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Native American Zodiac

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I had mentioned before that there is a very old hunter's zodiac which becomes manifest in Europe in the Megalithic Postglacial period, and that the Native North American zodiac seems to be derived from it. It is in turn derived from the older CroMagnon Astrology. Some of the older writers on Atlantis mention that Astrological signs and symbols go back to 25000 or 35000 years ago,and certainly according to Alexander Marshak and the Roots of Astrology, Hunter's calendars and lunar notations (and some rare depictions of some of the better-known constellations) certainly go that far back at least. I have a complete essay on this published elsewhere.

Our own common zodiac is a variation on the older hunter's calendars but using more "Southern" kinds of animals as signs. There is also the more elaborated East Indian version which goes with Sundaland and needs a more extensive separate coverage. Certainly the East Indian  version of Astronomy was used in navigating across long distances in the Indian and Pacific oceans during the later days of the Pleistocene Ice Age.
                       



The Native American zodiac signs are wholly unique, and you’ll not find these totemic birth animals anywhere else but here. Determine which sign you are, and check out its meaning. Wolf http://bit.ly/QiXr4M. Deer http://bit.ly/QiXxt2. Woodpecker http://bit.ly/V2cYh2. Beaver http://bit.ly/QiXDAX. Otter http://bit.ly/V2d7Ru. Salmon http://bit.ly/V2d8F5. Falcon http://bit.ly/QiXNsc. Raven http://bit.ly/V2dbAT. Goose http://bit.ly/QiXT2X. Bear http://bit.ly/V2dknN. Owl http://bit.ly/QiY12x. Snake http://bit.ly/V2dmMv. #NativeAstrology



Underwater Temple of Lake Titicaca

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http://unmyst3.blogspot.com/2009/12/underwater-temple-of-lake-titicaca.html

Underwater Temple of Lake Titicaca


Written By Tripzibit on Dec 2, 2009 | 07:30


Many mysteries and legends shroud the shores of this high alpine lake on the border of Peru and Bolivia. Not only is Lake Titicaca the highest navigable lake in South America, it is the world’s largest mountain lake at 3,200 square miles (8,288 sq. km), and the second deepest alpine lake with a depth of 1,000 feet (305 m). Lake Titicaca has been a sacred body of water to South America’s indigenous people since pre-Inca times. According to Indian lore, the legendary god Viracocha arose from Lake Titicaca and went to Tiahuanaco to create the first Andean human being. It was long rumored that sunken temple existed at the bottom of the lake, and these rumors were substantiated when modern scientists explored its depths.

Scholars have long been intrigued by tales of ancient palaces seen by fishermen during dry spells when the lake level dropped, or of local Indians diving down and touching the roofs of stone buildings. Even early Spanish chroniclers recorded Inca stories of a great flood long ago and ruins on the lake bottom. Stories of the lost treasure were enough to draw the famous French oceanographer Jacques Cousteau to explore the lake. However, he discovered only ancient pottery.



In 1967, a scientific expedition authorized by the Bolivian government began exploring the depths of Lake Titicaca. National Geographic also launched an expedition in 1988. The ruins of an ancient temple have been found by international archaeologists under Lake Titicaca, the world's highest lake. More than 200 dives were made into the lake, to depths of as much as 30m (100ft), to record the ruins on film. The divers found high walls covered in mud and slime and eaten away by the brackish water. Not far from the shore, a number of paved paths led into the lake and connected to a large, crescent-shaped base. The finely cut stone paths, numbering 30 in all, were set with great precision into the ground in a parallel formation.




Divers went as deep as 30m explore the ruins


Another expedition in the year 2000 located and documented a 660-foot (200-m) by 160-foot (50-m) temple after following a submerged road, almost twice the size of an average football pitch in an area of the lake near Copacabana town. To date, no conclusive answers have been given as to who may have built the monuments before they sank. A terrace for crops, a long road and an 800-metre (2,600 feet) long wall was also found under the waters of the lake, sited in the Andes mountains between Bolivia and Peru. Dating back 1,000 to 1,500 years ago, the ruins are pre-Incan. The Incas also regarded the lake as the birthplace of their civilization, and in their myth, the Children of The Sun emerged out of the waters.

"They have been attributed to the indigenous Tiwanaku or Tiahuanaco people", said Lorenzo Epis, the Italian scientist leading the Atahuallpa 2000 scientific expedition. The complete findings of the 30-member team, backed by the scientific group Akakor Geographical Exploring. The lake has long drawn fascination with various legends around it, including one of an underwater city called Wanaku and another of Inca gold lost by the Spanish. The research involved 10 scientists from Italy, 10 from Brazil, five Bolivians, two Germans and a Romanian.

On May 28 2002 National Geographic News reported on the many recent discoveries underwater on the coastal shelves around the world :
"Ancient stories of massive floods pass from generation to generation and in many places in the world are integral to a people's spoken history. The tales differ by locale, but commonly feature either torrential rains or a hugely destructive wall of water bursting into a valley, destroying everything in its path. In many cases, the flooding is an act of retribution by displeased gods. Scientists, historians, and archaeologists view many of these enduring tales as myth, legend, or allegoric tales meant to illustrate moral principles. Recent findings indicate that at least a few of them could be based on real floods that caused destruction on an enormous scale."

The lower altitude terraces where corn could still grow are still at a level above Lake Titicaca. This means that the "pre-historic" peoples cultivating corn "lived" in the area "before" and "after" the numerous necessarily cataclysmic crustal deformations and uplifts that raised the Andes. The cataclysmic uplifts caused the terraces where the corn "was" successfully cultivated to be raised to an altitude where the corn would not grow. As the mountains rose cataclysmically the peoples terraced their cornfields successively lower down the mountainsides. There is a stone causeway leading "out" of Lake Titicaca. It has been speculated by some of your archaeologists that the area used to be at sea level and the causeway led out to the Pacific ocean. The causeway now leads out of the lake to nowhere at 9000 feet altitude.

There are stone "ruins" more "ancient" than the stone causeway leading out of Lake Titicaca. These "ruins" are buried under six feet of "sediment" on the shallow "bottom" of Lake Titicaca. The sediment contains "pre-historic" (more ancient than 12,000 B.C.) sea shell fossils. There was not enough topsoil on the peaks surrounding Lake Titicaca to have "eroded" down and "covered" these "ancient" ruins with six feet of sediment.

The six feet of sediment covering the "ancient ruins" around and under the present "water level" of Lake Titicaca was probably deposited by the "Biblical Flood" before the existence of Lake Titicaca. The huge Flood happened "pre-historically" when the land around Lake Titicaca was closer to sea level.

(Sources : Sacred Places Around The World : "108 Destinations" by Brad Olsen; http://www.thule.org/titicaca.html;
http://news.bbc.co.uk/2/hi/americas/892616.stm;
http://www.morien-institute.org/uwnewsarchive.html)

(Pics sources : http://en.wikipedia.org/wiki/File:Lake_Titicaca_map.png;
http://news.bbc.co.uk/2/hi/americas/892616.stm)


by Tripzibit di 07:30

Label: Ancient Temple, Biblical Flood, Great Flood, Hidden Cities / Lost Civilizations, Inca,


by Helmut Zettl

from LostCivilizations Website


Cradled in the basin of the Peruvian-Bolivian altiplano, the Titicaca region is currently densely populated by the Aymara Indians, who eke out an agricultural existence, subsisting primarily on maize, frozen potatoes, and chicha, a fermented alcoholic beverage made of cornmeal.
 

But there is evidence that such was not always the case.

 

Just 12 miles southward of the southernmost tip of Lake Titicaca lie the remains of Tiahuanaco, the site of a technologically advanced culture considered by many archaeologists (romantic not orthodox) to be the oldest ruins in the world.

Although some misguided scholars have attributed the buildings of Tiahuanaco to the Incas, it has now been established that the city was already in ruins when the first Incas came upon the scene.
 
In 1540 the Spanish chronicler, Pedro Cieza de Leon, visited the area and his description of the statues and monoliths compares very closely to what we see today. The site is at an altitude of 13,300 feet, which places it some 800 feet above the present level of Lake Titicaca.
 
Most archaeologists agree that in the distant past Tiahuanaco was a flourishing port at the edge of the lake, which means that the water has receded almost 12 miles and has dropped about 800 feet since then. All concur that the lake is shrinking, due mainly to evaporation, since no rivers flow from it.

The Tiahuanaco culture, as it is called, is unique in its sculpture and its style of stone construction. The figures depicted in the statuary have a rather square head with some covering like a helmet; they have square eyes and a rectangular mouth.
 
The stone works at the ruins consist of such structures as the Gate of the Sun, a portal carved from a single block of stone weighing 15 tons.
The stone steps of the Kalasasaya, each of which is a rectangular block of stone about 30 feet wide; the so-called "idols," which are giant about 23 feet tall representatives of unusual looking beings with typical Tiahuanaco head and trace; and the enormous monolithic stone blocks, many of which appear to have been cast rather than carved, are some of these unusual features.

At the area called Puma Punku, which is about 1 mile distant from the principal part of the ruins, the gigantic stones are bluish-gray in color and appear to have been "machined", and they have a metallic ring when tapped by a rock.
 
There is also a reddish "rust" or oxidation covering many of the stones. Many of these enormous stone blocks probably have not been moved since they fell thousands of years ago.
Archaeologists however speculate that the stones were dressed, but never erected that the construction for which they were intended was interrupted.
 
It is equally valid, however, to assume that the buildings were completed and then toppled by some natural catastrophe, such as the eruption of the Andes mountain chain or a world-wide deluge.

It is interesting to observe the archaeological excavation work, which is under way at the site. At this altitude of 13,300 feet some of the remains are found at a level 6 feet below the earth's surface. The mountain ranges which surround the area are not high enough to permit sufficient runoff of water or wind erosion to have covered the ruins to such a depth. This remains a mystery.
 
Legends have persisted over the centuries that there are stone structures beneath the waters of Lake Titicaca, much the same kind as can be found on the lake's shore.
 
The Indians of that legion have frequently recounted this tradition, but until recently there has been no proof of such structures. In 1968 Jacques Cousteau, the French underwater explorer, took his crew and equipment there to explore the lake and search for evidence of underwater construction.
 
Although severely hampered in their activities by the extreme altitude, the divers spent many days searching the lake bottom, in the vicinity of the islands of the Sun and Moon, but found nothing man-made. Cousteau concluded the legends were a myth.
 
Recently in November 1980, however, the well known Bolivian author and scholar of pre-Columbian cultures, Hugo Boero Rojo, announced the finding of archaeological ruins beneath Lake Titicaca about 15 to 20 meters below the surface off the coast of Puerto Acosta, a Bolivian port village near the Peruvian frontier on the northeast edge of the lake.
 
Based upon information furnished by Elias Mamani a native of the region who is over 100 years old, Boero Rojo and two Puerto Ricans cinematographers, Ivan and Alex Irrizarry, were able to locate the ruins after extensive exploration of the lake bottom in the area, while filming a documentary on the nearby Indians.

At a press conference the Bolivian author stated,
"we can now say that the existence of pre-Columbian constructions under the waters of Lake Titicaca is no longer a mere supposition or science-fiction, but a real fact. Further," he added, "the remnants found show the existence of old civilizations that greatly antecede the Spanish colonization. We have found temples built of huge blocks of stone, with stone roads leading to unknown places and flights of steps whose bases were lost in the depths of the lake amid a thick vegetation of algae". 
Boero Rojo described these monumental ruins as being "of probable Tiahuanaco origin".

The Polish-born Bolivian archaeologist Arturo Posnansky has concluded that the Tiahuanaco culture began in the region at about 1600 B.C. and flourished until at least 1200 A.D. His disciple, Professor Hans Schindler-Bellamy, believed Tiahuanaco to have reached back 12,000 years before the present era, although a more conservative Peruvian archaeologist, Professor Kaufmann-Doihg, dates the site's flourishing at about 300-900 A.D.
 
What happened to the advanced ancient culture, however, has not yet been determined. Boero Rojo's discovery nevertheless may prove to create more problems than it solves. If, over the past 3 or 4000 years Lake Titicaca has slowly receded, as appears to be the case-as all scientists agree, then how can we explain the existence of stone temples, stairways, and roads still under water'?. The only answer is that they were built before the lake materialized.

We must go back, then, to the remnants of Tiahuanaco and reexamine the more than 400 acres of ruins, only 10 percent of which have been excavated. We have pointed out that dirt covers the ancient civilization to a depth of at least 6 feet. The only explanation for this accumulation is water.

A large amount of water had to have inundated the city; when it receded it left the silt covering all evidence of an advanced civilization, leaving only the largest statues and monoliths still exposed. It is logical to conclude, therefore, that Tiahuanaco was built before the lake was created, and not as a port on its shore. As the waters today continue to recede, we should be able to find more evidence of the city's remote peoples.

Scientists theorize that the area of Lake Titicaca was at one time at sea level, because of the profusion of fossilized marine life which can be found in the region. The area then lifted with the Andean upheaval and a basin was created which filled in to form the lake. No one has suggested the marine life might have been brought to the altiplano by sea waters which were at flood stage.

Peruvian legends clearly relate a story of world-wide flood in the distant past. Whether it was the biblical flood of Noah, or another one, we cannot say, but there is ample physical evidence of a universal inundation, with the world-wide deluge described in more than a hundred flood-myths.
 
Along with Noah's flood were,
  • the Babylonian Utnapischtim of the Gilgamesh epic
  • the Sumerian Ziusudra
  • the Persian Jima
  • the Indian Manu
  • the Maya Coxcox
  • the Colombian Bochica
  • the Algonkin's Nanabozu
  • the Crows' Coyote
  • the Greek Deukalion and Pyrrha
  • the Chinese Noah Kuen
  • the Polynesian Tangaloa
It is evident there was a world-wide deluge 19,000 years ago.

Global doomsdays are conspicuous in the Hopi Indian legends, the Finnish Kalevala epic, the Mayan Chilam Balam and Popol Vuh, and in the Aztec calendar, the last of which predicts that our present civilization will be destroyed by "nahuatl Olin" or "earth movement," that is, devastation by earthquake. Due to Aztec cyclic theory this will become the fifth doomsday after the "death of the Jaguars," "the death of the Tempests," "the death of the Great Fire" (volcanism), and "the Great Deluge."
 
If a flourishing advanced civilization existed on the Peruvian altiplano many thousands of years ago and was reached by the flood waters, many problems would be solved, such as the existence of Tiahuanaco's ruins under 6 feet of earth at an elevation of 13,300 feet. The presence of stone structures still under the lake's waters and the existence of marine life at an impossible altitude would also make sense.

In my 1978 and 1984 trips to Peru I was impressed by agricultural terracing on the sides and very tops of the steep peaks. These appear to be the oldest - and now unused - portions of the terracing.
 
As you look down the mountains you see more and more terraces of more recent origin. We are told that only the Inca (specifically the Sapai Inca, i.e. the ruler) could use the lower portions and the fertile valleys; the "peons" had to climb to the very peaks to cultivate the soil for their own subsistence. This seems highly unlikely in what we know to have been a pure communistic-theocratic society.

Pondering the logistics involved, I see no problem with the spring planting. It would not be difficult to carry a sack of seed to the mountain tops, scratch out some of the soil, and plant them. But then, I wondered, it must have been very tough in the fall to carry the harvest 2 to 3000 feet down to the valley floor.
 
Then it struck me. If there really had been a world-wide deluge covering most of the earth's surface—leaving only mountain tops protruding in the sunlight—then the few remaining survivors of the deluge would naturally plant their seeds on mountain tops. They had no problem getting produce down, because they lived at the top. Also, they used boats to move from one peak to another. As the flood waters receded the terracing began to creep down the mountain sides, as can be seen today, with the ones near the bottom being the freshest.
 
As Boero Rojo stated, the discovery of Aymara structures under the waters of Lake Titicaca could pose entirely new thesis on the disappearance of an entire civilization, which, for some unknown reason, became submerged.
 
The Tiahuanacans could have been victims of world-wide flood, their civilization all but wiped out when their homes and structures were covered with sea water.
 
Because of the basin-like geography of the area the flood waters that became Lake Titicaca could not run off and have only gradually evaporated over the centuries.
 
Professor Schindler-Bellamy as a disciple of Posnansky and Horbiger (who created the world famous Glacial-Cosmogony theory in the 1930's) has worked dozens of years in the Tiahuanaco area and has written books on the subject.

According to him the large monolithic Sun Gate of Tiahuanaco was evidently originally the centerpiece of the most important part of the so-called Kalasasaya, the huge chief temple of Tiahuanaco. Its upper part is covered with a stupendously intricate sculpture in flat bas relief.
 
This has been described as a "calendar" almost as long as the monolithic gateway has been known to exist; thus the Sun Gate has also been called the Calendar Gate.
 
This calendar sculpture, though it undoubtedly depicts a "solar year," cannot however be made to fit into the solar year as we divide it at present. After many futile attempts had been made, by employing a Procrustean chopping off of toes or heels to make the calendar work, the sculpture-which indeed has a highly decorative aspect-was eventually declared generally to be nothing but an intricate piece of art. (See Arturo Posnansky and F. Buck.)

Professor Schindler-Bellamy and the American astronomer Allen have nevertheless continued to insist the sculpture was a calendar, though one of a special kind, designed for special purpose, and, of course, for a special time. Hence it must refer exclusively to the reckoning of that time, and to certain events occurring then. Consequently we cannot make the calendar "speak" in terms of our own time, but let it speak for itself - and listen to what it says and learn from it.
 
When we do so we gain an immense insight into the world of the people of that era, into the manner of thinking of their intellectuals, and generally into the way their craftsmen and laborers lived and worked. To describe these things in detail would make a long story; it took Dr. Allen and Professor Schindler-Bellamy and their helpers many years of hard work to puzzle out the Tiahuanaco system of notation and its symbology, and to make the necessary calculations (before the age of computers).

The result was a book of over 400 pages, The Calendar of Tiahuanaco, published in 1956. Thorough analysis of the Sun Gate sculpture revealed the astonishing fact that the calendar is not a mere list of days for the "man in the street" of the Tiahuanaco of that time, telling him the dates of market days or holy days; it is actually, and pre-eminently a unique depository of astronomical, mathematical, and scientific data- the quintessence of the knowledge of the bearers of Tiahuanacan culture.
 
The enormous amount of information the calendar has been made to contain and to impart to anyone ready and able to read it, is communicated in a way that is, once the system of notation has been grasped, singularly lucid and intelligible, "counting by units of pictorial or abstract form".

The different forms of those units attribute special, very definite and important additional meanings to them, and make them do double or multiple duty. By means of that method "any number" can be expressed without employing definite "numerals" whose meaning might be difficult, if not impossible, to establish. It is only necessary to recognize the units and consider their forms, and find their groupings, count them out, and render the result in our own numerical notation. Some of the results seem to be so unbelievable that superficial critics have rejected them as mere arrant nonsense.
 
But they are too well dove-tailed and geared into the greater system (and in some cases supported by peculiar repetitions and cross-references) to be discarded in disgust; one has to accept them as correct. Whoever rejects them, however, also accepts the onus of offering a better explanation, and Professor Schindler-Bellamy has the "advantage of doubt," at any rate.

The "solar year" of the calendar's time had very practically the same length as our own, but, as shown symbolically by the sculpture, the earth revolved more quickly then, making the Tiahuanacan year only 290 days, divided into 12 "twelfths" of 94 days each, plus 2 intercalary days.
 
These groupings (290, 24, 12, 2) are clearly and unmistakably shown in the sculpture. The explanation of 290 versus 3651/4 days cannot be discussed here. At the time Tiahuanaco flourished the present moon was not yet the companion of our earth but was still an independent exterior planet.

There was another satellite moving around our earth then, rather close, 5.9 terrestrial radii, center to center; our present moon being at 60 radii.
 
Because of its closeness it moved around the earth more quickly than our planet rotated. Therefore it rose in the west and set in the east (like Mars' satellite Phobos), and so caused a great number of solar eclipses, 37 in one "twelfth," or 447 in one "solar year " of course it caused an equal number of satellite eclipses.
 
These groupings (37, 447) are shown in the sculpture, with many corroborating cross-references. Different symbols show when these solar eclipses, which were of some duration, occurred: at sunrise, at noon, at sunset.

These are only a small sample of the exact astronomical information the calendar gives. It also gives the beginning of the year, the days of the equinoxes and solstices, the incidence of the two intercalary days, information on the obliquity of the eliptic (then about 16.5 degrees; now 23.5) and on Tiahuanaco's latitude (then about 10 degrees; now 16.27), and many other astronomical and geographical references from which interesting and important data may be calculated or inferred by us.
 
Tiahuanacan scientists certainly knew, for instance, that the earth was a globe which rotated on its axis (not that the sun moved over a flat earth), because they calculated exactly the times of eclipses not visible at Tiahuanaco but visible in the opposite hemisphere (one wonders whether they were actually able to travel around the world, and speculate in what sort of vessel ! ).

A few more facts revealed in the calendar are both interesting and surprising.  As indicated by an arrangement of "geometrical" elements we can ascertain that the Tiahuanacans divided the circle factually astronomically, but certainly mathematically, into 264 degrees (rather than 360). Also, they determined, ages before Archimedes and the Egyptians, the ratio of pi, the most important ratio between the circumference of the circle and its diameter, as 22/7, or, in our notation, 3.14+.
 
They could calculate squares (and hence, square roots). They knew trigonometry and the measuring of angles (30, 60, 90 degrees) and their functions. They could calculate and indicate fractions, but do not seem to have known the decimal system nor did they apparently ever employ the duodecimal system though they were aware of it (for a still unknown reason, however, the number 11 and its multiples occur often).
 
They were able to draw absolutely straight lines and exact right angles, but no mathematical instruments have yet been found.

We must take notice of the evident parallels with the markings of the Nazca Plain. We do not know the excellent tools they must have used for working the glass-hard andesite stone of their monuments, cutting, polishing, and incising. They must have employed block and tackle for lifting and transporting great loads (up to 200 tons) over considerable distances and even over expanses of water from the quarries to the construction sites.
 
It is difficult to see how all the calculations, planning, and design work involved in producing the great city of Tiahuanaco could have been done without some form of writing, and without a system of notation different from the "unit" system of the calendar sculpture. If they had such a system they must have used it only on perishable materials (one is tempted to think all these Nazca markings had been constructed by Atlanteans who fled to the altiplano before or after the destruction of their island continent 12,000 years ago).

I have so far dealt with some of the aspects of the Tiahuanacan world, namely those connected with the calendar as a monument of what Schindler-Bellamy describes as "fossilized science".  But the calendar science-sculpture, and similar slightly older ones also found at the site, must also be regarded and appreciated from an aesthetic point of view, a great artistic achievement in design and execution, and an absolute masterpiece of arrangement and layout.

The most tantalizing fact of all is that the Tiahuanaco culture has no roots in that area. It did not grow there from humbler beginnings, nor is any other place of origin known. It seems to have appeared practically full blown suddenly.
 
