremony on the last night of the 52 year calendar round cycle, in which every fire was completely extinguished, and then a new fire was rekindled by friction. If the rituals of the New Fire ceremony at the end of the 52 year calendar round failed, the sun would cease to rise, and that death and darkness would descend upon the world, and that the god Quetzalcoatl, he who had created the world, would destroy it.

For more go to 2012 ALERT! at mushroomstone.com

Trans-Pacific contact, or Strange coincidence ?

By Carl de Borhegyi
The drawing on the right by Lorenzo Domínguez, in 1960 titled “Make-Make of the Storm”, is of a petroglyph found on remote Easter Island. Domínguez asked the Easter Islanders what the symbol meant and they said that it represented “Make Make” their creator god.

In 1886, William Thomson a U.S. Naval officer and Easter Island’s first scientific researcher visited Easter Island. According to Heyerdahl, Thompson found many representations of catlike figures symbolizing their supreme god, a Sun God they called Make-Make. He noted that this was remarkable because there were no members of the cat family on Easter Island or anywhere else in Polynesia.

The drawing of this and other petroglyphs on Easter Island bear a striking resemblance to Venus symbols found in Pre-Columbian art depicting the ancient Mesoamerican Storm God named Tlaloc. Scholars have noted very early images of Tlaloc in the archaeological record, including ancient rock art, going back to early Olmec times. Tlaloc whose attributes are goggled eyes and feline fangs was known as the “provider”, a creator god just like Easter Island’s “Make Make”, who is associated with life giving rain, deadly storms, and divine lightening. Tlaloc was known as “he who made things grow”. Tlaloc can be easily identified by his trademark goggled eyes, which represent I believe, the vision of divine immortality, the vision of Tlaloc’s paradise, called Tlalocan.
Similar petroglyphs have been found on Easter Island, like the petroglyph on the left, (a drawing by a member of the Heyerdahl expedition) which could be argued represents a symbol of Venus, symbolizing Venus’s divine dualistic nature over life and death as both a Morning Star and Evening Star.

Trans-Pacific contact, or Strange coincidence ?

By Carl de Borhegyi

The drawing of the Moai statue is from Heyerdahl, 1989 p.194. ………Thor Heyerdahl was motivated by an ancient legend that a Peruvian culture-hero named Con-Ticci Viracocha who filled the sea with fish. He then left Peru and sailed out into the Pacific with his followers. This legend convinced Heyerdahl that ancient Peruvians were the original settlers of Easter Island. He proved, by his historic Kon-Tiki voyage, that merchants could very realistically have made the voyage to Easter Island from South America. I would add that there is now both archaeological evidence and historic accounts that merchants traveled quite regularly between Western Mexico and the coast of Ecuador as early as 400 B.C. It takes no great stretch of the imagination to conclude that these intrepid seafarers could have reached Peru, and that the resulting cultural contacts could ultimately have extended as far as Easter Island by means of the Humboldt current.

Researcher Cliff Richey…..

Hi Carl,
As I google the web for information related to Native American compositions I often find myself landing on your
web page. I noted the above quotation and agree that you are the first person, that I have read about, to have
perceived the connection between the Easter Island ear design and the Native American ear design. The reason
for this, I think, is that some of the Moai have cosmological messages written on their backs. To me it is a small
wonder that the shape of the Moai were not made in the form of a mushroom. I say this because the stance of
the Moai is one of arising from the earth (in effect, a rebirth).
The Ears are a compound of several signs that were overlaid at the position of the Ear and alluding to the orifice
or hole of the ear. The upper swirl is the sign for, taken downward. The next sign was positioned below the Swirl
and is a Double-Lined (unseen) male-spirit sign that was based on the glans-penis. Because the male-spirit sign
is relatively Large this indicated, greatness. So the message is: The hole on the side (positional), takendownward,
unseen, the great male spirit.
The Moai with a Beard indicated that this was an elder and once deceased, an ancestoral-spirit. Also note that
on the poporo there is a Swirl (taken-downward) overlaid at the position of the Ear. So in just these artifacts we
have three different cultures from widely separate geographic areas using the same signs and compositional
system.
The above written sign language system has also been found among European neolithic cultures. Because of its
ancient use as a means of communication and trade, the signs were used by widely disparate groups or
cultures. This accounts for Native American sign language being so widely spread throughout the Americas as
the system was brought with the various groups when they migrated to the Americas. Once in the Americas they
were relatively immune (isolated) from the changes in the communication system that they left behind. I think this
view sort of leap frogs the ongoing, archaeological, debates over diffusion.
Now, in regard to the problem off identifying the meaning of mushroom Imagery and Form. I think, as stated in
an earlier email, that the meaning on the sig language level is something akin to, the one that arises from the
earth. However there is another level to the sign system and that is the overall Imagery or Scene that was
depicted. The Scene sets the setting for the following use of the signs. For example in the poporo above the
overall scene is of a figure holding mushrooms in both hands. This may indicate that the figure was one who
used the mushroom and in that sense was a visionary or something similar.
Another problem is identifying various plants or shapes as mushrooms. For example, the Form on the heads of
some Moche figures appear more like Hibiscus than Mushrooms and may have indicated, the one who has
flowered or blossomed. This phrase was cosmological and was used to indicate that the spirit had germinated,
arisen, and matured to the point of accession. The meaning as to the use of a specific type of flower depicted is
not known. If know this would provide an additional detail in meaning. At the present time we are left with
identifying mushroom shapes and even specific mushroom types in order to gain insight into the overall meaning
of the mushroom in various scenes or settings.
Best of luck in your exploration of mushrooms and their context within the ancient cultures.