Only a few "older" monuments, as can be inferred from the "calendrical inscriptions" they bear, have been found, but the difference in time cannot have been very great. The different, much lower cultures discovered at considerable distances from Tiahuanaco proper, addressed as "Decadent Tiahuacan" or as "Coastal Tiahuanaco," are only very indirectly related to the culture revealed by the Calendar Gate.
 
Some of their painted symbols are somehow somewhat related to the calendar symbols, but they make no sense whatever; they are, if anything, purely ornamental Tiahuanaco apparently remained for only a very short period at its acme of perfection (evidenced by the Calendar Gate) and perished suddenly, perhaps through the cataclysmic happenings connected with the breakdown of the former "moon". 
 
We have at present no means of determining when Tiahuanaco rose to supreme height, or when its culture was obliterated, and naturally, the calendar itself can tell us nothing about that. It will certainly not have been in the historical past but well back in the prehistoric. It must indeed have occurred before the planet Luna was captured as the earth's present moon, about 12,000 years ago.

The capture of the satellite and its later fall to the surface on our planet imposed great stresses on the earth. The gravitational pull caused floods and earthquakes until the moon settled into a stable orbit one-fifth of today's distance. Hence the "moon" draws the oceans into a belt or bulge around the equator, drowning the equatorial region but leaving the polar lands high and dry.
 
When the satellite approached within a few thousand miles gravitational forces broke it up; according to the Roche formula each planetoid or asteroid disintegrates when approaching the critical distance of 50 to 60,000 kms. The fragments shattered down on earth; the oceans, released from the satellite's gravity, flowed back toward the continents, exposing tropical lands and submerging polar territories. This is the simple explanation of the Horbiger theory, and it seems to me the most logical one.

Thus the approach of the "moon" caused a world-wide deluge, effecting changes of climate and provoking earthquakes accompanied by volcanic eruptions. The "ring" left by the satellite after breaking into fragments caused a sudden drop in temperature of at least 20 degrees, which geologists recognize as a "decline" in temperature.
 
It is evident, for example, in the discovery of frozen mammoths in the Siberian tundra. Possibly gravity - and therefore physical weight - was also changed on earth, and with it, biological growth. This would explain the widespread construction of huge megalithic monuments as well as the presence of giants - man and animal - in fossil strata, tombs, and myths.
 
According to Horbiger four moons fell on earth, producing four Ice Ages; our present moon, the fifth one, will similarly be drawn into the critical configuration of one-fifth of its present distance (380,000 kms.) and will cause the fifth cataclysm (remember the Aztec calendar's prediction of doomsday by earthquake!). The theory of a falling moon has recently been substantiated by Dr. John O'Keefe, a scientist at the Coddard Laboratory for Astronomy in Maryland.
 
Dr. O'Keefe claims that the fragments of a moon's collision formed a ring around our planet that could have kept the sun's rays from penetrating to earth, thus causing world-wide decline of temperatures. After a while the fragments showered down on earth, breaking into smithereens known as tectites. These tectites O'Keefe believes were fragments of the fallen moon, thus proving Horbiger 's "World-lce-Cosmology."

The record nevertheless shows that a far-advanced culture made a substantial attempt to plant its society at Tiahuanaco, wanting to revitalize this region which had already been devastated by floods caused by the close satellite. Their attempt eventually miscarried, because they had underestimated certain dangerous developments that ultimately happened contrary to all expectations and calculations.
 
Such world wide cataclysms appear in myth, in the Egyptian Papyrus Ipuwer ("The sun set where it rose") or the tomb of Senmut (showing Orion-Sirius painted in reverse position), or in the Finnish Kalevala ("the earth turned round like a potter's wheel"), or the Popol Vuh (describing fire showering down from heaven), all of which indicate that our planet more than once has suffered world wide catastrophe.  
 
 
REFERENCES
  • The Calendar of Tiahuanaco. London: Faber, 1956. [all by Bellamy]   
  • The Moon 's Myths and Man. London: Faber.
  • The ldol of Tiahuanaco. London: Faber, 1959.
  • The Atlantis Myth. London: Faber, 1948.
[I am not a follower of Hans Horbiger myself but I do see evidences for the catastrophe. It is notable that Horbiger said that the catastrophes could have been created by comets (which are indeed composed of ice) and that a cometary strike at both the beginning and the ending of the Pleistocene Ice Age meets the requirements of his specifications. Bellamy goes rather further in his catalogue of effects from the catastrophe, but still a collision with a large asteroid or a comet would do most of the damage as specified-DD]

Deformed Head Reconstructions

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Here are some deformed head reconstructions that have been sent in to me recently, The one above is a reconstruction of a Mayan skull (that has also been trepanned)and the one below is of a Hunnish woman from Central Asia. Both are continuing on the tradition of the Aristocracy of Atlantis during the last days of the Ice Age via the tradition conveyed to the Middle east in the earliest Neolithic of the Postglacial. It seems that by the end of the Pleistocene the custom had also spread to the Sundaland area, Eastern Asia and even Australia, possibly because of trade connections to Atlantis with resulting cultural exchange, but also possibly indirectly by way of Africa. That part is not very clear and it is puzzling.


Banana: A Fruit that Really should not Exist

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http://thebiggestsecretsoftheworld.blogspot.com/2011/02/banana-fruit-that-really-should-not.html

The Biggest Secrets Of The World

Time and again we come across certain evidences about our past which we turn a blind eye to. We can't explain these without being labeled a crazy conspiracy theorist. Should that scare us from unveiling the truth? Plain truth that is staring hard at us from centuries. Or is it an agenda of the powerful to control this knowledge and hence, control the world? Let's keep an open mind and try to review some of these Out-Of-Place-Artifacts (OOPArts) and mysterious accounts...

Banana: A Fruit that Really should not Exist


Banana: A Fruit that Really should not Exist

Most people are completely unaware of this fact but there is a fruit that is eaten by millions of people all around the world everyday that is quite remarkable and in all reality, simply shouldn’t exist. I’m talking of course, about the banana. Bananas are actually the most mysterious fruit in the world because bananas have no seeds and what makes this even more mysterious is the fact that they are found in almost every country in the world.

Now that may not sound so odd at first but let me fully explain this enigma to you: Firstly, banana plants are not trees; they are actually a perennial herb. The trunk of the plant is really nothing more than the plants outer leaves. The real stem of the plant doesn’t actually become visible until it pushes out through the top to produce the large purple flower that will eventually develop into the fruit. Then, having finished its perennial reproductive cycle, the plant dies. The problem here, is that in the reproductive cycle of the banana, seeds are completely absent from the mature fruit! A new ‘seedling’ (known as a ‘sucker’) can only ever be generated from a piece of the plants rootstock and yet bananas are found in almost most every place on earth, even on quite remote and isolated islands.

How in the world did they all get there?

The seeds certainly weren’t carried across the oceans by prevailing winds. To fully appreciate this anomaly first consider that the only other seedless plants that exist anywhere in the world are things like seedless grapes, naval oranges and the many genetically modified varieties of commercial vegetables that can now be purchased, the point is, any other seedless plants that exist, anywhere in the world, are all that way because they have genetically modified!

And yet here we have the humble banana, which is also the only food in existence that contains exactly the correct requirements of vitamins and minerals for mans metabolism completely. It is the only food that man can live on healthily, by itself, with complete nutrition, it is found all over the world and yet we have no knowledge of how it could possibly have come into being. It seems highly improbable that the worldwide distribution of a seedless fruit that is perfectly tailored for sustaining man would have just somehow ‘happened.’

It is extremely unlikely for such a plant to have ever been produced by nature all on its own and many people believe that somehow, somewhere, sometime, someone in our far distant past genetically engineered bananas into the widely dispersed and remarkably nutritious plant that we find everywhere in such abundance to day.

These people cite that bananas are living daily proof of an ancient culture that spanned the entire globe in remote pre-history. Botanists also now tentatively agree that the spread of the banana plant appears to have radiated outward from the Pacific region. [Alternatively bananas may have originated in Africa, which is the area that has the most different kinds of bananas, and the transpacific exchange of bananas is a much later secondary diffusion. Genetic studies on both bananas and coconuts seem to suggest both separate centers in Africa and Southeast Asia, and the two different ages for diffusion of the plants in both areas. This information has been run on this blog before in earlier entries-DD]

The Banana plant incidentally, is not actually a fruit or a vegetable, but it does reach a height of around 30 feet at maturity which makes it the Worlds largest herb and the tallest plant in existence that does not have a woody trunk.

 

II. Ignatius Donnelly, Atlantis the Antediluvian World,

 Chapter VI, the Testimony of Flora and Fauna (p.57)

But Professor [Otto] Kuntze pays especial attention to the banana, or plantain. The banana is seedless. It is found throughout tropical Asia and Africa. Professor Kuntze asks, "In what way was this plant, which cannot stand a voyage through the temperate zone, carried to America?" And yet it was generally cultivated in America before 1492. Says Professor Kuntze, "It must be remembered that the plantain is a tree-like, herbaceous plant, possessing no easily transportable bulbs, like the potato or the dahlia, nor propagable by cuttings, like the willow or the poplar. It has only a perennial root, which, once planted, needs hardly any care, and yet produces the most abundant crop of any known tropical plant." He then proceeds to discuss how it could have passed from Asia to America. He admits that the roots must have been transported from one country to the other by civilized man. He argues that it could not have crossed the Pacific from Asia to America, because the Pacific is nearly thrice or four times as wide as the Atlantic. The only way he can account for the plantain reaching America is to suppose that it was carried there when the North Pole had a tropical climate! Is there any proof that civilized man existed at the North Pole when it possessed the climate of Africa?
Is it not more reasonable to suppose that the plantain, or banana, was cultivated by the people of Atlantis, and carried by their civilized agricultural colonies to the east and the west? Do we not find a confirmation of this view in the fact alluded to by Professor Kuntze in these words: "A cultivated plant which does not possess seeds must have been under culture for a very long period--we have not in Europe a single exclusively seedless, berry-bearing, cultivated plant--and hence it is perhaps fair to infer that these plants were cultivated as early as the beginning of the middle of the Diluvial Period."
Is it possible that a plant of this kind could have been cultivated for this immense period of time in both Asia and America? Where are the two nations, agricultural and highly civilized, on those continents by whom it was so cultivated? What has become of them? Where are the traces of their civilization? All the civilizations of Europe, Asia, and Africa radiated from the Mediterranean; the Hindoo-Aryans advanced from the north-west; they were kindred to the Persians, who were next-door neighbors to the Arabians (cousins of the Phœnicians), and who lived along-side of the Egyptians, who had in turn derived their civilization from the Phœnicians.
It would be a marvel of marvels if one nation, on one continent, had cultivated the banana for such a vast period of time until it became seedless; the nation retaining a peaceful, continuous, agricultural civilization during all that time. But to suppose that two nations could have cultivated the same plant, under the same circumstances, on two different continents, for the same unparalleled lapse of time, is supposing an impossibility.
We find just such a civilization as was necessary, according to Plato, and under just such a climate, in Atlantis and nowhere else. We have found it reaching, by its contiguous islands, within one hundred and fifty miles of the coast of Europe on the one side, and almost touching the West India Islands on the other, while, by its connecting ridges, it bound together Brazil and Africa.
 
 
File:Luxor, Banana Island, Banana Tree, Egypt, Oct 2004.jpg
Egyptian Banana Plant from Wikipedia
 
Bananas are known to have been cultivated since 8000 or 9000 BC at least, The first place they can be pinned down as being domesticated is probably New Guinea. Two wild species of seed bananas are thought to have been important in the development of domesticated bananas and plantains: Musa acuminata and Musa balbisiana. Musa balbisiana is native to India, Southern China and South Asia, while Musa acuminata  is native to Africa just south of the Sahara and Indonesia (Including New Guinea). An important independent area of Musa acuminata cultivation is the Lakes region of Eastern Africa and it is possible that banana cultivation there can be traced back to the early  postglacial wet period when related cultures stretched as far away as Lake Chad. the findings of banana experts in Africa and America is at variance with the findings of botanists that work only in the South Asian area. A separate seed banana known as the Pacoba has been identified in South America and it has fossil forebearers that run back to the Oligocene (Zhirov). Bananas produced for peasant economies in the Atlantean areas are frequently called "Plantains" although that name has no particular biological significance.(Information from Wikipedia plus additional from rival sources)

Oldest Rock Art in North America Revealed

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http://www.livescience.com/38865-oldest-petroglyphs-rock-art.html

Oldest Rock Art in North America Revealed


Researchers found that petroglyphs discovered in western Nevada are at least 10,500 years old, making them the oldest rock art ever dated in North America.
Credit: University of Colorado




On the west side of Nevada's dried-up Winnemucca Lake, there are several limestone boulders with deep, ancient carvings; some resemble trees and leaves, whereas others are more abstract designs that look like ovals or diamonds in a chain. The true age of this rock art had not been known, but a new analysis suggests these petroglyphs are the oldest North America, dating back to between 10,500 and 14,800 years ago.
Though Winnemucca Lake is now barren, at other times in the past it was so full of water the lake would have submerged the rocks where the petroglyphs were found and spilled its excess contents over Emerson Pass to the north. [See Photos of Amazing Cave Art

To determine the age of the rock art, researchers had to figure out when the boulders were above the water line.
The overflowing lake left telltale crusts of carbonate on these rocks, according to study researcher Larry Benson of the University of Colorado Boulder. Radiocarbon tests revealed that the carbonate film underlying the petroglyphs dated back roughly 14,800 years ago, while a later layer of carbonate coating the rock art dated to about 11,000 years ago.
Those findings, along with an analysis of sediment core sampled nearby, suggest the petroglyph-decorated rocks were exposed first between 14,800 and 13,200 years ago and again between about 11,300 and 10,500 years ago.
"Prior to our study, archaeologists had suggested these petroglyphs were extremely old," Benson said in a statement. "Whether they turn out to be as old as 14,800 years ago or as recent as 10,500 years ago, they are still the oldest petroglyphs that have been dated in North America."
Researchers previously believed the oldest rock art in North America could be found at Long Lake, Ore., in carvings that were created at least 6,700 years ago, before being covered in ash from the Mount Mazama volcanic eruption. [Formation of Crater Lake, eruption ca 4700 BC]
The deeply carved lines and grooves in geometric motifs in the petroglyphs at Winnemucca Lake share similarities with their cousins in Oregon. As for what the petroglyphs represented to their Native American creators, researchers are still scratching their heads.
"We have no idea what they mean," Benson said. "But I think they are absolutely beautiful symbols. Some look like multiple connected sets of diamonds, and some look like trees, or veins in a leaf. There are few petroglyphs in the American Southwest that are as deeply carved as these, and few that have the same sense of size."
The findings will be detailed in the December 2013 issue of the Journal of Archaeological Science.
Follow Megan Gannon on Twitter and Google+. Follow us @livescienceFacebookGoogle+. Original article on LiveScience

[There are similar areas of Petroglyphs in Mexico, Central and Mountainous South America and some area already thought to be the same age, about 9000 to 12000 BC, and they probably correspond to Rock Art in Spain, Italy and in the Sahara probably at the same age. Some of the geometric signs continue to be produced by South American natives and have supernatural meanings attached, and some of them are thought to be associated with patterns of light seen in hallucinations after ingesting certain drugs. Similar geometric signs also continue on into the Megalithic cultures, and the geometric figures make a break with the more naturalistic and older animal art traditions of the Cro-Magnons. There is another peculiar feature is that these petroglyphs are often associated with certain naturally shaped "Statues", being some formations of rock thought to bear a resemblance to animals or humans: doubtless these are also seen as being magical. These have been especially noticed in Peru but could be found throughout the Megalithic area as well, being large stones naturally venerated by the culture whose career was in moving large stones around and placing them precisely. All of these things presumably came from an older cultural package which believed in such things, made the petroglyphs, and likely also used drugs to promote visions.-DD]

Language Families Chart Maps 2

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I had done the maps on this last time but I think I had not got my point across. We have this large arc of language families with a series of different but parallel crossings of the Pacific and a series of languages originating about in the area of China (including Mongolia and Taiwan) that resettled as American language families.This includes both the Aztecs and their forerunners in Mesoamerica, and the ancestors of the Polynesians were once again stated as South Americans. (From the chart below the Chibchans are also related to the Panoan and Tacanan Pre-Incas, and thence out to the Polynesians) So we are back to Kon-Tiki voyagers once again: It is VERY Likely that Lapita Ware people established a beachhead in Northwestern South America by 1000 BC. This harmonizes with the often-maligned suggestion that the Siouan languages had features like the Malayo-Polynesians: they would be showing features transmitted through the Chibchans, and the waves of influence Northwards would be followed by Mayan influences on the Caddoan and Muskhogean languages, and then Arawak settlements in Florida and along the coast of Texas, Going by the Andean-Equstorial classification (and I see no reason to drop it, I think it is an excellent arrangement), the Quechua languages of the Andes and the Tupi languages of the Amazon and Coastal Brazil are related to the Arawak: Carib and most of the more southerly South American languages retain even older remnants showing them to be related to New Guinean and Australian Aboriginal Languages. This is all in line with the presentation in Men Out of Asia, oddly enough, and the Andean-Equatorial languages are the more recen Atlantean (Archaic) additions) (The oldest Atlantean settlers were Nostratic speakers and their descendants are loosely grouped under the heading "Penutian" which includes Mayan) There are other, later, West-African influences that are also identifiable in Mexico, Mesoamerica and probably Northern South America, but this aspect is usually said to have been derived from African slaves later on. On the other hand there seems to be good evidence this runs all the way back to the Nubian period in Egypt: a future blog entry should touch on this.
 
From the look of the map, the importance of the trade winds in crossing the Pacific either way seems to be considerable.


Cariban seems related to Jge and then to the Patagonian languages, and these languages are generally taken to be very old and very primitive.
Continuing to draw on the same sources as before and extending the speculation, and as always cross-checking with the Wikipedia and other standard references. The Wikipedia entries on such standard groups as the Athabascans (Dene), Uto-Aztecans and so on have been listed on this blog before.

http://en.wikipedia.org/wiki/Athabascan
http://en.wikipedia.org/wiki/Chibchan_languages
(Note, thought to be related to the  Choco languagesPano–Takanan, Misumalpan languages, Xinca, and Lenca by different authorities, all seem to be sound suggestions)
http://en.wikipedia.org/wiki/Macro-Andean_languages
http://en.wikipedia.org/wiki/Mayan_languages
http://en.wikipedia.org/wiki/Otomanguean
http://en.wikipedia.org/wiki/Uto-Aztecan_languages
http://en.wikipedia.org/wiki/Malayo-Polynesian_languages
http://en.wikipedia.org/wiki/Siouan_languages
http://en.wikipedia.org/wiki/Quechua_languages
http://en.wikipedia.org/wiki/Indigenous_languages_of_the_Americas
http://en.wikipedia.org/wiki/Amerind_languages

"Smithsonian Amazed at Discovery of 6 1/2-Foot [Up to 8-foot] Mummies in Caves."

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Your Daily Giant 8/18/2013


Today's Daily Giant continues the story of explorer Paxson Hayes and the Giants of Sonora. In this photo from the San Jose News, December 31, 1935 pg 12, the description is given,
...
"Paxson Hayes, explorer, studies the head of a giant mummy discovered by him in a deep cave hitherto unexplored regions of Sonora, Mexico. The mummified remains were of a race 7 1/2 feet tall and preserved in excellent condition. Corn found with the mummies has been given to scientists."

Yesterday I posted a picture of the ancient city in Sonora, Mexico where the giant mummies were found. Reported in the Washington Post, July 22, 1937 is "Smithsonian Amazed at Discovery of 6 1/2-Foot Mummies in Caves." We are informed of the following about Paxson C. Hayes and G. C. Barnes from the article, "With several dozen snakes (all alive), and the burial robe of a prehistoric giant (quite dead), packed in their trailer, they stopped in Washington yesterday to promote interest in their unique fields of activity. Herpetologically speaking, their purpose in coming here from California was to present President Roosevelt with 15 Smoki snakes., 10 California and Mexican rattlers and an 8-foot baby Mexican boa constrictor, which was shedding. Marvin C. McIntyre received them at the White House, expressed gratitude and suggested the reptile house at the zoo as perhaps the best place for the snakes. Dr. Ernest P. Walker, assistant director of the Zoo, officially welcomed the snakes to their new home. That over, the visitors then dropped in at the Smithsonian Institution with the prehistoric burial robe and a four-legged stool, both of which they unearthed in a burial cave in northern Sonora, Mexico. The Californians explained that the cave, one of 18 they had discovered, contains well preserved mummies of a race which averaged over 6 1/2 feet in height (up to 8 feet tall). The caves are scattered over an area of 450 square miles. Hayes who has just returned from his fifth expedition to the caves heard about their existence from the Yaqui Indians of Mexico."

The article also shows a photo of Hayes, Barnes and Head Keeper of the Washington Zoo, William H. Blackburn as they assist a Mexican boa constrictor. I found the following information in the Annual Report of the Board of Regents of the Smithsonian Institution "Smoki People," through Paxson C. Hayes and G. C. Barnes, Prescott, Ariz., 5 Western bullsnakes, 2 red rattlesnakes, 2 Mexican rattlesnakes." This if further verification of Hayes and Barnes meeting with Smithsonian officials. Lost city, giant mummified head, and a burial robe of a giant. All three with photographs, Another case where the Smithsonian Institution should be compelled to answer questions
The%20skeleton%20of%20a%2022-%20to%2024-year-old%20man%20of%20approximately%207%20foot%2C%206%20inches%20tall%2C%20center%2C%20is%20on%20display%20at%20the%20Mutter%20Museum%20of%20The%20College%20of%20Physicians%20of%20Philadelphia%2C%20Pennsylvania.%20%28Harry%20Fisher%2C%20MCT%29
The skeleton of a 22- to 24-year-old man of approximately 7 foot, 6 inches tall, center, is on display at the Mutter Museum of The College of Physicians of Philadelphia, Pennsylvania. (Harry Fisher, MCT)

see also
http://myfivemen.blogspot.com/2008/05/ohio-giants.html

Giant Human Neanderthal Hybrids Discovered in California

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http://gianthumanskeletons.blogspot.com/2013/08/giant-numan-neanderthal-hybrids.html
Giant [H]uman Neanderthal Hybrids Discovered in California




Boston Globe, June 25, 1922

Giant’s Graves in California

New Race of Men Dug Up, With Stone Implements Unlike Any Others

     Some of the skeletons are those of men measuring no less than 7 feet and perhaps more. Femur bones already sent to the University measure 21 inches in length.”

“The skeletons represent a most astonishing race of people, who probably inhabited this country thousands of years ago,” said Mr. Steinberger. “Some of the skulls are large, with, high foreheads and well-rounded, while others are apelike, retreating from an inch above the frontal bone, with the top of the head flat and with but small space for brain activity.
 
 
 

 

Materials reprinted in the originating article are apparently in the Public Domain.


African Origin of Modern Humans in East Asia: A Tale of 12,000 Y Chromosomes

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An important genetic study was published in SCIENCE magazine in 2001 on the reality of the Out Of Africa Theory
Science
Vol. 292 no. 5519 pp. 1151-1153
DOI: 10.1126/science.1060011

  • Report

African Origin of Modern Humans in East Asia: A Tale of 12,000 Y Chromosomes

Authors:
  1. Li Jin1,3,13,
+ Author Affiliations
  1. 1 State Key Laboratory of Genetic Engineering, Institute of Genetics, School of Life Sciences, Fudan University, 220 Handan Road, Shanghai, China 200443, and Morgan-Tan International Center for Life Sciences, Shanghai, China.
  2. 2 Kunming Institute of Zoology, the Chinese Academy of Sciences, Kunming, China.
  3. 3 Human Genetics Center, University of Texas–Houston, 1200 Herman Pressler E547, Houston, TX 77030, USA.
  4. 4 Eijkman Institute for Molecular Biology, Jakarta, Indonesia.
  5. 5 Department of Environmental Health, University of Cincinnati, Cincinnati, OH 45267, USA.
  6. 6 Department of Genetics, Stanford University, Stanford, CA 94305, USA.
  7. 7 Department of Biology, Yunnan University, Kunming, China.
  8. 8 Department of Anthropology, Pennsylvania State University, University Park, PA 16802, USA.
  9. 9 Center for Molecular Medicine, Emory University School of Medicine, Atlanta, GA 30322, USA.
  10. 10 Wellcome Trust Center for Human Genetics, University of Oxford, UK.
  11. 11 Program for Population Genetics, Harvard School of Public Health, Boston, MA 02115, USA.
  12. 12 Shanghai Second Medical University, Shanghai, China.
  13. 13 National Human Genome Center at Shanghai, China.
To test the hypotheses of modern human origin in East Asia, we sampled 12,127 male individuals from 163 populations and typed for three Y chromosome biallelic markers (YAP, M89, and M130). All the individuals carried a mutation at one of the three sites. These three mutations (YAP+, M89T, and M130T) coalesce to another mutation (M168T), which originated in Africa about 35,000 to 89,000 years ago. Therefore, the data do not support even a minimal in situ hominid contribution in the origin of anatomically modern humans in East Asia.
  • Received for publication 20 February 2001.
  • Accepted for publication 20 March 2001.


 
The majority of theorists (including myself) would be most happy with the results that the Out of Africa migration came out of African populations between 89000 and 35000 years ago: a majority opinion would also be that there was more than one repeated, but only very occasional, important movements out of Africa given this same time span. One earlier one, one late one and one in the middle of the timespan would be sufficient, and important key elements out of the first two attempts are recorded in the fossil record as signal failures.-DD.

Evidence for Archaic Asian Ancestry on the Human X Chromosome

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This part is also true:
Molecular Biology and Evolution, Volume 22, Issue 2, Pp. 189-192.

Evidence for Archaic Asian Ancestry on the Human X Chromosome

Authors:
  1. Michael F. Hammer*
+ Author Affiliations
  1. *Division of Biotechnology, and Department of EEB, University of Arizona, Tucson
  1. E-mail: mfh@u.arizona.edu.
  • Accepted October 4, 2004.

Abstract

The human RRM2P4 pseudogene has a pattern of nucleotide polymorphism that is unlike any locus published to date. A gene tree constructed from a 2.4-kb fragment of the RRM2P4 locus sequenced in a sample of 41 worldwide humans clearly roots in East Asia and has a most-recent common ancestor approximately 2 Myr before present. The presence of this basal lineage exclusively in Asia results in higher nucleotide diversity among non-Africans than among Africans. A global survey of a single-nucleotide polymorphism that is diagnostic for the basal, Asian lineage in 570 individuals shows that it occurs at frequencies up to 53% in south China, whereas only one of 177 surveyed Africans carries this archaic lineage. We suggest that this ancient lineage is a remnant of introgressive hybridization between expanding anatomically modern humans emerging from Africa and archaic populations in Eurasia.

[Simply put, The out of Africa crowd mated with Homo erectus in the Orient, on top of merely with older humans that had gone Out of Africa before they did.
This does argue for the inclusion of Homo erectus in the same species as Homo sapiens. A few experts such as Milford Wolpoff of the U of Michigan, have championed this unpopular  alternative point of view.-DD]

Extinct African Race of Homo sapiens and its implications

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[This is not actually a new situation, skulls of this type were known to have been present in Northern Africa as of the last Ice Age, and having nothing to do with other more modern humans at the time or subsequently, at least as far back as the beginning of the 1980s when I was taking Physical Anthropology courses at Indiana University in Bloomington. Our textbook at the time mentioned the situation. The second, less well known skull at Djebel Ihroud is also of this type.-DD]

Mystery of a West African skull from 13,000 years ago

16 September 2011

Humans with primitive skull features were still living in West Africa 13,000 years ago, much more recently than expected, according to scientists reporting in the PLoS One journal today
An international team of scientists studied human skeletal remains from Iwo Eleru in Nigeria, West Africa, which was unearthed in 1965.
The team was led by Prof Katerina Harvati of the University of Tubingen, Germany and Professor Chris Stringer, human origins expert at the Natural History Museum, and author of the new book The Origin of Our Species.
The skeleton was confirmed as dating to about 13,000 years ago. However, the skull did not look like one from a recent human, particularly those living in West Africa today. Instead, it shared many similarities with African fossil skulls that date to more than 100,000 years ago.
Stringer says that this suggests that fully modern humans in Africa overlapped with more archaic forms during the last 200,000 years (modern humans, Homo sapiens, evolved in Africa around 200,000 years ago).
'The mixed features of Iwo Eleru may reflect interbreeding between primitive and modern forms of Homo sapiens in that continent.'
Stringer, who first studied the skull 40 years ago, adds, ‘The latest study essentially confirms the research that I carried out on the fossil in 1972, but uses much more sophisticated techniques of study.
‘It shows that the evolution of modern humans in Africa was a more complex process than many of us believed, and that populations of archaic hominins or their genes survived in Africa much later than previously thought.’
Other late surviving humans
Modern humans shared the planet up until recently with other ancient human species. Research in the last few years has shown evidence for the Denisovans in central Asia about 40,000 years ago, and the Flores people in Indonesia as recently as 17,000 years ago.
And the Neanderthals survived up until about 30,000 years ago.
Stringer also mentions a study published last week suggesting that some African populations have genes from an unknown extinct human group, perhaps descendants of the earlier human species Homo heidelbergensis.
‘Our research on Iwo Eleru concurs with recent genetic reports of admixture between archaic humans and anatomically modern humans in Africa as recently as 35,000 years before present.’
Who could it belong to?
So how should the Iwo Eleru skull be classified? Stringer says that it is similar to recent humans in having a smaller browridge, and longer frontal and parietal bones. Yet the skull is also long, low and broad across the base.
‘Its nearest neighbour in the analyses is the Ngaloba (Laetoli 18) skull from Tanzania, thought to be about 140,000 years old, and Iwo Eleru did not resemble any recent African skulls in the analyses we performed.
'However, I still regard it as a Homo sapiens, albeit one with more ancient features.
'Remarkably, the Iwo Eleru skeleton is the oldest known so far from the entire West African region, so we hope that new field work can recover other, and older, human fossils from this area.
'Meanwhile, we intend to study the associated lower jaw and fragmentary skeleton, and make comparisons with similarly-dated fossils from other parts of Africa.'

http://www.nhm.ac.uk/about-us/news/2011/september/mystery-of-a-west-african-skull-from-13000-years-ago103799.html
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Underwater Harbors in America

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http://www.ancientcanalbuilders.com/

Underwater Harbors in America




Underwater Habors in AmericaThis site is a review of evidence that will forever change the history of North America, shifting our view from what we think we know about America to a whole new and radically different perspective of pre-historic civilizations on the North American continent.
There are many underwater harbors, channels and canals on the Atlantic and Gulf Coasts that are covered with vestiges and remnants of a sophisticated, and large culture or civilization that existed BEFORE current sea level rose an average of 5' 5".Evidence on this site, shows many harbor areas on much of New York's Long Island Sound and other East Coast locations, Florida Gulf Coast, the Louisiana Delta and Mexico, to have been 'worked' and 'inhabited' by a very large, and technically sophisticated population of canal builders during some remote period. Both Florida and New York have extensive offshore harbor and canal-channel systems that are at least -7,000 years old. The top photo is a harbor in Florida, and the photo to the left is an unused harbor in NY's Long Island Sound.
These structures were built BEFORE the water table rose to its present level. Some of the structures are between 6' to 15' BELOW current mean water sea level. The chart below, from Globalwarmingart.com, using the Jamaica plot figures, shows a 5' 5" sea level rise since -7,000 years before present.
Without question, a technically advanced, sophisticated civilization lived here on our coasts building very large, very complex harbors and canals. Many of the harbor systems are connected to a secondary tidal shoulder, close to a shoreline, but not to the existing shore, and have no current use, purpose or function. Many of the harbors appear to be between 6' and 9' underwater. Local evaluation will establish exact depths.
We have separated our field sites into Florida, New York, Louisiana, Texas, Mexico and other locations. Please select from the menus on the upper right. To find a specific site, select the 'State' icon to the left, just below the 'Home' icon.
If you are interested in working on one of the expedition sites, or would like to contribute to our research efforts, please contact us immediately.
 
[This is an interactive webBook using Google Earth images. You must have a Google Earth plug-in to view our site location pages. Download the plug-in from Google Earth.
Dedication: This book is dedicated to Lloyd Pye. A good friend and mentor]

[Unable to copy copyright notice or links at the bottom-DD]

Mushroom Mythology 1

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  I am of the opinion that the use of the sacred hallucinogenic mushroom Amanita muscaria developed on Atlantis, moved east and west, and later elaborated into alternate versions focusing on Psilocybin (in the New world) and the Cow's dung mushroom (In the Old world): and I am not alone in this theory because Gordon Wasson himself spoke of the possibility of the cult's originating on a North Atlantic Land bridge in the Latest Ice Age, the Cro-Magnon period. 

http://www.mushroomstone.com/partibreaking.htm
.....
                    
                                    R. Gordon Wasson  1898 – 1986 
            (Photo from Life Magazine,  the replica mushroom stone is a gift from my father)
 For a comprehensive treatment of the role of mushrooms in world history, see Mushrooms, Russia and History by Valentina P. Wasson and Robert G. Wasson, eds. N.T. 1957
                              
  Archaeologist Michael D. Coe...
   "I do not exactly remember when I first met Gordon Wasson, but it must have been in the early 1970's. He was already a legendary figure to me, for I had heard much of him from the equally legendary and decidedly colorful Steve Borhegyi, director of the Milwaukee Public Museum before his untimely death. Steve, who claimed to be a Hungarian count and dressed like a Mississippi riverboat gambler, was a remarkable fine and imaginative archaeologist who had supplied much of the Mesoamerican data for Gordon and Valentina Wasson's Mushrooms, Russia and History, particularly on the enigmatic "mushroom stones" of the Guatemala highlands. His collaboration with the Wassons proved even to the most skeptical that there had been a sort of ritual among the highland Maya during the Late Formative period involving hallucinogenic mushrooms"
 (from the book; The Sacred Mushroom Seeker: tributes to R. Gordon Wasson, 1990 p.43)   

                                       
                                                               
 Suzanne de Borhegyi-Forrest, the author's mother, retrieves a jaguar incense burner lid from the waters of Lake Amatitlan in Guatemala in 1957. Photo from her book  Ships, Shoals, and Amphoras, The story of Underwater Archaeology  (Holt, Rinehart & Winston, N.Y.,1960) 
                                    Forward by Suzanne de Borhegyi-Forrest, Ph.D.                                         
  Mesoamerican mushroom imagery first came to the attention of the modern world in the late 19th century when the German geographer Carl Sapper published a picture of an effigy mushroom stone from El Salvador in the journal Globus.(29 May 1898)  Sapper noted that the stone carving was “mushroom-shaped” but did not consider whether it actually represented a mushroom. This connection was supplied two months later by Daniel Brinton in an article in Science (29 July 1898) when he noted that “they (mushroom stones) resemble in shape mushrooms or toadstools, and why should not that be their intention?”  (Wasson, 1980: p.175). However difficult it was for scholars to accept the mushroom stones as representations of actual mushrooms, the case for their association with a psychogenic mushroom cult came in 1952 when R. Gordon Wasson and his wife, Valentina Pavlovna, came on the scene. Although neither of them were professional anthropologists--Wasson was a New York banker with the firm of J.P. Morgan, and an amateur mycologist; his wife, Valentina Pavlovna, a pediatrician--they were engaged in writing a book about the cross cultural role of mushrooms in history. In the course of their studies they learned of the existence of an entheogenic mushroom cult among the Mazatecs and Mixtec Indians in southern Mexico. They also found reports of the pre-Conquest use of “inebriating” mushrooms written by such prominent Spanish historians as the Dominican friar Diego Durán (1964, 225-6), Fray Bernardino de Sahagun (1947,:239, 247), and Motolinía ,(1858, Vol. I: 23),
The friars who reported the ceremonial use of psychogenic mushrooms were sparing with their words and inevitably condemnatory in their description of mushroom “intoxication.” They were, in fact,  repulsed by the apparent similarities of the mushroom ceremony to Christian communion.  Wasson and Pavlovna, however, read these reports with great interest. They were particularly excited when, In 1952, they learned that archaeologists working at the Maya site of Kaminaljuyu on the outskirts of Guatemala City had found a tripod stone carving in the shape of a mushroom bearing the effigy of a jaguar on its base. Sure that it corroborated the existence of a PreColombian mushroom cult (Wasson and Wasson, 1980:75 -178), they consulted American Museum of Natural History archaeologist Gordon Ekholm.
The author’s father, Stephan de Borhegyi, became the intermediary in their investigations. A recent emigrant from Hungary with a Ph.D. in Classical Archaeology and Egyptology from the Peter Paszmany University in Budapest, Borhegyi had been invited to Guatemala to study American archaeology by  the Carnegie Institution of Washington. Working under a grant provided by the then Viking Fund of New York (subsequently the Wenner Gren Foundation) his project was to catalog the extensive archaeological collections of the Guatemalan National Museum. In the course of this project he came across numerous unprovenanced small stone sculptures shaped like mushrooms which he described in correspondence with Ekholm. Ekholm put him and the Wassons in touch with one another. Shortly thereafter, the Wassons,  Borhegyi, and I, (his wife and the author’s mother, Suzanne), embarked on a trip through the Guatemalan highlands in search of evidence of an existing mushroom cult such as had been reported among the Mazatecs and Mixtecs of Mexico. No such cult was uncovered, but both the Wassons and the Borhegyis suspected that the lack of evidence might be explained by the extreme sacredness and sensitivity of the subject among the Maya Indians, coupled with an inadequate amount of time devoted to winning the confidence of their informants. Wasson did, however, find corroborating evidence of inebriating mushrooms in a number of Mayan word lists for the Cakchiquel linguistic area around Guatemala City (Wasson, 1980, pp. 181-182).
Following their sojourn in Guatemala, Wasson and Pavlovna went on to visit the remote village of Huautla de Jimenez in southern Oaxaca. Here they not only found evidence of an existing mushroom cult, but had the opportunity to participate in a mushroom ceremony conducted by a local curandera, Maria Sabina. The results of their research exploded into worldwide notoriety in 1955 with the publication of Wasson’s article entitled “Seeking the Magic Mushroom.” in the popular magazineLIFE  (May 13, 1957).  To Wasson's consternation, his description of the mushroom ritual reverberated through the hippie culture of the time. Seemingly overnight the little Oaxacan village was mobbed with thrill seekers—“hippies, self-styled psychiatrists, oddballs, even tour leaders with their docile flocks.” (Wasson, 1980, p. XVI). Wasson sent samples of the hallucinogenic mushroom to a pharmaceutical laboratory in Switzerland for analysis with the result that the active agent was both identified and made into synthetic pills. The era of widespread abuse of the psychedelic mushroom began with a vengeance that rocked society.
It is strange that, in the half century since Borhegyi published his first articles on Maya mushroom stones and proposed their use in connection with Maya psychogenic mushroom ceremonies, little attention has been paid to this intriguing line of research. I propose that the oversight is related to the worldview classification scheme established by Wasson, in which he distinguished between peoples and cultures that liked mushrooms (mycophiles) and those that feared them (mycophobes) (Wasson, 1980: XV). This classification might be extended to include all psychogenic or mind-altering substances with the exception of alcohol. Their use in the Western world is considered to be objectionable, immoral and, for the most part, illegal. In any event, it is clear that, while the Pre Columbian peoples of Mesoamerica were decidedly mycophilic, the majority of archaeologists who have studied them are mycophobes. The result has been that their possible centrality to ancient Mesoamerican religious rituals has been either overlooked or, at best, barely acknowledged (Martin and Grube, 2000:15; Coe, 1999: 70; Sharer, 1994: 542, 683).
There may, however, be another, more immediate, reason for this neglect. That, I believe, is the memory of the very unsettling period in our recent history when too many individuals, most of them young people, “tripped out” on a variety of psychedelic substances, and in too many cases harmed themselves in the process. While neither Steve nor I ever took the sacred mushroom. Our son, Carl (without my knowledge I might add), did experiment with the mushroom during his student years in the late 1970s at Southwestern Michigan College and the early 1980s at the University of Wisconsin. This enables him to speak from experience of the mushroom’s awe-inspiring effect on the mind and body. He is quick to say that he would not repeat the experiment today, but he does not deny the obvious—that one has to have experienced the “magic” effects of the mushroom to truly comprehend the mushroom experience. Quoting from Daniel Breslaw’s book Mushrooms, “a smudge on the wall is an object of limitless fascination, multiplying in size, complexity, and color,” (1961).  It is our sincere hope that, by calling for a new, and much needed, look at the role of  psychogenic mushrooms in PreColumbian art and ideology, we will not inadvertently encourage a new wave of thrill-seeking experimentation with the mushroom and its derivatives. It should be possible to engage in the former, without provoking the latter.
[1] Entheogen, meaning “God within us” is the preferred term for those plant substances that, when ingested, give one a divine experience.  This semantic distinction distinguishes their role in the early history of religions from their abuse and vulgarization by the “hippie” sub-culture of the l960's and 1970s.   

              

Now thoroughly intrigued by this introduction to archaeological research (I had majored in physical education at the University of Wisconsin),  I Joined the Maya Society of Minnesota in order  to attend their lectures and workshops in Maya archaeology. Assisting with their lecture programs as a board member, I met with many of the visiting archaeologists and shared ideas with them. In the fall of 2004 I enrolled in a course entitled "Topics in Maya archaeology"  at Hamline University. My assignments in that class introduced me to the online research site  FAMSI  (Foundation for the Advancement of Mesoamerican Studies, Inc). Here I discovered Justin Kerr's remarkable compilation and data base of roll-out photographs of Mesoamerican ceramic figurines and Maya vase paintings. It was this site, above all, that permitted me to make the detailed study of Mesoamerican visual art. This task was  immensely facilitated by new photographic technology, the computer, and my ability to access the Kerr database on my home computer, all modern day miracles unavailable to earlier researchers. As a result of this study and solid evidence from other scholars,  I have been able to expand this subject far beyond my father's pioneering efforts.
 I found no mention of images of mushroom stones, pottery mushrooms, or images of actual mushrooms in Kerr’s extensive index.However, after hours of examining hundreds of Maya vase paintings, I discovered a significant amount of mushroom imagery, both realistic and abstract, of both the.Amanita muscaria or Fly Agaric mushroom, and the better known hallucinogenic Psilocybin mushroom.  It was easy to understand, however, why the imagery had not been noted earlier. On many vases the images of mushrooms, or images related to mushrooms, were so abstract, and so intricately interwoven with other complex and colorful elements of Mesoamerican mythology and iconography, that they were, I believe, quite deliberately  "hidden in plain sight," in an effort to conceal  this sacred information from the  eyes of the uninitiated.

  Much of the mushroom imagery I discovered was associated with an artistic concept I refer to as jaguar transformation. Under the influence of the hallucinogen,  the "bemushroomed" acquires feline fangs and often other attributes of the jaguar, emulating the Sun God in the Underworld. This esoteric association of mushrooms and jaguar transformation was earlier noted by Peter Furst,  together with the fact that a dictionary of the Cakchiquel Maya language compiled circa1699 lists a mushroom called "jaguar ear" (1976:78, 80) .
  Many of the images involved rituals of self-sacrifice and decapitation in the Underworld, alluding to the sun's nightly death and subsequent resurrection from the Underworld by a pair of deities associated with the planet Venus as both the Morning Star and Evening star. This dualistic aspect of Venus is why Venus was venerated as both a God of Life and Death.  It was said that (The Title of the Lords of Totonicapan, 1953 third printing 1974, p.184), they [the Quiche] gave thanks to the sun and moon and stars, but particularly to the star that proclaims the day referring to Venus as the Morning star.
 Mushrooms were so closely associated with death and underworld jaguar transformation and Venus resurrection that I conclude that they must have been believed to be the vehicle through which both occurred. They are also so closely associated with ritual decapitation, that their ingestion may have been considered essential to the ritual itself, whether in real life or symbolically in the underworld. It is also important to note that in many cases the mushroom images appeared to be associated with period endings in the Maya calendar. 
             
 I have also found evidence supporting the proposition that Mesoamerica, the high cultures of South America, and Easter Island shared, along with many other New World cultures, elements of a Pan American belief system so ancient that many of the ideas may have come from Asia to the New World with the first human settlers.  I believe the key to this entire belief system lies, as proposed by R. Gordon Wasson, in early man's discovery of the mind-altering effects of various hallucinatory substances. The accidental ingestion of these hallucinogenic substances could very well have provided the spark that lifted the mind and imagination of these early humans above and beyond the mundane level of daily existence to contemplation of another reality.
My studies have also led me conclude that all variants of the Toltec/Aztec gods Quetzalcoatl and Tlaloc, and their Classic Maya counterparts, Kukulcan, K´awil and Chac, though they may have different names and be associated with somewhat different attributes in different culture areas, are linked to the planet Venus through divine rulership, lineage and descent.  In Mesoamerica they are also linked with warfare. Maya inscriptions tell us that the movement of the planet Venus and its position in the sky was a determining factor for waging a special kind of warfare known as Tlaloc warfare or Venus "Star Wars." These wars, waged against neighboring city-states for the express purpose of taking captives for sacrifice to the gods, thus constituted a form of divinely-sanctioned "holy" war. 
  Admittedly I have bypassed the traditional route of doctoral studies in New World archaeology, art history, and religion.  It should be noted, however,  that I am far from the first layman to make some significant contributions to Mesoamerican scholarship. The important contributions to our understanding of Maya glyphic writing by the late Soviet lay scholar, Yuri Knorosov, come immediately to mind. It is, in fact, in partial tribute to him and to his “discoverer,” Maya archaeologist, Michael D. Coe, that I have titled my book “Breaking the Mushroom Code.” (See Coe, Breaking the Maya Code, 1992)  With that said, I can now present what I consider to be indisputable visual evidence of the many metaphorical relationships to mushrooms that  I discovered  within the Mesoamerican religious iconography depicted on sculptures, murals, codices, and vase paintings.