Quetzalcoatl “Lord of the Ballgame, Underworld, and the planet Venus”

 

By Carl de Borhegyi

The photograph is from the Justin Kerr Data Base, of a Classic period figurine K7191, depicting the bearded god-king Quetzalcoatl as Lord of the Ballgame, and thus ruler of the Underworld. Nahua manuscripts (The Annals of Cuauhtitlan) record that Lord Topiltzin Quetzalcoatl invented the ballgame. The figurine depicts Quetzalcoatl as the Feathered Serpent sitting atop a three-step ballcourt throne, adorned with twin serpent-heads, linking Quetzalcoatl with the ballgame, the Underworld and the planet Venus.

A passage from the Anales de Quauhtitlán states that, “at the time when the planet was visible in the sky (as the Evening Star) Quetzalcoatl died. And when Quetzalcoatl was dead he was not seen for four days; they say that he dwelt in the underworld, and for four more days he was bone (that is, he was emaciated, he was weak); not until eight days had passed did the great star appear; that is, as the Morning Star. They said that then Quetzalcoatl ascended the throne as god” (Aveni,1980:187).

Precolumbian Maya Mushroom Stone Cult

By Carl de Borhegyi

While most accounts of mushroom use in the early Spanish chronicles concern the Aztecs, there is evidence that Maya mushroom ceremonial use, associated with a mushroom stone cult, lasted well into the Colonial Era. In 1554, mushroom images were described as symbols of dynastic power in the Maya Quiche document: “Title of Totonicapán¨ (Recinos, 1953).
“The lords used these symbols of rule, which came from where the sun rises, to pierce and cut up their bodies (for the blood sacrifice). There were nine mushroom stones for the Ajpop and the Ajpop Q’amja, and in each case four, three, two, and one staffs with the Quetzal’s feathers and green feathers, together with garlands, the Chalchihuites precious stones, with the sagging lower jaw and the bundle of fire for the Temezcal steam bath.”
Another Colonial period document: ¨The Annals of the Cakchiquels¨ (Recinos, 1953, pp. 82-83), records:
“At that time, too, they began to worship the devil. Each seven days, each 13 days, they offered him sacrifices, placing before him fresh resin, green branches, and fresh bark of the trees, and burning before him a small cat, image of the night. They took him also the mushrooms, which grow at the foot of the trees, and they drew blood from their ears.”

Spanish chronicler, Fray Toribio de Benevente, better known as Motolinía, recorded:
“They {the Aztecs} had another way of drunkenness, that made them more cruel and it was with some fungi or small mushrooms, which exist in this land as in Castilla; but those of this land are of such a kind that eaten raw and being bitter they….eat with them with a little bees honey; and a while later they would see a thousand visions, especially serpents, and as they would be out of their senses, it would seem to them that their legs and bodies were full of worms eating them alive, and thus half rabid, they would sally forth from the house, wanting someone to kill them; and with this bestial drunkenness and travail that they were feeling, it happened sometimes that they hanged themselves, and also against others they were crueler. These mushrooms, they called in their language teonanacatl, which means ‘flesh of God’ or the devil, whom they worshiped.” (Wasson, 1962)