 While I may be the first to call attention to this encoded mushroom imagery, these images can be viewed and studied with ease on such internet sites as Justin Kerr's Maya Vase Data Base and F.A.M.S.I. ( Foundation for the Advancement of Mesoamerican Studies, Inc).  
  In summary, the mushroom inspired images I have presented to this point (see Home Page and Soma in the Americas), most of which are cleverly encoded by the artist, are just a few of the many images I found that clearly  represent mushrooms and mushroom worship. Mushroom imagery occurred with such frequency and in such indisputably religious context that there can be no doubt as to their importance in the development and practice of indigenous religion.  In these pages, and those thart follow,  I demonstrate how and why I reached these conclusions by leading my readers through many of the mushroom-related images, most notably of the Amanita muscaria mushroom,  that I  found encoded in Mesoamerican art.  By so doing I hope to correct a lamentable gap in our knowledge and understanding of the past.
                         
                   
 
  Nine of the ten Preclassic mushroom stones depicted above were found in a cache along with nine miniature metates at the highland Maya archaeological site of Kaminaljuyu on the outskirts of Guatemala City. The contents of the cache were dated at 1000-500 B.C.  The tall jaguar mushroom stone on the left was excavated separately at Kaminaljuyu. I would speculate that the designs on the stems of the two mushroom stones on the far left is an esoteric symbol referring to movement (ollin?) indicating the mushroom's esoteric role as a portal of up or down, esoteric so to speak for Underworld jaguar transformation and divine Venus resurrection.
In describing the contents of the Kaminaljuyu cache, Borhegyi wrote;
  "The cache of nine miniature mushroom stones {depicted above} demonstrates considerable antiquity for the "mushroom-stone cult," and suggests a possible association with the nine lords of the night and gods of the underworld, as well as the possible existence of a nine-day cycle and nocturnal count in Preclassic times. The association of the miniature mushroom stones with the miniature metates and manos greatly strengthens the possibility that at least in some areas in pre-Columbian Mesoamerica metates were used to grind the sacred hallucinatory mushrooms to prepare them for ceremonial consumption." (Borhegyi 1961: 498-504)
  Borhegyi's studies revealed that mushroom stones first appeared in the Preclassic period in the highlands of Guatemala and at sites along the Pacific slope.  In 1957  he published a typological breakdown of mushroom stones according to their chronology and distribution (Wasson and Wasson, 1957) noting that the mushroom stones from the lower altitudes were of the late type and either plain or tripod. While mushroom stones are absent from the Classic period, he believed that they may have been re-introduced to Guatemala and El Salvador in the Post Classic period by the Pipils, another group like the "Tajinized Nonoalca", or Olmeca-Xicallanca  from the Mexican gulf Coast. He postulated that they may have represented a secondary manifestation of the original idea (Borhegyi to Wasson, June 14th 1953). Mushroom stones that carry an effigy, like the ones depicted above of a human (god?), bird, jaguar, toad and other animals,occurred earlier in time and have been mostly found at the higher elevations of the Guatemala Highlands. This is an area of woodlands and pine forests where the Amanita muscaria mushroom grows in abundance. It  is more than likely, therefore, that this mushroom was the inspiration or model for the earliest mushroom stone carvings. The Amanita muscaria mushroom contains muscarine and ibotenic acid, thesubstances that cause the powerful psychoactive effects.
There are numerous historical reports that link mushroom consumption to such self-sacrificial religious activities as blood letting and penis perforation. In the latter ritual, blood was drawn from the penis and sprinkled upon the remains (cremated ashes or exhumed bones and most likely skulls) of deceased ancestors. The resurrection ritual was probably timed astronomically to the period of inferior conjunction of the planet Venus. At this time Venus sinks below the horizon and disappears into the "underworld"   for eight days. It then rises before the sun, thereby appearing to resurrect the sun from the underworld as the Morning Star. For this reason mushroom induced bloodletting rituals were likely performed in caves, which I suspect was timed to a ritual calendar linked to the movements of the planet Venus as both a Morning Star and Evening Star. The mushroom experience, as well as caves and ballcourts were believed to be entrances or portals into the underworld.
The ritual calendar was synchronized to the cycles of Venus because of the planets interaction and synchronization with Earth’s orbital period of 365-days. Venus’s orbit around the sun takes only 225 days, but when Venus is viewed from Earth, from Morning Star to Morning Star, her full synodic cycle, takes 584 days. Five of these full synodic cycles from Morningstar to Morningstar equals eight solar years to the day in which we see Venus rise in the same spot every eight Earth years. With the knowledge of predicting Morning Star appearances for centuries to come calendar priests and rulers would be revered for having the powers of resurrection which gave rise to the priesthood. It was a divine system for measuring time and calendar priests were able to predict exact dates for solstices and eclipses.
Cave ritualism on an elite level is evident as early as 1000 B.C. at the Olmec influenced site of Chalcatzingo, near the Valley of Mexico (Pasztory, 1997:90).  Archaeologist  Brent Woodfil and Jon Spenard (personal communication with both archaeologists) found ceramic mushroom pots in the Candelaria cave system in the San Francisco Hills near the lowland Maya site of Cancuén, Petén, Guatemala (Spenard, M.A thesis, 2006). The caves investigated in the south region of the Guatemalan Highlands include Saber, CHOC-05, Ocox, and Cabeza de Tepezquintle. According to Spenard, "Ocox is a canyon-like system that runs through a large hill with a rock shelter component at its northern-most extent....Ocox is a Q'eqchi Mayan word for mushroom, a reference to the large quantity of mushrooms that are growing from the floor of the rock shelter."  These sacred caves may have been believed to be either the legendary Chicomoztoc, the name given for the place of mythical origin of the ancient Mayas, Toltec and Aztecs, or a place revered locally as a "place of emergence." (Woodfill,2002. Spenard, personal communication, 2011).  According to Dennis Tedlock (1985 p.326) the patron god Auilix who I speculate represents a mushroom god, was given to Jaguar Night, at the mountain of the Seven Caves and taken to "the great canyon in the forest" (P.V. Tedlock p.178) to a location that came to be named Pauilix, literally "At Auilix".  According to Miller and Taube, (1993:136) the four founders of the Quiche lineages,  "journeyed to Tulan Zuyua, the mountain of the seven caves, and there they received the gods, whom they then carried home in bundles on their backs....Balam Quitze received Tohil, who gave humans fire, but only after human sacrifice to him had begun."  Could these "gods" that could be carried in a back pack possibly have been mushrooms, or mushroom stones?
Patron deitiescould appear in human form, but were also represented in art as a sacred bundle (see representations of K’awil at Palenque). The Maya god K’awil's image as a royal scepter is frequently depicted in the hands of the supreme ruler or High Priest and the god K'awil has been identified by scholars as the Quiche Maya counterpart of the god Tohil.
According to the Popol Vuh, the migration of the Quiché tribes was led under the spiritual “guidance” of Tohil, their patron deity. Like the Itzas, the Quiche people also believed that they were led by Lord Plumed Serpent from Tollan /Tula. He led his people eastward to the “land of writing” to a sacred mountain top citadel called Bearded Place, and it was there that the Quiche people settled down to live. This brave leader was described as a bearded white man “whose face was not forgotten by his grandsons and sons” as described on page 205 by Tedlock (Tedlock: 1985: 205. 213). 
 There is ample evidence that the mushroom stone cult lasted well into the Colonial Era.  In 1554 it was reported as a symbol of dynastic power in the Maya Quiche document entitled "El Titulo de Totonicapan" (Land Title of Totonicapan) 
"  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." 
The Annals of the Cakchiquels,  (1953:82-83), 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.”
“The Cakchiquel version therefore also connects mushrooms with ceremonial offerings to the gods.  This mushroom, I think is our anacate (mushroom), if it grows at the foot or on the tree”.
“Both the Quiché and Cakchiquel people presumably arrived in Guatemala around 1100 or 1200 A.D.  At that time, however, the mushroom stones were no longer in use.  The confusing picture is now that here we have definite literary evidence of the mushroom cult practiced in a period when mushroom stones were no longer in use.  On the other hand, we have the archaeological evidence of the use of mushroom stones, prior to 1200 A.D., without any literary evidence that they were connected with a mushroom cult.  Unfortunately, we do not know what the stone idols of Tohil, and Avilix looked like. Tohil is also referred to in the Annals as Gucumatz, which is “feathered serpent” and we might assume that he was so represented.  What type of god Avilix was is still a question (It would be more than pleasant to think of him as a mushroom God!)  I think they prove beyond any doubt that at least some sort of a mushroom cult must have existed among the Quiché and Cakchiquel Mayas.  As you remember, these are the regions from where we got the most satisfactory linguistic information.  It would seem, therefore, that even if a mushroom cult is not in existence today among these two groups, it was in evidence 300 years before the conquest.”
   As Ever, Steve
  In another letter to Wasson, Borhegyi writes that Tohil is a Quiché variant of Quetzalcoatl but  the meaning of the word Avilix is still unknown. (June 6, 1954, ép.2)  However, while searching in Gate's Dictionary of Maya Glyphs, I found that the Quiché word avixis a verb meaning to sow or plant a milpa-field or garden. (Gates, 1978, p.54)  Could the name Avilix then, possibly refer to the Maize God? 
                                    
   Late Classic Maya Vase K1185, (600-900 C.E.) This cylindrical vase in roll out form is from the Nakbe Region in Guatemala. The Maya scribe on the left holding a paint stylus in one hand  and shell pot in the other, has an elongated head, reminiscent of the Maya Maize God. As a headdress he wears what appears to be an abstract bearded serpent with bifurcated tongue.  A closer look however, reveals that the scribe also has a mushroom encoded into his headdress. This encoded mushroom may be an esoteric reference to an elite school of calendar priests who were skilled in prophecy and divination.

Maya centers were ruled by a priestly caste whose duties seem to have been obsessively concerned with astronomical observations and mathematical calculations. Maya calendar priests were typically known throughout Middle America as the "enlightened ones." The Aztecs attributed this divine enlightenment to a single god named Quetzalcoatl, the Plumed Serpent, who was the legendary leader of the Toltec empire.  In the 16th century Franciscan friar Bernardino de Sahagun recorded in his Florentine Codex, a multi-volume compilation of priceless Mexica ethnographic information, that the Toltecs were, above all:"thinkers for they originated the year count, the day count; they established the way in which the night, the day, would work; which sign was good, favorable; and which was evil, the day sign of wild beasts. All their discoveries formed the book for interpreting dreams." 
     
                         
 Above is an abstract scene from a Late Classic Maya drinking vessel, depicting a Maya ruler or priest wearing a jaguar headdress and holding what appears to be a ceremonial plate with an Amanita muscaria mushroom. 

                                           
 The Precolumbian figurine above from Central Mexico very likely depicts the Aztec god  Xochipilli, whose name in Nahuatl, the language of the Aztecs, means "Prince of Flowers."  Also known as Macuilxochitl, meaning "five flowers", this figurine holds what appears to bean Amanita muscaria mushroom in each hand. The Aztecs always referred to mushrooms as flowers. Flowers symbolize a state of the soul on its journey to full godhood and was called "the flower that makes us drunk" (Nicholson 1967, p.90).  Xochipilli was most likely the patron deity of the sacred hallucinogenic plants and the "flowery dream". The headdress of this figurine contains two adornments of five plumes each--a probable reference to what scholars call the "fiveness" of Venus, referring to the five synodic cycles of Venus identified in the Venus Almanac of the Dresden Codex.
 Spanish chronicler Fray Diego Duran writes that war was called xochiyaoyotl, which means "Flowery War".  Death to those who died in battle was called xochimiquiztli,  meaning "Flowery Death" or "Blissful Death" or "Fortunate Death". 
                                                      
          
  The late ethno-mycologist Robert Gordon Wasson identified the iconography on the left as an Aztec symbol representing sacred mushrooms. The symbol depicting mushrooms in profile is from the Aztec
statue of Xochipilli.  The ballgame palmate stone K3006, or palma, on the right may have been carved to be a trophy, given to the losing ballplayer destinedfor sacrificial decapitation in the underworld, known as “the place of ballgame sacrifice”. This exquisitely carved palmate stone reminds
me of my favorite song "Stairway to Heaven", in which the 13 stairs encoded in the ballplayers headdress is a Maya metaphor for the 13 levels of theupper world in Maya mythology, that ultimately lead to divine immortality, depicted esoterically by a stylized mushroom at the top of the stairs.

Spanish chronicler Fray Sahagun, who was the first to report mushroom rituals among the Aztecs, also suggested that the Chichimecs and Toltecs consumed the hallucinogen peyote before battle to enhance bravery and strength(Furst 1972, p.12)Hallucinogens taken before battle likely eliminated all sense of fear, hunger, and thirst, and gave the combatant a sense of invincibility and courage to fight at the wildest levels. "This drunkenness lasted two or three days, then vanished"  (Thomas, 1993, p.508). 
  Linking mushrooms and warfare with Venus worship, Susan Milbrath, an expert in Mesoamerican archaeoastronomy, writes that the Morning Star aspect of the planet Venus had an especially warlike nature during the dry season (Milbrath 1999, p.216-217)
           
              
    Above are a pair of mushroomic-looking vessel lids from the Justin Kerr Data Base, K3108. They may  represent peccaries or may in fact depict wolves undergoing the mushroom's transformative effects. Height 12.7 cm.
 In a facinating article about the Huichol's esoteric practice of "Wolf-shamanism" posted online by researcher Mark Hoffman, 3-27-02, titled Huichol Wolf Shamanism and A. muscaria,
 Hoffman writes,
"The best evidence of the ritual use of A. muscaria among the Huichol Wolves was recorded in remarkable detail by Susana Valadez whose informant, Ulu Temay, from San Andrés Cohamiata, Jalisco, came from a long line of Wolf-shamans. He specifically describes the fly agaric as wolf-peyote and gives us a revealing glimpse into the secret religion of the Wolf-people as well as the prolonged initiation process required of them".
   According to Hoffman, when asked if the Wolves use peyote to stimulate their reputed ability to communicate telepathically, Temay answered,
“No, they do not eat peyote. They eat their own plants that make them feel as though they had eaten peyote. They bring mushrooms which they eat. This is a red mushroom with white spots. They use these mushrooms in all of their ceremonies.” 
                Amanita muscaria
                                            Amanita muscaria (Image: Geoffrey Kibby)             
                                        
                             
 MUSHROOM AND VENUS SYMBOLISM IN SOUTH AMERICA
 In the course of my studiesI not only found mushroom-related symbolism throughout Mesoamerica, but also in the art of the Inca, Mochica, Chavin, Chimu, and Paracas cultures of South America, and in the Rapa Nui civilization of Easter Island. Peter Furst (1976, p.80-82)  writes that similar religious concepts of the Olmecs and Maya existed in South America. He has identified mushrooms and mushroom headdresses on Moche ceramic vase paintings (200-700 A.D.) such as those I found on the portrait vessels below.
       
Above are pre-Columbian ceramics called Moche portrait vessels, from Peru wearing headdresses encoded with the Amanita muscaria mushroom imagery. The Moche culture reigned on the north coast of Peru during the years 100-600 A.D.
  Ethno-archaeologist Peter Furst...
 "Little is known of the pre-Hispanic mushroom use in South America, with the single exception of an early Jesuit report from Peru that the Yurimagua Indeans, who have since become extinct, intoxicated themselves with a mushroom that was vaguely described as a "tree fungus" (Furst, 1976 p.82).
                            
  Above is a gold and copper figurine from South America, Quimbaya culture (A.D. 900-1200) of  Andean Columbia, holding what I would argue (based on the size and shape) are Amanita muscaria mushrooms in both hands.   
                                                   The painted textile above is from the Chimu culture of Peru, 1000-1400 A.D.  It depicts a figure standing above, with feet between what I believe is an Amanita muscaria mushroom, judging by the mushroom’s size. The fanged figure is accompanied by two jaguars, encoded with the spots alluding to the Amanita muscaria mushroom. They symbolize the underworld journey of the deceased and the effect of the mushroom as jaguar transformation.  Under the influence of the hallucinogen, the “bemushroomed” acquires feline fangs and often other attributes of the jaguar, emulating the Sun God in his journey into the Underworld. This esoteric association of mushrooms and jaguar transformation was earlier noted by ethno-archaeologist Peter Furst (1976:78, 80)The twin jaguars symbolize sacrifice and death in the Underworld, associated with the planet Venus as an Evening Star, while the twin birds symbolize the heavens and divine resurrection from the Underworld as Venus, the Morning Star.  
Images like the one above with encoded mushroom and Venus imagery generally depict rituals of self-sacrifice and decapitation in the Underworld, alluding to the sun’s nightly death and subsequent resurrection from the Underworld by a pair of deities associated with the planet Venus as both the Morning Star and Evening star. This dualistic aspect of Venus is why Venus was venerated as both a God of Life and Death.  It was said that (The Title of the Lords of Totonicapan, 1953 third printing 1974, p.184), they [the Quiche Maya] gave thanks to the sun and moon and stars, but particularly to the star that proclaims the day referring to Venus as the Morning star. Note that the figure above has a stylized mushroom-shaped axe encoded into his headdress. This I believe is code for ritual decapitation, and that the three-step design or icon on either side of the mushroom inspired axe alludes to the mushroom journey into the Underworld. In Mesoamerica this icon represents a ballcourt, and the ball court was thought of as the entrance to the Underworld. The three-step design, therefore, came to symbolize descent into the Underworld. The mushroom-shaped axe I believe is a metaphor or code for Mushroom-Venus resurrection, via the ritual of decapitation in the Underworld.
   It is reasonable that a belief in the redemptive power and divinity of hallucinatory mushrooms could have spread from one culture to another. The first mushroom cult, identified by its powerful artistic expression of the were-jaguar, dominated Olmec culture as early as 1500 B.C.  As early as 850 B.C. a were-jaguar cult begins to appear in South America, identified in the religious art of the Chavin and Paracas cultures of Peru. B.C.                                 

                                                 
   Hammered and Embossed God Laminate Headdress, c.100 B.C. – 300 A.D. with encoded Amanita muscaria mushroom imagery Possibly Nazca culture; South Coast, Peru
Gold; 12 ¾ in. x 19 in.

            
   The gold plaque from the south coast of Peru, Nazca culture, pictured above was found in a Nazca grave and has been identified as a representation of the Sun God.  A closer look however reveals that this bearded weeping god with goggled eyes is a South American version of the Mesoamerican creator god Quetzalcoatl.  Moreover, rather than the Sun, it represents the twin aspects of the planet Venus as both the Morning Star and Evening Star. Note that the twin posts that emerge from the top of the head may be stylized mushrooms surmounted by twin birds.  Attributes of the god Quetzalcoatl depicted in the gold plaque include his beard, his weeping eyes, and serpents, which on this  plaque emerge from his head.  The twin birds are likely associated with the resurrection of the Morning Star.  Imagery of  Venus, Weeping Gods and were-jaguars can also be found on remote Easter Island.

    (copyright image of the gold plaque is from the book South American Mythology, by Harold Osbourn Chancellor Press, Revised edition 1983)

 
  

    Above is one of the  giant Easter Island statues, called Moai, which looks like a sacred mushroom was encoded into the head and nose.  If the Venus/mushroom cult of Quetzalcoatl-Tlaloc did reach Easter Island, it would have been introduced by seafarers from the American mainland or by trans-Pacific contact from India or southeast Asia.  If it comes from the Americas then the encoded mushroom might also represent the T-shaped symbol ik, a sacred day in the Mayan calendar meaning wind, breath, and spirit, all attributes connected to the wind god Ehecatl/Quetzalcoatl. In the Maya codices this T-shaped symbol is encoded as the eye of Chac, the Maya god of rain and lightning, who is also deeply connected with the underworld, decapitation, and the Evening Star aspect of the planet Venus.  Chac may be equated with Kukulcan,  the Maya/Toltec version of the god Quetzalcoatl. The word k'ul, means "holy spirit" or "god", (Freidel, Schele, Parker, 1993 p. 177) and the wordchan or kan means both serpent and sky.   
                

                    
Above on the left is a bearded effigy mushroom stone from Guatemala, and on the right is a giant Moai statue from Easter Island.  To my knowledge I am the first to note the interesting fact that both the Maya mushroom stone and Moai statues share the same ear design.
                                        
Letter from Gordon Wasson, written to Stephan F. de Borhegyi, dated March 27, 1953:
"If I were to postulate the nature of a mushroom cult, it would be of an erotic or procreative character.  What I am about to say is only the most shadowy speculation, of course. Sahagun says that the narcotic mushroom Incita a la lujuria,--excites lust. He described the dancing scene where it is eaten,--Bacchanalic in suggestion.  A narcotic dulls the inhibitions. If the festival is in spring, as Reko says, this is additional evidence".
                                                                                                                                   
 Above, is an Ik glyph,  shaped at times to look like amushroom. The Ik glyph, which is one of the most sacred symbols among the ancient Maya signifies wind, breath (breath=Life) and spirit.  Ik also represents a sacred day in the Mayan calendar that is linked to the birth of the Mesoamerican god-king Quetzalcoatl as 9-Wind.The exact symbol can be found in the Old World, called the Tau Cross, representing a symbolof the god Mathras of the Persians and the Aryans of India. 
 
                                                      
 
 
  Above on the left is an effigy Maya mushroom stone depicting the familiar Olmec snarl, and T-shaped Ik glyph encoded in the forehead and nose.


 VENUS SYMBOLS IN ROCK ART ON EASTER ISLAND
                                                
      The upper half of the symbol shown above has been identified by Mesoamerican scholars as a Venus glyph from the Maya area (Morley/Sharer, 1983, p.479). This glyph, which is linked to the color green (Yax), symbolizes underworld deification and underworld resurrection. Green is a color also associated with Quetzalcoatl, and designates a portal of  up and down to the center of the universe. (glyph from Coe 1993:183)
 
        
   I suggest that these drawings, from petroglyphs found on Easter Island, also symbolize Venus.
 The petroglyph drawing on the right was discovered by Lorenzo Dominguez (1901-1963).  When asked what it meant, the Easter Islanders replied that it represented "Make Make," their creator god. The petroglyph on the left was found during an expedition to Easter Island led by Thor Heyerdahl,   (cumulus.planetess.com/.../ch18.htg/make.jpg).  It appears to be a twin Venus symbol.   

  
       QUETZALCOATL-TLALOC AS THE EVENING STAR
                     AND GOD OF UNDERWORLD DECAPITATION                  

       ,
  The image above left represents the god Nine Wind, the Mixtec name for Quetzalcoatl. He is depicted  wearing his trademark conical hat. His headdress has five rays or points referring, according to archaeoastronomer Susan Milbrath, to the five synodic cycles of  Venus.   Quetzalcoatl, in his guise as the Wind God, carries an axe of ritual underworld decapitation.  He is depicted with fangs, identifying his transformation into the underworld jaguar.  On his breast he wears his trademark cross-cut conch shell breastplate, called the wind-jewel. Inside the shell we see the loop that I believe represents the symbol of the Quetzalcoatl religion. As the Evening Star aspect of the planet Venus, Quetzalcoatl  follows the sun into the underworld and with the axe performs the ritual of underworld decapitation.
Above, on the right, the Mexican god Tlaloc, identified by his jaguar attributes and trademark goggled eyes, wields the axe of underworld decapitation. In this case Tlaloc is dressed in the guise of the underworld were-jaguar, attributes which refer to his descent into the underworld as the Evening Star. He carries a lightning bolt serpent staff with feline attributes in one hand, and in the other hand his ritual axe. These attributes identify him as the Evening star aspect of Venus and executioner of the underworld sun.  His double-headed serpent breast plate with feline attributes also links him with the underworld and the Evening Star. The double-headed serpent is directly associated with Quetzalcoatl and the planet Venus, and with the supreme God of Duality, called by the Aztecs, Ometeotl.
Among the Maya of Yucatan, the supreme creator god, known to scholars as God D, or Itzamna, is commonly represented as an old man with a serpentine eye, who is commonly depicted in Maya vase paintings overseeing rituals.  Itzamna is likely a variant of a monotheistic god the Yucatec Maya called Hunab Ku (hun meaning one, ku meaning god, "One God"). He represents the anthropomorphic form of the celestial dragon identified in the Colonial texts as a creator deity. Itzamna may then represent the open jaws of the vision serpent (Olmec dragon?) in which we see his servants or other Maya gods emerge, like K'awil or God N, and Quetzalcoatl. Itzamna is considered the creator of the universe, "lord of the heavens," a "king, monarch, prince or great lord" (Sharer 1983:470), and like Quetzalcoatl he was the patron of the final day Ahau, the most important day in the sacred 260 day calendar.  

                     
 Above is a Classic period Teotihuacan polychrome jar or olla depicting the Mexican Storm God Tlaloc. The artist depicts Tlaloc above a five-pointed Venus star, identifing Tlaloc as the Evening Star aspect of the planet Venus. The five pointed half-star is a common motif in Teotihuacan art, and symbolizes both the quincunx, a common Venus symbol, and the five synodic cycle of Venus. 

Another link between hallucinogenic mushrooms and early man has been suggested by the late ethnobotanist Terrence McKenna. Theorizing that primitive hunter/gatherers could well have found and eaten psilocybin-containing mushrooms found growing in the dung of the herds of ungulates that roamed the African grasslands, he believed that they could even have influenced the direction of human evolution. He writes:
"The presence of psychedelic substances in the diet of early human beings created a number of changes in our evolutionary situation. When a person takes small amounts of psilocybin visual acuity improves. They can actually see slightly better, and this means that animals allowing psilocybin into their food chain would have increased hunting success, which means increased food supply, which means increased reproductive success, which is the name of the game in evolution. It is the organism that manages to propagate itself numerically that is successful. The presence of psilocybin in the diet of early pack-hunting primates caused the individuals that were ingesting the psilocybin to have increased visual acuity. At slightly higher doses of psilocybin there is sexual arousal, erection, and everything that goes under the term arousal of the central nervous system. Again, a factor which would increase reproductive success is reinforced". From, http://www.lycaeum.org/~sputnik/McKenna/Evolution/+

John Marco Allegro, has written a controversial but thought-provoking study of psychotropic rituals in early Judeo-Christianity (1971). 

 Allegro writes:
 "Thousands of years before Christianity, secret cults arose which worshiped the sacred mushroom — the Amanita Muscaria — which, for various reasons (including its shape and power as a drug) came to be regarded as a symbol of God on earth. When the secrets of the cult had to be written down, it was done in the form of codes hidden in folktales. This is the basic origin of the stories in the New Testament."  
                          
                       Painting from St. Michael's Church, Hildesheim Germany 1192 AD
   Adam and Eve and the serpent at the Tree of Knowledge. Note that the scene is superimposed over an encoded Amanita muscaria mushroom cap.(photo from Allegro, 1971,See also http://www.irishoriginsofcivilization.com/appendices/trees.html).   
                            
 According to Genesis, God told Adam that he was forbidden to eat from the tree of knowledge. God told Adam that if he ate the fruit he would die.  Later, Eve who was deceived by a serpent, ate the fruit which she then took to Adam and he ate it, knowing he had disobeyed what God had explicitly told him. God expelled them from the garden, and through this act, sin entered the world. We don't know what kind of  fruit this tree had, that would cause Adam and Eve to die, (some Amanitas are poisonous) but the idea that the deadly fruit was an apple was introduced by John Milton in his epic poem  Paradise Lost.
    R. Gordon Wasson, and other notable scholars have written that the mythological apple is a symbolic substitution for the Amanita muscaria mushroom.

  R. Gordon Wasson...
"the Soma of the Rig-Veda becomes incorporated into the religious history and prehistory of Eurasia, its parentage well established, its siblings numerous. Its role in human culture may go back far, to the time when our ancestors first lived with the birch and the fly-agaric, back perhaps through the Mesolithic and into the Paleolithic" (from Furst, 1976 p. 103).
  "In brief, I submit that the legends of the Tree of Life and of the Marvelous Herb had their genesis in the Forest Belt of Eurasia". "The Tree of Life, is it not the legendary Birch Tree, and the forbidden fruit of the Tree of Life, what else is it but the Soma, the fly-agaric, [the Amanita muscaria] the pongo of the Ugrian tribesmen?" (from Furst,1972, p.212)
  "In Genesis, is not the serpent the self-same chthonic spirit that we know from Siberia?"

      
  Mural painting of Adam and Eve eating the forbidden fruit from the “Tree of Knowledge”. Mural from the apse of Sant Sadurní in Osormort Spain, 12th century (Image from April Deconick http://forbiddengospels.blogspot.com/2012/04/sabbatical-post-3-why-mushrooms.html)

                           

The Canturbury Psalter, 1147 AD, depicting Adam and Eve and theTree of Knowledge, encoded with sacred mushrooms. (Image from April Deconick http://forbiddengospels.blogspot.com/2012/04/sabbatical-post-3-why-mushrooms.html)

                               

                                           
                                       
     

         MUSHROOMS ENCODED IN CHRISTIAN ART IN STAINED GLASS?
                                
            
                                St-Martin-Chartres-Cathedral, France 12th century A.D
              
    Amanita muscaria mushroom imagery encoded in stained glass, Notre Dame de Laon,   France 13th century.
                                            
 Above is a scene from Charlemagne's Window, at Chartres Cathedral. Note that an Amanita muscaria mushroom is depicted below the horse in a scene associated with the act of decapitation. 
                       
                                    Jesus emerging from a mushroom inspired vision ?   

        Quoting anthropologist Dr. John A. Rush...
  "Mushrooms occur in every piece of Christian art. They are found in the mosaics and wall paintings of the earliest Christian images, and later in manuscripts, stained glass, tapestries, and sculpture.  They are obvious; I have verification from priests and icon artists. What they mean, however, is still guarded. In my opinion the mushroom is generic for numerous plants, fungi, and potions used by the various cults to commune with the Teacher of Righteousness at the time of our mythic hero Jesus".              
                
      
  Above encoded in the mural titled Christ and the Twelve Apostles, I found what appears to me to be cleverly encoded Amanita muscaria mushrooms “Hidden In Plain Sight” encoded in the robe and legs of Jesus Christ. Note that the Twelve Apostles have their eyes focused not on the face of Jesus, but  his legs.  Museu Nacional d’Art de Catalunya, Barcelona, 12th century.  (Image from http://christchurchmontrealmusic.blogspot.com/2009_07_01_archive.html)
           
           7
 Above is a fresco ofChrist’s Entry into Jerusalem, French School, (12th century) / Church of St. Martin, Vic, Berry, France. Note the mushrooms sprouting from what looks to me like a Fleur de lis symbol in the upper right hand corner of the fresco. (http://bridgemanart.com/asset/95749/French-School-12th-century/Christ’s-Entry-into-Jerusalem-fresco

 The hallucinogenic Amanita muscaria mushroom, identified by R. Gordon Wasson as the plant and god Soma from the Rig Veda is, I believe, the inspiration of many religious ideas throughout the world. As can be seen from the images presented above, it appears not only to have played a role in the early history of Judaism and Christianity, but also may be the metaphorical key to decoding the esoteric religions of the Americas, including Easter Island.
        

    Both Allegro and Wasson, in his classic book, "Soma: Divine Mushroom of Immortality", connect the motif of 'spots' with the amanita cult. William Eichman, writing about his studies of the ancient city of Catal Huyuk in Turkey, calls attention to this same imagery. According to Eichman, spots were the ultimate distinguishing sign of divine authority in Catal Huyuk, "whether on a leopardskin cap, on a statue of a god, or painted on an erupting volcano goddess." Catal Huyuk,(pronounced Chat-al Hoo-yook, was a thriving and completely planned and developed city by 6500 B.C.  Eichman suggests  that the religion of Catal Huyuk utilized psychedelic drugs and points out that  Catal Huyuk is located in an area where the psychedelic plants of old Europe, including Amanita muscaria mushrooms, are commonly found. He links the religion of Catal Huyuk to an ancient animal religion centering on matters of life and death that has been recorded in paleolithic cave art.
Quoting Eichman:
 "This is the reason that esoteric practitioners need to study the ancient cultures. We are working with the damaged and fragmentary remains of an esoteric tradition which, stretching back many thousands of years, has taken innumerable forms as it was adapted to the needs of culture after culture"....
 "The Vedas and the Sutras, the Torah, Bible, and Koran, cannot be understood out of context; their true, complex, interwoven levels of meaning are distorted by translation, and the world in which they were based, the agricultural city-state civilizations which dominated our planet thousands of years ago, is entirely foreign to us. We have little hope of understanding the original ideas and practices of the great spiritual teachers unless we can, at least to some degree, put ourselves in their place. Thus, the study of the archaeology and history of spiritual traditions is one of the few ways we can test the quality of our modern esoteric material. With this in mind, let us turn to the Near East, the rough northern edge of the Fertile Crescent. the cradle of civilization. The time is 8,000 years B. C.,  the place is Anatolia, the rich central plateau of what is now modern day Turkey For millennia Anatolia has been a fountainhead of the Esoteric Tradition. And it all started at Catal Huyuk."         
              
  Many scholars and laymen have endeavored over the years to sort out and interpret the many intricate and elaborate images portrayed in Mesoamerican art. The images painted on Maya cylindrical funerary vases are especially intriguing, suggesting, as they do, an entire panoply of gods, religious ceremonies, and legends. A great deal of progress toward this goal has been made, especially during the last three decades, and numerous very insightful and helpful studies have been published which are listed in the bibliography.  Despite these efforts, there has been no general consensus concerning their meaning, and no single source to which I can refer the casual reader for an overall understanding of the iconography. It is equally frustrating that the bands of glyphs depicted below the rim on manyof the painted vases almost never tell us anything substantive concerning the images portrayed below them.  This series of glyphs, called by epigraphers the Primary Standard Sequence, or PSS,  is a highly formulaic, sometimes very ancient text (compare to the E Pluribus Unum on American pennies), followed by such information as the name and use of the vessel, the names and titles of the patron or owner of the vessel,  and sometimes even his or her city-state. (See Coe, 2001 for a further discussion of Maya writing).
Scholars agree that most of the images depict gods and rituals from Mesoamerican legends. We know this fact through the tantalizingly tiny portion of what must have been a rich oral tradition, recorded in the few prehispanic codices that escaped the Spanish holocaust. We have learned a bit more from the few handwritten religious texts recorded during the immediate post-Conquest period. The task of relating these legends with the rich profusion of carved and painted imagery has been complicated by the fact that this imagery not only evolved over a span of four millenia, but it  was produced and interpreted by many different but related Mesoamerican subcultures. l believe my major contribution to this task may be the identification of  the common denominator that links them all. This was the effect of the hallucinogenic mushroom experience, combined with the veneration of the planet Venus, on the development of Mesoamerican religious belief.
In the course of my research I have experienced more than one heart-stopping "Ahah!" moment. These moments, however, have usually come only after much time-consuming "digging"  followed by extensive analysis and checking of references in related scholarly research. In order to make them accessible to readers who are not scholars in Mesoamerican cultural history and iconography, I will endeavor to introduce them to the divine actors they will encounter in the images. I will also attempt to interpret, according to my understanding, the relationships they shared within the framework of Mesoamerican religious belief. Most of my interpretations are based on material that is already well known and generally accepted. Other aspects are original with me and come from my studies. I hope to make this distinction clear to the reader. I do not pretend, or even hope, to have gotten it all "right," and will welcome knowledgeable critiquing of my conclusions.
While I may be the first  to call attention to this encoded mushroom and Venus imagery, it can be viewed and studied with ease on such internet sites as Justin Kerr's Maya Vase Data Base and F.A.M.S.I. ( Foundation for the Advancement of Mesoamerican Studies, Inc).  (search F.A.M.S.I Bibliografia, under Borhegyi for 78 publications)                                 
 
 
The mushroom-Venus/Quetzalcoatl-Tlaloc religion, as I see it, was spawned by early man's fear of death and his hopes for resurrection, if not in this life, then in another reality. Through shamanic rituals, very possibly springing from the discovery of the mind-altering effects of hallucinogenic mushrooms, he hoped to transcend the former and assure himself of the latter. (Wasson,1980). The shamans, in turn, looked to the most powerful forces in the natural world—the sun, the moon, and the stars, wind, lightning and rain, and such fearsome creatures in their environment as the jaguar, eagle, serpent, and shark—as a means of understanding the place and fate of human beings within this divine framework. In time the shamans unraveled the mysterious but ultimately knowable and predictable movements of the stars and planets, and interpreted these movements as an avenue for understanding man’s relation to time, space, and immortality.
 
These beliefs, over time, spawned a great variety of gods bearing different names in different culture areas but with numerous identifiable similarities linked to divine rulership associated with lineage and descent. Westernized efforts by archaeologists and art historians to sort out and catalog the many overlapping names and identities have been frustrated by the fact that ordered and demarcated categories run counter to the fluidity that characterizes native American belief systems. A multiplicity of identities is a basic feature of the Mesoamerican supernatural realm.
 
    In Mesoamerica the first powerful unitary religion emerged, along with the first complex cultures, in the Early to Middle Preclassic. This religion, that we now call "Olmec," spread with great rapidity throughout the area, with certain elements of the belief system reaching as far as the Andean area of South America.  We know it by its powerful art style featuring adult and baby "were-jaguars;" an art style so pervasive that it led archaeologist Matthew Stirling in 1955 to christcall the Olmec the "people of the jaguar." He speculated that  the Olmecs believed that at some time in their mythical past a jaguar had copulated with, and impregnated, a human female.  In Mesoamerica the first powerful unitary religion emerged, along with the first complex cultures, in the Early to Middle Preclassic. This religion, that we now call "Olmec," spread with great rapidity throughout the area, with certain elements of the belief system reaching as far as the Andean area of South America. We know it by its powerful art style featuring adult and baby "were-jaguars;" an art style so pervasive It led archaeologist Matthew Stirling in 1955 to call the  the Olmed the "people of the jaguar." He speculated that  the Olmecs believed that at some time in their mythical past a jaguar had copulated with, and impregnated, a human female.
Evidence of early Olmec culture in the Maya area has been established at numerous archaeological sites  along the Pacific coast on the same fertile cacao-growing plain where archaeologists have found a number of mushroom stones.  These and other archaeologists  suggest that the Olmec were the first to set up cacao plantations in this fertile region later called the Soconusco by the Aztecs. I believe that the Olmec exploited the local resources, including both cacao and narcotic mushrooms, and eventually established the "south-coast trade routes that became part of an even larger economic network connecting Mexico with southeastern Central America, and beyond. This north-south Olmec trade network was later controlled by the ruling elites of the ancient Maya. Sharer considered it  no accident that the earliest examples of Maya hieroglyphic writing and sculptural style have been found at Late Preclassic southern Maya centers.  These southern Maya centers displayed the first flowerings of Maya civilization centuries before the rise of the Classic lowland sites.(Sharer, 1983, 63-66)
By the Classic period the Maya's powerful gods had taken on the multiple aspects so basic to their concept of the supernatural, and so confusing to the Western mind.  K'awil, and Chac (to whom Schellhas assigned the letters God K and God B), had become sources of dynastic rule. K'awil's image, depicted as a serpent-footed figurine called the manikin scepter, is held by rulers as a symbol of divine power. In his earliest image at the Maya kingdom of Tikal, he appears to be related to the Maya rain god Chac and to the Mexican rain god Tlaloc. Since Chac, the most frequently depicted Maya god in the three surviving pre-Hispanic codices, has also been identified as the gods Kukulcan, Quetzalcoatl and Itzamna (God D) because of his reptilian or snake-like appearance, it is likely that all are different  manifestations of the same god. The Maya also associated Chac with the four cardinal directions of the world, with each direction represented by a different color. Colonial texts mention Chac as the god of the milpa or cornfield, "one who makes things grow," because he manifests himself as lightning, thunder, and rain.  In Central Mexico, Chac and K'awil's Classic period counterparts were, as previously noted, Quetzalcoatl and Tlaloc.  In the later codices Chac's head variant glyph contains the Ik symbol, a T-shaped icon esoterically encoded as Chac's eye.
                               
 
 
 
 
 MUSHROOM VENERATION THROUGH TIME
 


  THE GENESIS OF A  MUSHROOM VENUS RELIGION 
   Assuredly,one of the earliest representations of the sacredness of the mushroom and its relationship to Venus worship is the petroglyph drawn below.  As far as I know I am the first to call attention to the mushroom shown in this sketch of a petroglyph.  The petroglyph was found in the area of Acapulco, Guerrero, Mexico. It depicts a monkey jumping from what appears to be an Amanita muscaria mushroom (note skirt on stem). The monkey holds a 5-pointed star, a symbol of the planet Venus and it's 5 synodic (584 days) cycles. The lightly modified Image, drawn from the original by Rubén Manzanilla López and Arturo Talavera González., includes a probable Long Count date of 3.3.4.3.2 above the monkey's left arm. This is by far the earliest date associated with both the mushroom cult and Venus worship, as well as their probable association with the god Quetzalcoatl. According to Mary Miller and Karl Taube, Quetzalcoatl, in his guise as Ehecatl (the Wind God), presided over the second sun, ehecatonatiuh, the sun of wind, until it was destroyed by great winds. The survivors of that era were turned into monkeys and Quetzalcoatl was their ruler. (Miller and Taube, 1993:118)  Archaeoastronomer Susan Milbrath also reports (1999: 256 ) that an analysis of the Dresden Codex identifies the howler monkey as related to Venus as the Morning Star. 
                                                                       
  LAS MANIFESTACIONES GRÁFICO RUPESTRES EN LOS SITIOS ARQUEOLÓGICOS DE ACAPULCO.
Manzanilla López, Rubén y Arturo Talavera González.
México : CONACULTA: INAH, (Colección Catálogos), 2008.
RECENT ACQUISITIONS
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 Manzanilla López, Rubén; Arturo Talavera González. LAS MANIFESTACIONES GRÁFICO RUPESTRES EN LOS SITIOS AR-
QUEOLÓGICOS DE ACAPULCO. / Rubén Manzanilla López, Arturo Talavera González. México, D.F.: Instituto Nacional de Antropolo-
gía e Historia, 2008. 152p. 26cm. Bibl., bibl. notes, illus., photos. (Catálogos.) ISBN: 978-9680302949
        

The monkey leaping from the mushroom may represent the first of the Nine Lords of the Night, known as G 1 of the Bolon Ti Ku. The monkey is the first god, associated with the act of creation, and G9 (Quetzalcoatl, is the last god, whose duty was the ritual act of time's completion. The Nine Lords of the Night were responsible for guiding the Sun, identified as the underworld jaguar, into the underworld to be sacrificed by underworld decapitation and thus reborn as baby jaguar. The word K'uh in Classic Mayan glyphs was assigned to the monkey god and in glyphs his monkey-like profile was used to describe "holy" or "sacred" a word referring to "divinity" or "god"  (Coe 2001:109).  
 Research of this petroglyph and its probable Long Count date conducted by Pedro de Eguiluz Selvas entitled, "Origins of the Long Count," suggests that the correlation of this Long Count  date with the Christian calendar fits the Spinden correlation perfectly, making it equivalent to the year 3 Monkey in the Unified Account of Anawak (CUAN). While this identification tends to reinforce the Spinden correlation, it calls into question the generally accepted Goodman-Thompson-Martinez correlation, and its end date of December 21, 2012. Thus the Long Count date of 3.3.4.3.2 would be an important key to locate the origin of the long count at 3374 BC and the famous end to the Mayan Calendar at 1752 rather than in December, 2012.
     
      
           
          
   The images above appear to depict mushroom veneration. The miniature grouping on the left is a Late Formative (300 B.C. to A.D. 200 ) ceramic model of a mushroom ceremony from the Ixtlan del Rio style of Nayarit, Western Mexico. On the right is a Late Classic figurine from Tenenexpan, Mexico in the State of Veracruz (Remojadas? A.D. 700-900). (Photo copyright Borhegyi). In 1651 the physician to the King of Spain, Dr. Francisco Hernandez, wrote a guide for missionaries in the Spanish colonies, Historia de las Plantas de Nueva Espana. In it he stated that there were three kinds of narcotic mushrooms that were worshiped. After describing a lethal species of mushroom, he stated that other species of mushrooms when eaten caused madness, the symptom of which was uncontrolled laughter. Other mushrooms, he continued " without inducing laughter, bring before the eyes all kinds of things, such as wars and the likeness of demons".   (Wasson, 1962: 36; see also Furst, 1990 rev. ed., 9)
                                         
                                            
   Above is another figurine fromNayarit, Western Mexicoca. 200 BC to 100 AD. of a shaman holding what looks like an umbrella, most likely represents a sacred mushroom.
                            

      The Aztecs called their divine mushroom, teonanacatl, which means "God's flesh"


 
MOST PRIZED by Indians and most widespread of these fungi, Psilocybe mexicana Heim grows in pastures.

(From Wasson 1957, Life magizine, SEEKING THE MAGIC MUStROOM)

        
 Above from Western Mexico, Colima culture, is a clay figurine eating from his left hand and holding what appears to be a pair of mushrooms in his right hand, 300 BC to 300 AD - PF.1367 from Antiques.com, photo subject to copyright. (photo on right from online article, "Magic mushrooms really do have a spiritual effect on people" )
            
Photographs © Justin Kerr
   The Toltec /Maya vessels above are from Quintana Roo, Mexico, Postclassic Maya, A.D. 1200-1400 , photographs from the Justin Kerr Data Base.  Both vessels depict the image of a diving god, one young and the other dressed in the guise of the harpy eagle, both symbols of the Morning Star.  The harpy eagle represents one of the divine attributes of Quetzalcoatl and the new born Sun God. The objects in each hand, I would argue are  symbols of divine Underworld resurrection. They are severed caps (symbolic of decapitation) of mushrooms. Sacred mushrooms according to Wasson were consumed ritually in pairs prior to self sacrifice.

 In Nahuatl, the language of the Aztecs, the general word for mushrooms was nanacatl and that the intoxicating species, the Psilocybe mushroom, was called teonanacatl, a term Sahagun gives us, teo-, or teotl, meaning god, that which is divine or sacred, "the flesh of god" (Wasson, letter to Borhegyi, June 23, 1953).  The Psilocybe mushroom contains the substance psilocin and psilocybin, the active ingredient in LSD, that causes the mushroom hallucination that was described as "consciousness-expanding" during the cultural revolution of the 1960s and 1970s. The psilocybin mushroom is indigenous to the sub-tropical regions of the U.S, Mexico, and Central America. The plain or tripod mushroom stones, which carry no effigy on the stem (stipe), have been typically found at lower elevations and may indicate the ritual use of the psilocybe mushroom in these regions. 

                          
 The photograph above, taken by the author, is of a Maya mushroom stone on exhibit at the highland Maya site of Iximche, ancient capital of the Cakchiquel Maya. This mushroom stone bears the trademark attributes of both the goggle-eyed Tlaloc and the bearded Quetzalcoatl wearing his cone-shaped hat.
         
                       (Photo by Connor de Borhegyi)
  Its quite possible that an ancient mushroom cult may still survive in remote areas of the Guatemala highlands. As already mentioned, Ethno-archaeologist Peter Furst reported as recently as 1972 that Quiche Pokomam Maya shamans consumed mushrooms during  their religious ceremonies  (Furst, 1990: 28).  I was surprised to find in 2009 that the Maya Indians of the Guatemala Highlands were selling these tiny Amanita mushroom toys in the markets like the ones depicted above.  Although the seller informed me that the Maya did eat this variety of mushroom,  it is possible she may have been referring to the non-hallucinogenic Amanita caesarea, commonly sold in markets in Mexico and Guatemala and much appreciated for its delicate flavor (Guzmán, 2002:3)  The hallucinogenic mushroom cult, which has survived to this day among certain tribes like the Zapotec, Chinantec, and Mazatec Indians of Mexico, has not, to my knowledge, been reported among the present day Maya. That it may well have been in use in Pre-Hispanic times, however, is suggested by early dictionary sources which describe a mushroom the ancient Maya called xibalbaj okox meaning “underworld mushrooms”, and k’aizalab okox, meaning “lost-judgment mushrooms." The Mayan word for mushroom in Keqchi  is ocox (Spenard 2006:72).  Both Wasson and Guzmán believe that mushroom stones were modeled  after the Amanita muscaria. (Guzmán, 2002:4).  In a letter to Wasson (June 30, 1962) Borhegyi speculated that one possibility for the absence of mushroom stones in the Tropical Rainforests of Guatemala might be that the Lowland Maya of the Peten used Rauwolfia root obtained from trees which grow in the Rainforests of Guatemala. It has been reported however that pottery mushrooms have been excavated at Maya Lowland sites like El Mirador and Berriozabal in the Maya Rainforest, and in 1962  archaeologist Richard E. W. Adams reported finding several pottery mushroom specimens in the Maya Rainforest at the site of Altar de Sacrificios (Borhegyi, 1963 Vol.28, No.3, p.330). 
   I bought several of these toy Amanita mushrooms as gifts. They all have a quetzal bird sitting in a tree painted on the stem. Although clearly a child's toy produced for the tourist trade, they bear symbolism of great antiquity. In Mesoamerican mythology the World tree, with its roots in the underworld and its branches in the heavens,  represents the axis mundi  or center of the world. The branches represent the four cardinal directions. Each of the directions was associated with a different color while the color green represented the central place. A bird, known as the celestial bird or Principal Bird Deity, usually sits atop the tree. The trunk, which connects the two planes, was seen as a portal to the underworld. The Quetzal bird, now the national bird of modern Guatemala, was considered sacred because of its green plumage. I believe there is now clear evidence that the Amanitamushroom is a symbol of equal antiquity. 
There is a Mayan expression known as Cuxolalob, which refers to one who possesses the knowledge of that which is both rational and supernatural. Quetzalcoatl-Tlaloc was the father of these teachings, from whom all knowledge flowed. The ancient scribes who created the Mesoamerican calendar were Cuxolalob thinkers. They originated the year count, which they called the count of days (260 days), and created esoteric signs for good or favorable days. The lives of all Mesoamerican people were personally tied to and guided by this calendar. An individual's future could be foretold based on the day in the calendar year on which that individual was born. The calendar  priests conjured up many fantastic images of supernatural gods and demons and painted them on their screen-fold books and murals, as well as on the ceramic vessels that they used, I believe, in mushroom rituals.
 

 MUSHROOMS, VENUS, AND QUETALCOATL

 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).
 We known that the Toltec ruler named Quetzalcoatl-Kukulan who died in the year 1 Reed was apotheosized as the planet Venus. It should be noted that in the New Testament, Jesus also claimed to be the Morning Star... “I am the root and offspring of David, The Bright And Shining Morning Star” (Rev. 22:16).“To him that overcometh I shall give the Morning Star” (Rev. 2:28)
Avatars of Quetzalcoatl took the form of various dualities signifying the  concept of life and death: i.e. the eagle and the jaguar symbolized the rulers of the underworld and the upper world.  In art this twin god is clearly connected with serpents, jaguars, and birds.  Mushrooms are also associated with the ritual of decapitation and the ritual ballgame is associated with a trophy head cult.
 The planet Venus was the celestial object of greatest interest to the ancient astronomers of Mesoamerica. It is likely that Venus was in many ways more important than the Sun.  As the Morning Star associated with the dawn, Venus was the Awakener, and harbinger of the new born sun, known as the Day-bringer. Time was measured in Venus cycles after Maya astronomers observed that Venus rises in the same spot every eight years as the Morning Star on the day Ahau,and that  five sets of 584 days, that is 2,920 days, equaled 8 solar years or 5 repetitions of the Venus cycle.
This astronomical knowledge was recorded in the Venus Almanac of the Dresden Codex.  These Venus Tables were recorded with the first date in the first row corresponding to the superior conjunction of Venus. The second date is 90 days later, corresponding to Venus's rise as an evening star. The third date is 250 days later,  when Venus disappears at inferior conjunction. The fourth date, 8 days later, corresponds to the rising of Venus as a morning star on the day Ahau,  an event by which time was measured. The next cycle always began with another superior conjunction. Five of these synodic cycles of 584 days (the modern value is 583.920 days) equals eight 365 day solar years to the day.
Mesoamerican mythology and religion was based on these Venus events--an "inferior conjunction" when Venus comes between the Sun and Earth, and a "superior conjunction" when the Sun comes between Venus and Earth. Because Venus is invisible during both conjunctions, it was believed that Venus was in the underworld performing self-sacrifice in order to appear reborn as the Morning Star or the Evening Star. 
 
   In the creation story of the Quiche Maya Popol Vuh, we are told that there was a previous world that was created, destroyed, and re-created before the present creation. In the previous world age, twin brothers known as Hun Hunahpu and Vucub Hunahpu represented the Morning Star playing a ballgame on the eastern horizon. The new world was created on the day when the first word was uttered. According to Maya inscriptions at Coba and Quirigua, that day was 4 Ahau 8 Kumk'u, the day in the Mayan calendar when Venus rises from the underworld as the Morning Star. Considered the completion day or starting point in the Maya Long Count, it set all the cycles of the calendars in motion. There is a repeating cycle of 20 named days in the 260 day calendar each day represented by a unique symbol or glyph, the 20th day named Ahau, which means Lord, or Ruler. The 20th day name in Quiche is Hunahpu, a name we find in the Popol Vuh which means "the One Master of Magic Breath" (Gates, 1978 p.53).  The stem or root of Ahau, (also spelled Ajaw), is au or av, meaning a planted field, or garden, and as a verb means to sow. Avix means milpa in Quiche.
Although the meaning of the word Avilix  is still unknown while searching in Gate's Dictionary of Maya Glyphs, I found that the Quiché word avixis a verb meaning to sow or plant a milpa-field or garden. (Gates, 1978, p.54)  Could the name Avilix then, possibly refer to the Maize God? or Mushroom God?
  As mentioned earlier the Popol Vuh tells us that the Quiche people received their gods at Tulan, the mountain of the Seven Caves. Jaguar Quitze received Tohil, Jaguar Night received Avilix, and Mahucutah received Hacauitz.
The patron god Tohil, has been identified as a Quiché variant of the god Quetzalcoatl. The Quiche god Avilix, or Auilix (P.V. Tedlock, p.326 1985) was the patron god of the Greathouse lineage given to Jaguar Night at Tulan Zuyua. According to Dennis Tedlock Lord Auilix was the title of the priest of the god Auilix; who was seventh in rank among the lords of the Greathouses and headed one of the nine great houses into which their lineage was divided after the founding of Rotten Cane. The Popol Vuh tells us that the god Tohil was actually loaded in the backpack of Jaguar Quitze and Auilix was the god that Jaguar Night carried, when they received their gods at Tulan Zuyua, known as Seven Caves and according to Tedlock also the name of the mountain where the Quiche people went to receive their gods (P.V. Tedlock, 1985 p.171).  Tedlock notes (P.V. 1985 p.326) that the patron god Auilix who I speculate represents a mushroom god, was given to Jaguar Night, at the mountain of the Seven Caves and taken to "the great canyon in the forest" (P.V. Tedlock p.178) to a location that came to be named Pauilix, literally "At Auilix".  This may be in fact an important reference to the Guatemalan Highlands where the majority of mushroom stones have been found, and where we know the Amanita muscaria mushroom grows in abundance, and where the Quiche Maya people now call their home.  Also noteworthy is the reference of nine great houses and their patron gods which I believe is a reference directly linked to mushroom stones and the Nine Lords of the Night, or Underworld. Caves were believed to be entrances to the Underworld and as mentioned earlier the cave system archaeologists have investigated in the south region of the Guatemalan Highlands where ceramic mushrooms have been found are called Saber, CHOC-05, Ocox, and Cabeza de Tepezquintle. According to archaeologist Jon Spenard, "Ocox is a canyon-like system that runs through a large hill and that the name Ocox is a Q'eqchi Mayan word for mushroom, a reference according to Spenard to the large quantity of mushrooms that are growing from the floor of the canyon.  Are these the legendary caves called Chicomoztoc, the name given for the place of mythical origin of the ancient Mayas, Toltec and Aztecs, called the "place of emergence"  ?                     
                  
     


Photographs © Justin Kerr
The Maya vase painting above, K4565 with drawing, depicts what is probably an image of the Maize God as the planet Venus resurrecting from the underworld as the Morning Star. The Maize God can often be identified in pre-Columbian art by his elongated head, which is shaped like an ear of corn.  Maize foliation, like that shown on the figure above, is often depicted on his headdress.  Every culture has its own story of genesis. David Freidel and Linda Schele write that the Maize God, named Hun-Nal-Ye, "One-Maize-Revealed", oversaw the new Creation of the cosmos, and that the ancient Maya recorded this birth day of the contemporary cosmos at 13.0.0.0.0  4 Ahaw 8 Kumk'u  (Maya Cosmos 1993, p.61-63).  David Kelley identifies the Maize God with the father of the mythical Hero Twins from the Popol Vuh. He is named Hun Hunahpu, a name incorporating the sacred day 1 Ahau. This day in the Venus Almanac of the Dresden Codex corresponds to the heliacal rise (first sighting) of Venus as Morning Star and suggests that the uncle of the Hero Twins, Vucub Hunahpu, may represent the Evening Star aspect of Venus (Milbrath:159).  If the plate above is turned up-side-down, the Maize God appears as a diving god. It thus could also represent the Evening Star aspect of Venus. 
In the Popol Vuh, the father of the Hero Twins,Hun Hunahpu, who was decapitated at the place of ballgame sacrifice, is not resurrected from the underworld. He is, in fact, left behind by his sons to rule the underworld. His sons, Hunahpu and Xbalanque, are transformed into the Sun and Moon. This could mean that the Hero Twins, when they journeyed into the underworld, represented the planet Venus. The Maize God above is depicted with what appears to be a scorpion tail. The end of the tail forms the characteristic partial loop that I believe is an esoteric symbol of Venus worship and mushrooms and represents the religion.  A close look reveals that the Maize god's legs and arms resemble long-stemmed mushrooms. These mushroom-inspired arms and legs form a quincunx, identified as a Venus symbol by Herbert Spinden. Spinden also believed that it represented the Morning Star aspect of Venus.
  I identify the mushroom-inspired legs and arms of the Maize God, Hun Ahau, shown above,  as an esoteric reference to a portal of transformation. This mushroom portal, like the moment of death, opens the axis of the universe, through which spirits and gods move from one level to another. The mushroom imagery is also a symbolic reference to the self-sacrifice and death of Quetzalcoatl who, on his 52nd birthday, took his own life.  Quetzalcoatl remains a complicated deity because his attributes assume the character of other deities. He was also a real person who stood for learning and the arts who  was a divine ruler of the Toltec empire. Its likely that succeeding rulers or High Priests who emulated the ways of Quetzalcoatl also used his name. We know from the codices that Quetzalcoatl in myth created mankind from his own blood in the underworld. He gave mankind fire and the calendar, and delivered mushrooms and corn to his children. 
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)
 
Venus, the brightest star (actually a planet) in the sky, was visible to early sky watchers even, at times, during the day. What must have seemed truly fascinating about Venus is that it appears as both a Morning Star and an Evening Star. As the Morning Star, rising before dawn, it may have seemed to "resurrect" the Sun from its nightly sojourn through the Underworld. At night, as the Evening Star, it appears after the Sun's daily "death" and descent into the underworld. For this reason it became closely associated with death and resurrection in the Underworld.
Venus also appears to die and rise again from the underworld with great regularity. Every eight years it can be predicted to return to exactly the same location in the sky. The "fiveness" of Venus comes from the fact that five Venus cycles of 584 days each equal eight solar years to the day, and that 584 days is the time it takes for Earth and Venus to line up with respect to the Sun. This day was a period ending day in the sacred 260 day calendar (almanac) and always ended on the day Ahau or Ajaw. Ahau means Lord. Ballplayers wore knee pads with the symbol of Ahau, theorizing I guess that the game was played at the completion of a time period in the sacred calendar, like a katun ending (20 yr. period) for example. Scholars are now beginning to recognize that Venus was the centerpiece of Maya  mythology and cosmology. Priests in charge of the calendar plotted the stations of Venus over periods of 52 and 104 year cycles, and measured lunar phases, eclipses, solstices, equinoxes and other celestial movements, by which the Maya regulated their lives. Fortunately for scholars, the Maya recorded this information in the Dresden Codex (Milbrath 1999:51). 
Even wars were linked to the Venus calendar with hostilities beginning only upon the ascent of Venus into the morning sky. Maya epigraphers Linda Schele and David Freidel writethat, when Venus appeared as the Morning Star on April 12, 711 (GMT), the Maya ruler known by archaeologists as Smoking Squirrel timed his campaign of war with the neighboring city of Yaxha to this sacred day. (Schele & Freidel, 1990:192).
The Maya believed that this knowledge was bestowed upon them by the same god who gave them mushrooms and fire. This god, identified as a feathered serpent and an avatar of the planet Venus, was believed to have created both the universe and humankind. He also gave to man the sciences, the calendar and writing, and the knowledge to fix certain days for feasts and blood sacrifice. Rulers bestowed with this divine knowledge were believed to be incarnates of this god. 
It must have been a natural step for the ancients to associate this dualistic Venus God, known by the Aztecs and Toltecs as Quetzalcoatl/Tlaloc, with both life in the upper world and death in the underworld. In his guise as the Evening Star, Quetzalcoatl/Tlaloc presided over the nightly death of the Sun God  as he sank beneath the horizon into the underworld. (Sharer, 1994:120)  Judging by an abundance of images painted on Maya funerary vases, I believe they thought he was then ritually decapitated and transformed into a baby jaguar or "were-jaguar."  According to Aztec legend, he was resurrected each morning by Quetzalcoatl/Tlaloc as the Morning Star, and ascended into the heavens on the wings of a harpy eagle. The harpy eagle was thought of as the jaguar of the day sky being the greatest avian predator of Mesoamerica. The harpy eagle was most likely the personified form of the katun period (a period of almost 20 years) among the Classic Maya becoming a symbol of the morning sky associated with human sacrifice and divine resurrection in nourishing the new born sun (Miller and Taube, 1993:82-83).
 The late Maya archaeologist J. Eric S. Thompson identified the Maya quincunx glyph (shown below, top row,  L-R, nos. 1, 3, 4, and 5; and in the head of the jaguar glyph (middle figure in second row) as a variant of the Central Mexican Venus sign. Both are of great antiquity, having been found at the Olmec site of San Lorenzo on Monument 43 dated at 900 B.C. The  quincunx design also appears in Maya Venus Platforms. The design of these low altars symbolized the four cardinal directions and a central entrance to the underworld. The Maya believed that It was through this portal that souls passed on their journey to deification, rebirth and resurrection by the planet Venus in its guise as the Morning Star. According to Maya archaeologist David Freidel, the Maya called this sacred center, mixik' balamil,  meaning "the navel of the world".  (Thompson,1960:170-172, fig. 31 nos.33-40; Freidel & Schele, 1993:124)
                        
   All of the symbols illustrated above have been identified by experts as representing the planet Venus.   

Photograph © Justin Kerr
  Maya vase K1230  depicts what might be a possible scene from the Popol Vuh. Here Hunahpu, the older HeroTwin, is shown in the act of self-decapitation in the underworld. His younger brother, Xbalanque, represented by the underworld jaguar who appears encircled by a serpent, surrounded by five Venus symbols, one of which is located on the axe suggesting decapitation and Venus resurrection. The story suggests that, after the twins sacrifice themselves in the underworld in front of the Lords of Death, they become immortal and come back to life defying death as the Sun and Moon.
 
                    
      Above is a Late Classic Maya Tripod plate (A.D. 550-800) from the Peten area of Northern Guatemala. The artist is likely depicting a mythological scene, like the Maya vase painting below (K7268), in which the central character, a probable Maize God is being dressed and prepped for Underworld sacrifice by a naked female. Note the naked female on the left wears a mushroomic looking headress like the Maya vase painting below K7268.  The dark figure on the far right wearing jaguar attire and standing on an obscure object most likely represent the Lord of the Underworld and God of the Underworld Decapitation. The plate is in the Kurt Stavenhagen Collection, Mexico.
 
 

 
      Photographs © Justin Kerrt
 Maya vase K7268. likely depicts a young Maize God, being ceremonially dressed and prepped for ritual sacrifice, by naked young women. Note that the naked female standing directly in front of the Maize God, to the right, wears a mushroomic looking headdress, similar to the one in the plate above.
 

Justin Kerr Maya Vase Database (online at famsi.org/research/kerr, and mayavase.com)
 Above is a roll-out photograph of a cylindrical  Maya vase (K8763) taken by Justin Kerr. It depicts a ruler on his throne impersonating the Maya god Chac. He is receiving an offering of an Amanita muscaria mushroom along with a ritual axe. The vase would likely have contained a beverage made from cacao, with or without an intoxicant such as an infusion of sacred mushrooms.  Note that the other characters in the scene wear what look to be mushroom-inspired headdresses. Scholars conclude that this long-lipped god of lightning and rain is derived from the Olmec were-jaguar (Coe 1966). Chac is the Maya god of decapitation who resides at the conjunction of the four cardinal directions. He first appears in the Maya area in pre-Classic times (2000 B.C. to A.D. 250) on monuments found at the site of Izapa.

   
Photograph  © Justin Kerr
Maya vase K0719 from the Justin Kerr Data Base depicts, on the left, the serpent-footed Maya god K'awil, patron god of Maya rulers, and Maya counterpart of the Mexican gods Quetzalcoatl-Tlaloc. K'awil, who has been identified as the so-called Vision Serpent, is none other than the sacred mushroom portal to the Maya underworld. He is conjured up in this vase painting by the aged central character, who may represent the Maize God, with a mushroom encoded above his forehead. The mushroom, which appears to be smoking, identifies the divine link with K'awil and his smoking forehead. The aged deity, who wears a sacrificial scarf around his neck, emerges from the jaws of the Vision serpent.
                             
A mural at the archaeological site of Cholula, near Puebla, Mexico, is known as "The Drinkers."  It was discovered in 1969 by archaeologist Ponciano Salazar Ortegon while excavating Building 3-1-A.  Cholula in pre-Columbian times was a holy city where human sacrifices were offered in honor of Quetzalcoatl. The mural depicts several individuals in the act of consuming a very intoxicating, if not hallucinogenic, beverage. I believe that Mesoamericans came to Cholula and,  after drinking a mushroom beverage, gave their lives as offerings to Quetzalcoatl. 
According to researchers there are one hundred sixty-eight vessels depicted in the mural.   Dionisio Rodriguez Cabrera, who has studied the mural ( Rodriguez C., 2003: 32-37), writes: "The mural depicts a ceremony in which attendees are in seemingly relaxed positions, doing different things: drinking, making offerings, serving, defecating and vomiting". He concludes that the mural "depicts a society that makes contact with the gods and ancestors to declare its legitimacy and ensure plenty and continuity". Some experts argue that the intoxicating beverage in the vessels is pulque, a sap extracted from the maguey plant.  The use of cacao as a ceremonial drink was very popular in pre-Columbian times and cacao was probably added to several sacred beverages.  As documented by Spanish missionaries,  the beverage consumed among the Aztecs (cacao) was called Xocatl (pronounced sho-catl), a Nahuatl word which is likely the origin of the English word chocolate. 

                   THE MUSHROOM-DEER RELATIONSHIP
  According to Peter Furst, among the tribes of Siberia the deer is the spirit animal that carries the shaman in his ecstatic state, to the realm of the sky deities. The Siberian shamans costume is typically adorned with deer symbolism, and the shaman's headdress is frequently adorned with antlers, without which he cannot properly shamanize. for it is the deers antlers that embody the concept of supernatural power and eternal renewal (Furst 1976, p. 170).
                                       
                                                 
Photograph  © Justin Kerr
 Maya vase K5857, depicts the hunting of the sacred deer.  It is well known that many psychotropic mushrooms, such as the Psilocybe and Panaeolus genera mushroom, grow in the dung of certain quadrupeds.  If you look closely, "hidden in plain sight," there are tiny mushrooms encoded above the deer's antlers. Mushrooms found growing in the dung of deer were easy to find, and safe to consume.

According to Peter Furst.... 
   "It happens that not only Siberian shamans but their reindeer as well were involved with the sacred mushrooms. Several early writers on Siberian customs reported that reindeer shared with man a passion for the inebriating mushroom, and further, that at times the animals urgently sought out human urine, a peculiarity that greatly facilitated the work of the herders in rounding them up—and that might just possibly have assisted their reindeer-hunting ancestors in early efforts at domestication:

 . . these animals (reindeer) have frequently eaten that mushroom, which they like very much. Whereupon they have behaved like drunken animals, and then have fallen into a deep slumber. When the Koryak encounter an intoxicated reindeer, they tie his legs until the mushroom has lost its strength and effect. Then they kill the reindeer. If they kill the animal while it is drunk or asleep and eat of its flesh, then everybody who has tasted it becomes intoxicated as if he had eaten the actual fly agaric. (Georg Wilhelm Steller, 1774, in Wasson, 1968: 239-240) 

   "The discovery, by early migrants into Mexico, of a functional deer-mushroom relationship could, conceivably, have served to reinforce whatever ancient Asian traditions might then still have remained alive concerning the deer as source of supernatural power, and especially the visionary gifts of shamans."

           
Photograph © Justin Kerr. Drawing above of Maya vase 3049 by Lin Crocker. c FLAAR 1976.
The drawing above by Persis Clarkson (Copyright FLAAR 1976, Justin Kerr Data Base) is from a late Classic Maya cylindrical vase depicting the hunting and killing of the sacred deer.  The scene on the right alludes to a journey into the Underworld.  In Maya mythology the deer is closely associated withthe legendary Hun Ahau ( Hun Hunahpu), the deer hunter from the Popol Vuh. In this case, he is the figure on the far right wearing a hunter´s hat and carrying a blow gun or paddle in his left hand. He holds the arm of a woman, possibly the Moon Goddess, who wears a pack filled with what appear to be mushrooms. The two sit on a swirl which I believe represents the Milky Way, the road to Xibalba. The fanged beast at the center of the swirl may allude to underworld jaguar transformation.  Hun Ahau, the father of the Hero Twins, represents the Lord of the Underworld, andthe daysign Ahau. He may represent the Underworld Sun from the last world age which scholars have identified as the planet Venus  Mushrooms were commonly found in the dung of the hunted deer

                                           
Both the Maya vessel pictured above, and the drawing of the vase below by Lin Crocker, depict a monkey and three deer. The deer on the far right is shown offering a plate of what can only be Psilocybe mushrooms to a god who might represent G-9 of the Nine Lords of the Underworld.  This god holds a world tree in his hand representing the completion of a period of time. The monkey on the far left most likely represents G-1 of the Nine Lords of the Underworld. He holds a baby deer, referring to rebirth. The deer in the middle of the scene holds up the tail of the deer in front of him because, below the tail, is another offering plate filled with what can only be sacred mushrooms.     
          
    
   THE MUSHROOM-DEER RELATIONSHIP AND THE VISIONARY GIFT OF THE GOD TLALOC
                                     
    Above is a ballgame hacha carved to fit into a ballplayers belt (yoke) representing a deer wearing the goggled eyes of Tlaloc. The goggled eyes of Tlaloc in this case symbolizes the sacrifice of the deer on the ball court. Ballplayers are commonly depicted wearing the headdress of a deer (see below),  and ballplayers are often depicted wearing the goggled eyes of Tlaloc.Tlaloc's goggled eyes are a symbol of sacrifice, and they represent a paradise of life after death. Note that Tlaloc's goggled eyesresemble the rings or hoops that we see mounted into the walls of Postclassic formal ballcourts.   
                               
  Photo may be subject to copyright laws.
 The (Late Classic?) polychrome plate from Cholula, (on exhibit at the British_Museum) depicts a deer with what appears to be Tlaloc's trademark goggled eyes and feline fangs. The attributes of the god Tlaloc portrayed on the deer, symbolically represent the deer's sacred journey into the underworld at death. There he will undergo jaguar transformation and be resurrected by the planet Venus into the paradise of Tlaloc called Tlalocan.             
         
                         
   Above, from the Justin Kerr Data Base, K6777, are a pair of Tlaloc's magic goggles in which the "bemushroomed" can see beyond death into the paradise of Tlaloc called Tlalocan.  The goggles are carved from shell and shaped to form a  plumed serpent, thereby linking Tlaloc with Quetzalcoatl and the planet Venus.

 
Photographs © Justin Kerr
Maya vase # K1834 from the Justin Kerr Data Base depicts the vision of the "bemushroomed" as seen through the goggles of Tlaloc. The character on the right, wearing the goggles of Tlaloc, begins his journey into the underworld through the sacred portal of the vision serpent (Quetzalcoatl?),  identified above as the Maya god K'awil.  The god K'awil  is depicted on the left emerging from the jaws of the vision serpent. K'awil can be identified by his trademark smoking tube which penetrates his forehead. Note that the vision serpent is manifested from another head that is also that of K'awil depicted at the tail of the vision serpent. Note also that at the center of the vase painting, at the tail of the vision serpent, a curved partial loop is depicted at K'awil's neck.  I believe this shape symbolizes divine immortality via decapitation in the underworld and is the esoteric metaphor for rebirth at the moment of time's completion. On the far left, K'awil emerges from the jaws of the vision serpent to see before him the three stones of Maya creation.
      

Symbol and Scepter
 
of the Divine Quetzalcoatl
 
 
 
         
  Above are three Post-Classic representations of the Toltec God-King Quetzalcoatl known as Topiltzin, wearing his trademark cone-shaped hat. All three of the images depict Quetzalcoatl with a loop-shaped scepter, which I believe represents in many esoteric ways the symbol of his religion. 
The commonly depicted loop icon, also called a scroll, can be seen from earliest times in the art of Mesoamerica, often encoded as the tail of a monkey, scorpion or jaguar, the eye of the serpent, and the eye of K'awil and Chac. It may derive from the swirl seen at the center of a cross-cut conch shell. Encoded into the art as a speech scroll, it possibly indicates the exahalation of the Supreme Deity.  
                         
   The flutes shown above are from the very early archaeological site of Caral in Peru.  Made from deer and condor bones, they have been dated archaeologically at 2627 B.C.  Caral islocated some 14 miles from the Pacific coast and 120 miles north of Lima.  All of the flutes appear to bear the loop symbol I have found repeatedly throughout Mesoamerica and which I have identified with the mushroom-Venus/Quetzalcoatl religion.  Researchers argue that Caral, which was part of the Norte Chico culture,  is the oldest civilization in the Americas, with the oldest population center dating from about 9,210 B.C.  The enigma of the Norte Chico culture is that they began building pyramids and other monumental structures before they learned to make pottery(see Caral excavations,1994 by Ruth Shady Solís, Peruvian anthropologist and archeologist).     
 
 The drawing above is of a Classic period Teotihuacan III fresco from Teopanzalco, Mexico entitled "el altar del sol."  I believe it depicts mushrooms in the frieze on both the right and left, to symbolize the sacred journey of Venus into the underworld as the sacrificial were-jaguar. The two priests in this scene represent the twin aspects of the planet Venus as Morning Star and Evening Star. They appear to be offering their blood in sacrifice at an altar that symbolizes the underworld Sun God of the present world (note twisted olin symbol in center of sun) . The two priestly characters in feline headdresses with loop-shaped speech scrolls (esoteric symbol of Quetzalcoatl's religion) are dressed in the guise of were-jaguars. Their outfits are decorated with numerous five-pointed stars which have been identified as Nahuat Venus symbols from highland Mexico. It is my guess that the two figures represent Venus as both the morning and the evening star. Teotihuacan's influence over all of Mesoamerica  between A.D. 300-700, can be identified archaeologically by the widespread distribution of Teotihuacan ceramics, which depict Teotihuacan's patron gods Quetzalcoatl and Tlaloc.

                              A variation of this same loop forms the nose of Chac, the Maya equivalent of Tlaloc, on a number of monumental buildings at the ruins of Uxmal and Chichen Itza.  Although better known as a rain god, Chac, like Tlaloc, is intimately connected with the planet Venus as an Evening Star, and thus represents the god of underworld decapitation. Chac, who is the most frequently depicted Maya god in the three surviving pre-Hispanic codices, has been identified by scholars as a likely manifestation of the Maya gods Kukulcan (Quetzalcoatl) and Itzamna (God D) because of his reptilian or snake-like appearance(Sharer 1983.472).
  (Photograph of Chac masks by Peter Connolly)
 

 MUSHROOM SYMBOLISM IN THE PREHISPANIC CODICES

Much of our understanding of Mesoamerican religion has been pieced together from Spanish chronicles and prehispanic and Colonial period manuscripts called codices.Unfortunately, for our understanding of the role of mushrooms in this religion, the Spanish missionaries who reported these mushroom rituals were repulsed by what they perceived to be similarities to holy Christian communion.  As a result, they made no attempt to record the rituals in detail and banished all forms of mushroom use.
  After the Spanish conquest of the Aztecs in 1521 the Catholic Church ordered the burning of all native manuscripts. Called codices, these pictorial documents contained much valuable information pertaining to native history, mythology, and ritual related to a pantheon of supernatural gods. Unhappily, due to Spanish intolerance of indigenous religious beliefs, only eighteen pre-Conquest books attributed to the people of Highland Mexico have survived to the present day.

  We know from the early chronicles that Quetzalcoatl (known in the Maya area as Kukulcan and Gucumatz) was a Toltec ruler. He was apotheosized as Venus and, according to archaeoastronomy expert Susan Milbrath (177),  Quetzalcoatl in the Mixteca-Puebla codices is also identified with Venus. Quetzalcoatl's mushroom ritual of underworld jaguar transformation and Tlaloc Venus resurrection (depicted above) was so sacred that, if one gave one's own life in sacrifice the act emulated Quetzalcoatl, himself.  (Wauchope, Ekholm and Bernal, p.323)    
Spanish chronicler Fray Bernardino de Sahagun, tells us that...
 "the one that was perfect in the performance of all the customs, exercises and learning (wisdom) observed by the ministers of the idols, was elected highest pontiff; he was elected by the king or chief and all the principals (foremost men), and they called him Quetzalcoatl"... " In the election no attention was paid to lineage, but rather to the customs, exercises, learning and good (clean) living; (meaning) whether they led this life unalterably (steadfastly); kept all the rules, observed by the priests of the idols"  (Sahagun, The History of Ancient Mexico,  1932  p.202).  
                         
Above left is a close-up from page 24 of the Codex Vindobonensis shown earlier, of one of the eight figures who receive mushrooms from Quetzalcoatl as the Wind God.  Note that the individual on the right with tears (or dangling eyeballs if he represents a constellation?) is said to be Pilsintecuhtli. In Aztec mythology Pilsintecuhtli is "the Young Prince" and Lord of the rising Sun, (note harpy eagle headdress) and may have been another name for the Aztec Sun God named TonatiuhA close-up of this weeping figure reveals that he wears a harpy eagle headdress which is also associated with the cult of Quetzalcoatl as the Morning Star. The fanged figure on the left holding the sacred mushrooms, may represent Venus as an Evening Star as he and the others next to him (above left, and note fangs) will transform into a jaguar when they enter the underworld and that these fanged characters may represent eight of the Nine Lords of the Underworld (or Night) or nine if you count Pilsintecuhtli. 
Above on the right is the close-up of the figure who receives mushrooms from the Wind God Quetzalcoatl . He has been identified as Pilsintecuhtli, a manifestation of the Aztec god Xochipilli, a child god who was the prince or lord of psychedelic flowers (Manuel Aguilar, Ethnomedicine In Mesoamerica, p. 80). Note that this individual not only has mushrooms in his hand, but also is shown with fangs denoting underworld jaguar transformation.According to Borhegyi, "snouted and fanged anthropomorphic individuals with dangling eyeballs are a feature commonly associated with the god Quetzalcoatl in his form of Ehecatl the Wind God. (Borhegyi 1980:17)
               

                                 
                                 
      Image may be subject to copyright (www.si-oaxaca.com/a_bit_of_archaeoastronomy.htm )
 Above is a close up of a page from the Madrid Codex, one of the few surviving pre-Hispanic texts which escaped the Spanish holocaust. The codex is the longest of the Maya books, some 56 pages painted on both sides, dating back sometime around the fourteenth or fifteenth century, and now is safely stored in the Museo de America in Madrid. The scene above depicts what I believe is a mushroom ritual prior to self sacrifice, which was an important part of Maya worship. The individual above is painted blue, denoting  sacrifice (Sharer,1984:484), and he has what appears to be a disembodied eye in the shape of a mushroom. Note also that a head varient glyph of Chac appears at the top left of the page in which Chac's eye is shaped like a capital T representing the word  ik.  The character in the scene painted blue is surrounded by a ring of what  look like tiny mushroom caps. These tiny mushrooms may denote a sacred portal of deification via Chac's axe and underworld decapitation. In this scene the blue individual is likely a willing victim of self sacrifice (suicide), because the artist depicts him unbound with his arms crossed in front of his body and not bound behind him (Baudez and Mathews, 1979).  He also wears elite ear ornamentation. If he were a captive, slave or prisoner, he would have been stripped of these elite items.  Its possible that the use of the color blue to denote sacrifice comes from the fact that the stem or stipe of the psilocybin mushroom turns blue when picked or bruised. That characteristic blue color is, in fact, the best and safest way to identify a psilocybin mushroom. ( Guzman, 2009:261)
Fray Bernardino Sahagun states in Book 9 that merchant groups known as the pochteca, which translates to " priests who lead," were devout followers of Quetzalcoatl under his patron name of Yiacatecuhtli or Yacateuctil, Lord of the Vanguard.  Eric Thompson named the god Ikal Ahau or Black Lord,as the god of death among the Tzotzil Maya (Orellana,1987:.163).
A passage from the book reads:  "the eating of mushrooms was sometimes also part of a longer ceremony performed by merchants returning from a trading expedition to the coast lands. The merchants, who arrived on a day of favorable aspect, organized a feast and ceremony of thanksgiving, also on a day of favorable aspect. As a prelude to the ceremony of eating mushrooms, they sacrificed a quail, offered incense to the four directions, and made offerings to the gods of flowers and fragrant herbs. The eating of mushrooms took place in the earlier part of the evening. At midnight a feast followed, and toward dawn the various offerings to the gods, or the remains of them, were ceremonially buried."

Photographs © Justin Kerr
Maya vase K4932  depicts Maya merchants carrying large sacks over their shoulders filled with what appear to be mushrooms. The complex iconography along the rim of this vase depicts a cross-cut mushroom similar in shape to glyphs representing the planet Venus. The X-icon, which is a common symbol found on Maya vase paintings, most likely represents a sacred portal to the underworld. The fact that the X-icon above is twisted may be a reference to the symbol olin, meaning movement or motion. If so it may refer to the portal's movement up and down as a death star and to divine resurrection via the planet Venus.  Note that the merchants are all dressed in black, attributes of the priesthood of Quetzalcoatl, and that they carry a staff hooked like the symbol of Quetzalcoatl's religion.The merchant god of the ancient Maya is always depicted as black in vase paintings and codices. Merchants prayed to a black lord, named Ek Chuah for a safe return home (Orellana 1987, p.163).
I believe that hallucinogenic mushrooms may have been cultivated for purposes of trade in the Maya area. Hundreds of bottle-shaped pits have been excavated in the Highlands of Guatemala around the archaeological site of Kaminaljuyu.  Dug into the ground like man made caves, they are similar to the chultuns found at other sites in the Central and Northern Maya areas. Although commonly thought to have been used for food storage, they would have absorbed water during the rainy season and become too damp for this purpose.  According to archaeologist Michael D. Coe, (1993:44), "Chultunobs (chultuns) were ubiquitous but are often so damp that stored food may have rotted."  Were these man-made caves the perfect habitat for growing mushrooms?  Ancient merchants could have cultivated mushrooms from spores and traded them throughout Mesoamerica and even into South America. If this was indeed the case, it would have been an important source of power and wealth.
              

 Above and below are scenes from the Madrid Codex which depicts a probable ruler on a throne being offered what appears to be an Amanita muscaria mushroom.  The ruler on the throne most likely represents the Underworld Sun God prior to self sacrifice. SinceQuetzalcoatl sacrificed his own life at Teotihuacan in order to create humanity, my theory is that the shamans (priests) taught that the ruler's divine resurrection came through their own self sacrifice (decapitation) in the underworld. Ball courts were believed to be portals to the underworld after the consumption of sacred mushrooms.  Although no formal ballcourts have been identified at the great metropolis of Teotihuacan, excavations at the Temple of the Moon have uncovered a large cache of decapitated heads indicating that the ritual took place there. Archaeologists have also excavated the remains of more than 200 individuals who were sacrificed to Tlaloc and Quetzalcoatl at the Temple of the Feathered Serpent.

              
 Patron deitiescould appear in human form, but were also represented in art as a sacred bundle (see representations of K’awil at Palenque). K'awil"s image as a royal scepter is frequently seen in the hands of the High Priest or royal elites. According to the Popol Vuh, the migration of the Quiché tribes was led under the spiritual “guidance” of Tohil, their patron deity. Like the Itzas, the Quiche people also believed that they were led by Lord Plumed Serpent from Tollan /Tula. He led his people eastward to the “land of writing” to a sacred mountain top citadel called Bearded Place, and it was there that the Quiche people settled down to live. This brave leader was descibed as a white man “whose face was not forgotten by his grandsons and sons” as described on page 205 by Tedlock (Tedlock: 1985: 205. 213).
“And when war befell their canyons and citadels, it was by means of their genius that the Lord plumed serpent and the Lord Cotuha blazed with power.  Plumed serpent became a true Lord of genius: on one occasion he would climb up to the sky:...“On another he would go down the road to Xibalba (the Maya underworld). On another occasion he would be serpentine, becoming an actual serpent.  On yet another occasion he would make himself aquiline, and on another, feline; he would become like an actual eagle or jaguar in his appearance. On another occasion it would be a pool of blood; he would become nothing but a pool of blood.  Truly his being was that of a Lord of genius."
And this was the beginning and growth of the Quiché, when the Lord Plumed Serpent made the signs of greatness.  His face was not forgotten by his grandsons and sons.  He didn't do these things just so there would be one single Lord, a being of genius, but they had the effect of humbling all the tribes, when he did them.  It was just his way of revealing himself, but because of that he became the sole head of the tribes.
This Lord of genius named Plumed Serpent was in the fourth generation of Lords; he was both Keeper of the mat and Keeper of the Reception House Mat”.
       
        
 
 MUSHROOM CEREMONIES IN POST-CONQUEST HISTORICAL ACCOUNTS
 
  Although a few culturally curious friars defied the ban to write detailed accounts of native history and religion throughout the16th century, their manuscripts remained hidden from public view in the archives of the holy Inquisition. So it was that the religious use of sacred mushrooms remained unnoticed for centuries.  Fortunately for history and anthropology, a number of these early chronicles have since been discovered and translated.



   

    
The image above, from the Magliabecchiano Codex, shows the eating of wild mushrooms to summon the God of the Underworld. (jpg - www.erowid.org/.../golden_guide/images/g062.jpg) Jimenez Moreno, identified this Nahua god as Mictlantecuhtli, God of the Underworld. The codex which was painted on European paper  has been dated sometime shortly after 1528 (Wasson, 1980 p.114) Wasson writes that the fact that the mushrooms depicted above are painted green was  iconographic code, in that the color green, being the color of jade meant that the object depicted was of great worth and considered divine or holy.   

 One of the more renownedSpanish chroniclers, Fray Diego Duran, wrote in his Histories of New Spain (1537—1588) that his writings would likely go unpublished because many of his contemporaries feared that they would revive ancient customs and rites among the Indians. He added that  "(they) were quite good at secretly preserving their customs”.  Duran mentions that the word for sacrifice, nextlaoaliztli, in the Nahuatl language of the Aztecs, meant either "payment", or the act of payment. He writes that young children were taught that death by the obsidian knife was a most honorable way to die, as honorable as dying in battle or for a mother and child to die in childbirth. Those who were sacrificed by the obsidian knife were assured a place in Omeyocan, the paradise of the sun, the afterlife.
 Fray Duran's work was rescued from obscurity by Charles Etienne Brasseur de Bourbourg.   Bourbourg, an ordained priest, came to the Americas in 1848 to search for rare manuscripts and religious artifacts. While visiting Mexico City, he obtained permission to have the Church archives opened to him, and it was there that he discovered a copy of Fray Diego's Histories. .  

Spanish chronicler Fray Diego Duran ...
“The Indians made sacrifices in the mountains, and under shaded trees, in the caves and caverns of the dark and gloomy earth. They burned incense, killed their sons and daughters and sacrificed them and offered them as victims to their gods; they sacrificed children, ate human flesh, killed prisoners and captives of war....One thing in all this history: no mention is made of their drinking wine of any type, or of drunkenness. Only wild mushrooms are spoken of and they were eaten raw.” 
...“All the ceremonies and rites, building temples and altars and placing idols in them, fasting, going nude and sleeping…. on the floor, climbing mountains, to preach the law there, kissing the earth, eating it with one's fingers and blowing trumpets and conch shells and flutes on the great feast days-- all these emulated the ways of the holy man, Topiltzin Quetzalcoatl”.  (Duran, 1971: 59).   
...“It was common to sacrifice men on feast days as it is for us to kill lambs or cattle in the slaughterhouses.... I am not exaggerating; there were days in which two thousand, three thousand or eight thousand men were sacrificed...Their flesh was eaten and a banquet was prepared with it after the hearts had been offered to the devil.... to make the feasts more solemn   all ate wild mushrooms which make a man lose his senses... the people became excited, filled with pleasure, and lost their senses to some extent." 
Duran called these mushroom ceremonies "Feast of the Revelations".  He also tells us that wild mushrooms were eaten at the ceremony commemorating the accession of the Aztec King Moctezuma in 1502.  After Moctezuma took his Divine Seat, captives were brought before him and sacrificed in his honor. He and his attendants then ate a stew made from their flesh.  (Duran, 1964: 225).
And all the Lords and grandees of the province rose and, to solemnize further the festivities, they all ate of some woodland mushrooms, which they say make you lose your senses, and thus they sallied forth all primed for the dance”.
“When the sacrifice was finished and the steps and courtyard were bathed with human blood, everyone went to eat raw mushrooms”.
“With this food they went out of their minds and were in worse state than if they had drunk a great quantity of wine. They became so inebriated and witless that many of them took their lives in their hands. With the strength of these mushrooms they saw visions and had revelations about the future, since the devil spoke to them in their madness”.
To the distress of later historiansDuran tells us that the Catholic Church, in its zeal to obliterate all aspects of native culture which could threaten Christian religious belief, ordered the destruction of  all native documents pertaining to history, myth, and legend.The Church also banished all aspects of native religion in favor of Christianity, and made no attempt to study or further record mushroom rituals. Duran wrote that the Christianization of the Aztecs  would remain arduous, and that the "heathen" religion of the Aztecs, and "the whole of their culture is impregnated with the old values."

 In 1540 Fray Bartolomé de las Casas wrote that more than eight hundred years of native history were lost when many hieroglyphic screen folded codices were burned. Jesuit priest Domingo Rodriguez tells us that the Franciscan friar Diego de Landa, who arrived in Yucatan in 1549, destroyed over 5000 idols and amassed book burnings in the presence of nobility.  In  Landa's own words: "We found a great number of books and since they contained nothing but superstitions and falsehoods of the devil we burned them, which they took most grievously, and which gave them great pain." (Bishop Landa,1566).
Ironically, despite this massive destruction, Fray Diego de Landa's manuscript entitled  Relacion de las Cosas de Yucatan,written around 1556, has been hailed as the greatest single source of information about the ancient Maya of Yucatan. Appalled, but fascinated by the native culture, he  took meticulous notes on Maya history and language. He tied his descriptions of Maya ceremonies to the sacred ritual calendar and included drawings of glyphs for the 20 days, and 18 months. He also included images of the gods written in Mayan glyphs as either logograms, or head variants, along with their iconographic attributes that distinguished one deity from another. It is largely due to this volume of work that, years later, epigraphers were able to decipher and understand the meaning of Maya hieroglyphs.
 Unfortunately, the original copy of his famous book was lost and what we have are parts of a copy, written by three different hands, and, according to Inga Clendinnen, perhaps made in 1616. She writes, “it is possible that the unknown copyists, not only omitted or abbreviated sections, but also rearranged the order of the original. There are curious breaks and alternations in tone and subject matter.”  (Clendinnen,1987:117) 
Landa wrote that the high priest, called “Lord Snake,” oversaw all priestly matters pertaining to astronomy, divination, interpreting holy books, and oversaw all festivals, rituals and sacrifices according to the calendar. In essence the high priest was the incarnate of Quetzalcoatl-Tlaloc, the servant of the sun. According to Landa the high priest was chosen because of his ability to interpret the prophecies of the katuns.  These prophecies were based on events that repeated cyclically in each of the 13 katun periods of 7200 days. The Maya erected elaborate stone monuments, called katun stones, to commemorate the passing of time and the completion of a katun. The ceremony which scholars believe may have originated in Mexico is clearly linked to a sacred calendar and the veneration of the planet Venus. This particular ceremony introduced a new religious cult into the Maya area. It is first seen at Tikal in the early Classic in the worship of a jaguar-bird-serpent god associated with war and the Morning Star. This god, known as Quetzalcoatl, is linked intimately with what is known as Tlaloc warfare, a so-called "Holy War" waged against neighbors for the most part for the taking of captives. Astronomically timed to the cycles of Venus, also called "Venus Star Wars", Tlaloc warfare, involved raids or ambushes, for the taking of sacrificial victims. 
 In Mexico City, Bishop Juan de Zumarraga claimed to have destroyed 20,000 idols and 500 temples. He is known to have formed a large pyramid of books, manuscripts with paintings and hieroglyphic writing that he torched into flames while the natives who watched could only cry and pray. He also had the lord of Texcoco publicly burned to death Sunday November 30, 1530, because he was accused of worshiping the God,Tlaloc (a mushroom god).
 Spanish chronicler,Fray Bernardino de Sahagun was more sympathetic to the Indians and their culture than most of his colleagues.  He was probably the first to record the use of mushrooms in his famous Historia General de las Cosas de Nueva Espana, written between 1547 and 1582. He wrote that the Indians gathered mushrooms in grassy fields and pastures and used them in religious ceremonies because they believed them to be the flesh of their gods (Teonanacatl). Mushroom intoxication, according to Spanish reports gave sorcerers, the power to seemingly change themselves into animals, and that the powerful visions and voices the mushrooms produced were believed to be from God.
 In the Florentine Codex, Sahagun describes a lady of the night on mushrooms...;
 "she parades, she moves lasciviously...she appears like a flower, looks gaudy...views herself in a mirror... she bathes... she goes about with her head high, [she is] rude, drunk, shameless, eating mushrooms.  She paints her face , variously paints her face, her face is covered with rouge, her cheeks are coloured...rubbed with cochineal...she arranges her hair like horns [a fashionable style of hair arrangement]"...finds pleasure in her body...;and, "she waves at one...beckons with her head..." (H. Thomas 1993, p.291). 
Sahagun...
“It was said that they did not die, {the Indians} but wakened out of a dream they had lived; this is the reason why the ancient said that when men died  they did not perish, but began to live again, walking almost out of a dream, and that they turned into spirits of gods… and so they said to the dead: “Lord or Lady, wake, for it begins to dawn, now comes the daylight for the yellow feathered birds begin to sing, and the many colored butterflies go flying”; and when anyone died, they used to say of him that he was now teotl, meaning to say he had died in order to become spirit or god.”
 The Florentine Codex which was written by Fray Sahagun, was a collection of well documented information on Aztec culture that he completed around 1575-1577. The 12 volumes are now located in the Laurentian Library in Florence where it may have been sent to be judged by the Spanish Inquisition. The Catholic church most likely banned the book because of it's content of pagan rituals.  It remained unknown until it's rediscovery in 1883 (Orellana,1987:p.11).
   
A 16th-century illustration from the Florentine Codex of teononacatl, the hallucinogenic mushroom of the Aztecs. ( Sahagun,1950 p. 517).
   
 This page from the Florentine Codex shows what appears to me to be the transfer of cultivated mushrooms into a large ceramic jar.  The use of mushrooms and peyote by 16th century Aztecs, although well documented by Spanish chroniclers and in Aztec codices, has not, by and large, been acknowledged by the archaeological community.  These products may have played an important role in both commerce and religion in pre-Columbian times.  A case in point is the illustration above.  Despite the fact that the objects falling from the basket into the jar appear to be both the size and shape of mushrooms, they have been identified in the past as kernels of maize.     
    
 Both of the pages illustrated above are  from the Florentine Codex. They depict what I believe is the eating of sacred mushrooms before decapitation. The speech scrolls maybe  representing the word for god esoterically depicts the symbol of the religion. The scepter of sorts depicted on both pages above may represent in code the Amanita mushroom and the "fiveness of Venus" in the depiction of five tiny mushrooms which emerge from the scepter.   The codex page on the right depicts what appears to be the smiling faces of sacrificial victims, looking very mush like willing participants, about to consume sacred mushrooms prior to their decapitation. Note that their capes have been turned around as bibs, maybe to be used after decapitation as a ritual bundle. The seated figure on the lower right is being offering an axe, suggestive of self sacrifice, but not necessarily indicating the ritual or act of self-decapitation. 
Sahagun describes the use of mushrooms at the coronation of Montezuma II,  the High Priest of the Aztecs, as follows: 
“For four days there was feasting and celebration and then on the fourth day came the coronation of Montezuma II, followed by human sacrifices in numbers”.
“At the very first, mushrooms had been served.  They ate them at the time when the shell trumpets were blown.  They ate no more food; they only drank chocolate during the night, and they ate the mushrooms with honey.  But some, while still in command of their senses, entered and sat there by the house on their seats; they danced no more, but only sat there nodding.  One saw in vision that already he would die, and then continued weeping, one saw that he would die in battle; one saw in vision that he would be eaten by wild beasts; one saw in vision that he would take captives in war; one saw in vision that he would be rich, wealthy; one saw in vision that he would buy slaves, he would be a slave owner; one saw in vision that he would commit adultery, he would be struck by stones, he would be stone; one saw in vision that he would steal, he would also be stone and saw in vision that his head would be crushed by stones-they would condemn him; one saw in vision that he would perish in the water; one saw in vision that he would live in peace, and tranquility, until he died; one saw in vision that he would fall from a roof top, and he would fall to his death; however many things were to befall one, he then saw all in vision: even that he would be drowned. And when the effects of the mushrooms had left them they consulted among themselves and told one another what they had seen in vision. And they saw in vision, what would befall those who had eaten no mushrooms, and what they went about doing.  Some were perhaps thieves, some perhaps committed adultery. Howsoever many things there were all were told-that one would take captives, one would become a seasoned warrior, a leader of youths, one would die in battle, become rich, buy slaves, provide banquets, ceremonially bathe slaves, commit adultery, be strangled, perish in water, drown.  Whatsoever was to befall one, they then saw all in vision.  Perhaps he would go to his death in Anauac  (Florentine Codex, Dibble & Anderson, Bk 9:38-39) "

   
  The arrival of Europeans to the New World caused what could easily be argued as the greatest disaster in human history. This disaster was no less than the tragic depopulation of Native Americans.  According to Berkeley researchers Cook and Borah, when Cortes landed in Mexico in 1519 there were an estimated 25.2 million people living in central Mexico.  After Cortes, the population dropped to around 700,000 people.  By 1623,  just over a century after Cortes's arrival in the New World,  the area had experienced a 97 percent drop in the aboriginal population.A Spanish traveler in post-Conquest Peru named Pedro Cieza de Leon is quoted by Bartolome de Las Casas as saying...
"We Christians, have destroyed so many kingdoms....For wherever the Spaniards have passed , conquering and discovering, it is as though a fire had gone destroying everything in its path."  (Mann, 2005:143-145). 
The reason for the dramatic demographic collapse was the devastating effect of European diseases on the native Americans, who had no previous experience with these microbes and thus no resistance to them. The loss of so many human beings devastated families and demoralized all levels and aspects of native American society.  Further resistance to Spanish rule was impossible, and many native traditions were lost. 
However, the use of hallucinogenic substances in native religion, though weakened, and unremarked for centuries, was never lost. Hallucinogenic mushrooms continued to be collected and used in native curing ceremonies in remote parts of Mexico into the present.  In more recent times, Christian missionary and anthropologist Eunice V. Pike mentions  (1960),  that Christian missionaries had difficulty in converting the Mazatec Indians because they equated hallucinogenic mushrooms with Jesus Christ.  In a letter written in 1953, Christian missionary and anthropologist Eunice  Pike elaborates on the subject of the mushroom and Jesus Christ:
"I’m glad to tell you whatever I can about the Mazatec mushroom.  Someday I may write up my observations for publication, but in the meantime you may make what use of it you can.
The Mazatecs seldom talk about the mushroom to outsiders, but belief in it is widespread.  A twenty-year old boy told me, “I know that outsiders don’t use the mushroom, but Jesus gave it to us because we are poor people and can’t afford a doctor and expensive medicine.”
Sometimes they refer to it as “the blood of Christ,” because supposedly it grows only where a drop of Christ‘s blood has fallen. They say that the land in this region is “living” because it will produce the mushroom whereas; the hot dry country where the mushroom will not grow is called “dead.”
They say that it helps “good people” but if someone who is bad eats it “it kills him or makes him crazy.” When they speak of “badness”   they mean “ceremonially unclean.” (A murderer if he is ceremonially clean can eat the mushroom with no ill effects.) A person is considered safe if he refrains from intercourse five days before and after eating the mushroom.  A shoemaker in our part of town went crazy about five years ago. The neighbors say it was because he ate the mushroom and then had intercourse with his wife.
When a family decides to make use of the mushroom they tell their friends to bring them any they see, but they ask only those who they can trust to refrain from intercourse at that time, for if the person who gathers the mushroom has had intercourse, it will make the person who eats it crazy."(March 9, 1953, Borhegyi archives, MPM.  See alsoPiket and Cowan 1959:45-150)
In a letter to Borhegyi, Gordon Wasson writes ...
My Mije informants tell me (Manuel Agustin)... 
 "The mushrooms may be gathered by anyone at any hour. Often on kneeling to gather one up, the gatherer utters a prayer of thanks for the divine gift. The mushrooms are placed in a jicara, or gourd bowl, and taken to the church. The mushrooms are placed on the high altar, prayers are said, and copal incense is burned. The mushrooms are taken to the house where the session is to be held, perhaps the home of a sick person. The sick person eats the mushrooms, not a curandero: here is the basic difference from the Mazatec practice. If a lost or stolen object is sought, then the suppliant eats the mushroom in the presence of a close member of his family, all others keeping away. The witness is present to give ear to the words of the eater, as he begins to talk under the influence of the inebriating mushrooms. Furthermore, the mushrooms will not render service if he who eats them has said or thought disrespectful things about them, and if he guilty of this sin, then the mushrooms cause him to see horrible visions of snakes and such like". (Wasson to Borhegyi, Borhegyi Archives, MPM)



                              END OF PART I,   BREAKING THE MUSHROOM CODE

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It seems I skipped the introduction last time. Here is the introduction

BREAKING THE MUSHROOM CODE
 
  
                       Mushroom Symbolism in Pre-Columbian Art
 
By
Carl de Borhegyi   
Copyright  2010
                           
The following research presents visual evidence that both the hallucinogenic Amanita muscaria mushroom and the Psilocybin mushroom were worshiped and venerated as gods in ancient Mesoamerica. These sacred mushrooms were so cleverly encoded in the religious art of the New World, "Hidden in Plain Sight" that prior to this study they virtually escaped detection.
   My study which began in 1996 was inspired by a theory first proposed over fifty years ago by my father, the late Maya archaeologist Dr. Stephan F. de Borhegyi, that hallucinogenic mushroom rituals were a central aspect of Maya religion. He based this theory on his identification of a mushroom stone cult that came into existence in the Guatemala Highlands and Pacific coastal area around 1000 B.C. along with a trophy head cult associated with human sacrifice and the Mesoamerican ballgame.He supported this theory with a solid body of archaeological and historical evidence.                            
  This study which is exclusively my own work is still undergoing editing and peer review, and will eventually be published into two books, titled BREAKING THE MUSHROOM CODE, and SOMA IN THE AMERICAS, with fewer photographs than the online version, and be divided into chapters. Scholars will find an extensive bibliography of works consulted and cited at the bottom of Breaking Part II.
  No publication, to my knowledge either online or in print has ever presented encoded mushroom imagery in pre-Columbian art, and Old World art, and I strongly encourage all viewers seeking an overall idea of the subject matter to scroll quickly through the different images and pages, and then return to the subject matter of interest. Others may wish to look for specific images or subject matter by utilizing "Control F" to find them. 
 The following images of encoded narcotic mushrooms are presented for educational, scholarly, and artistic research purposes.In accordance with Title 17 U.S.C. Section 107, any copyrighted work on this page is distributed under fair use without profit or payment for non-profit research and educational purposes only.    
                             
                                   BACKGROUND TO MUSHROOM STUDY       
      
              MUSHROOM STONES FROM MIDDLE AMERICA
                                          MUSHROOM GODS OF  MESOAMERICA
                                                                    
               (Photograph of Maya mushroom stones by Dr. Richard Rose reproduced from Stamets, 1996)
              
                                                      
 The prevailing anthropological view of ancient New World history is that its indigenous peoples developed their own complex cultures independent of outside influence or inspiration.  Any suggestions to the contrary have been generally dismissed as either fanciful, racist, or demeaning. The peoples of the New World, scholars have argued,  were fully capable of developing their own civilizations as sophisticated as any found in Asia or the West. Today trans-oceanic contact between the hemispheres is still considered highly unlikely despite the exception of the Viking outpost discovered in Newfoundland in the 1960's, and the recent awareness that early humans reached far distant Australia by boat as many as 50,000 years ago. After viewing the visual evidence presented below, readers of this study may wish to challenge this view of New World history with a more open-minded acknowledgement of the capability of ancient peoples to explore their environment and disperse their intellectual heritage to its far corners.       
   I have found an abundance of archaeological evidence supporting the proposition that Mesoamerica, the high cultures of South America, and Easter Island shared, along with many other New World cultures, elements of a Pan American belief system so ancient that many of the ideas may have come from Asia to the New World with the first human settlers.  I believe the key to this entire belief system lies, as proposed by R. Gordon Wasson, in early man's discovery of the mind-altering effects of various hallucinatory substances. The accidental ingestion of these hallucinogenic substances could very well have provided the spark that lifted the mind and imagination of these early humans above and beyond the mundane level of daily existence to contemplation of another reality.
                                 
 My father, who from now on  I will now refer to simply as Borhegyi, emigrated to the United States from war-torn Hungary in 1948. Although he had recently graduated with a Ph.D. degree in Egyptology, Classical, and Early Christian archaeology from the Peter Pazmany University in Budapest, he had chosen to open new fields of endeavor for himself in New World archaeology.  To his very good fortune, he was taken under the wing of Dr. Alfred Vincent Kidder, one of the great pioneers in New World archaeology. Through Dr. Kidder, and the Carnegie Institution of Washington with which Kidder was affiliated, Borhegyi secured a grant from the Viking Fund (later known as the Wenner-Gren Foundation) to catalog the extensive artifact collections stored in the basement of the Guatemalan National Museum. 
While at work on these collections he came across a number of small, unprovenanced carved stone effigy figures that resembled mushrooms to such a degree that they were called "mushroom stones." At the time, however, no one seriously thought that they represented real mushrooms. Some of the small mushroom-shaped sculptures were plain and realistic, others were adorned with human and animal effigies.  While only a few had been found in the course of  archaeological investigation,  there was sufficient evidence on specimens excavated by archaeologists working with the Carnegie Institution of Washington  research team to enable Borhegyi to classify and date them typologically. The majority had been found in Guatemala in the highlands or on the Pacific Piedmont--Maya areas along the intercontinental mountain range which were heavily influenced in Preclassic times by the powerful Olmec culture.(Borhegyi, 1957, 1961, 1963).
 Borhegyi found the figures so intriguing that he prepared a monograph for submission to the C.I.W.s "Notes on Middle American Archaeology and Ethnology". Before submitting it, however, he sent it off to be critiqued by archaeologist Gordon Ekholm at the American Museum of Natural History.  Ekholm, in turn, showed it to his friend R. Gordon Wasson, an amateur mycologist who was looking for archaeological evidence of ancient hallucinogenic mushroom rites in Mesoamerica.  Wasson wrote to Borhegyi and within months the two embarked on what became an intense and fruitful collaboration that lasted until the end of Borhegyi's tragically short life.
 Wasson included Borhegyi's mushroom stone study in his monumental book entitled Mushrooms, Russia and History. In this article Borhegyi identified the existence of an ancient mushroom stone cult that had begun as early as 1000 B.C.E. and which lasted as late as 900 C.E.  He noted that many of the mushroom stones, especially those dating between 1000 and 100 C.E. depicted images of toads, as well as snakes, birds, jaguars, monkeys, and humans. The majority of the images appeared to emerge from the stem of the mushroom (Wasson and Wasson, 1957).
The historical evidence came to Borhegyi's attention through his extensive correspondence with  Wasson.  Wasson  pointed him toward reports of ritual use of hallucinogenic mushrooms among the Aztecs in a number of Spanish chronicles written shortly after the Spanish conquest.   Wasson also directed him toward reports of the existence of modern-day ritual use of hallucinogenic mushrooms in various parts of Mexico and, in particular, among the Mazatec Indians of Oaxaca. Together, Borhegyi and Wassonsurmised that If the mushroom stones did, indeed, represent a mushroom cult, then the mushroom itself was an iconographic metaphor, and the mushroom stone effigies could supply the clues necessary to decipher their meaning.
In the book Mushrooms, Russia and History, the Wassons reported on the ritual consumption of mushrooms (the Amanita muscaria) among Siberian and northern Asian peoples, suggesting the possible antiquity of the mushroom cult to Stone Age times. According to Wasson... 
 "It can of course be argued that the two great mushroom traditions, that of New World Indians and that of the peoples of Eurasia, are historically unconnected and autonomous, having arisen spontaneously in the two regions from similar requirements of the human psyche and similar environmental opportunities. But are they really unrelated?  
" There is little doubt that the substance called Soma in the Rig Veda has been identified as the fungus Amanita Muscaria."  
  "If it is indeed that ancient, it would also help explain why the same motif is found in strikingly similar form in Maya art as well as in shamanic tradition and ritual of other indigenous peoples of the New World".
 According to Wasson, the term shaman  is not native to Mesoamerica or even to the New World but derives from the languages of Siberia.  Siberian shamanism incorporates ecstatic trances brought on by a ritual of dance and the inducement of hallucinations, most commonly through the consumption of some hallucinogenic substance. The intention was to open communication directly with the spirit world, often through a form of animal transformation. The worship of animal spirit companions and the concept of human-animal transformation is so ancient, that the origins of these beliefs appear to predate the development of agriculture. Since these beliefs are also present throughout North and South America that they may very well have been brought there by the first hunters and gatherers to reach the New World. We find the first evidences of these shamanistic rituals in Mesoamerica in the art of the ancient Olmecs along with the development of agriculture, food production, and settled village life.                               
 
  
  The Preclassic Mayan mushroom stone pictured at the far left isfrom the site of Kaminaljuyu in the Guatemala Highlands, which depicts a mushroom emerging from the back of a crouching jaguar. Mushroom stones with a double edge or groove on the underside of the cap, have been dated to the Late Pre-Classic period about 300-100 B.C. by Stephan F. de Borhegyi based on the few mushroom stones that have been excavated in context at Kaminaljuyu.         

Ethno-Mycologist Robert Gordon Wasson...
"In examining these mushroomic artifacts we must keep in mind that they were not made for our enlightenment. They were iconic shorthand summarizing a whole bundle of associations ,--whatever those associations were. The Christian cross is to be found in endless shapes, including the "effigy cross" or crucifix, and all stem back to a complex of emotions, beliefs, and religious longings. The crucifix would reveal to an archaeologist eons hence more than, say, a Maltese cross. So with the mushroom stones, the subject matter of the effigies holds the secret".

According to testimony recorded in 1554 in the Colonial document entitled El Titulo de Totonicapan, the Quiché Maya revered mushroom stones as symbols of power and rulership, and before them they performed rituals (of blood sacrifice)to pierce and cut up their bodies. (Sachse, 2001, 186).
 "  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."  
In 1969 my father died in an automobile accident.  Wasson, no longer able to continue his fruitful collaboration with Borhegyi on Mesoamerica, continued his earlier studies of mushrooms in East Indian religion and mythologyWhile by this time many anthropologists and archaeologists had accepted the  idea that mushrooms and other hallucinogens were used in ancient Mesoamerica, their use was, in most cases, dismissed as relatively incidental and devoid of deeper significance in the development of Mesoamerican religious ideas and mythology.  With a few exceptions, notably the research and writings of ethnoarchaeologist Peter Furst, further inquiry into the subject on the part of archaeologists came to a virtual halt.  Fortunately,a few mycologists, most notably Bernard Lowy and Gaston Guzmán, (2002:4; 2009) continued through the years to make important contributions to the scientific literature.To this day. the subject remains relatively little known and generally missing from the literature on Mesoamerican archaeology, art history, and iconography
Wasson may have provided an important explanation for this lack of interest. He and his wife, Valentina, had observed that, across the globe, cultures seemed to be divided into those who loved and revered mushrooms, and those who dismissed and feared them. The first group of cultures they  labeled "mycophiles," while the latter were "mycophobes."  In the New World, it appears that all of the native cultures were, and still are, unquestionably mycophilic.  In contrast, the great majority of archaeologists and ethnologists who studied and described them, and who traced their cultural origins to Western Europe, were decidedly mycophobic. This major difference in cultural background may be responsible for what I believe should be seen as a lamentable gap in our understanding of indigenous New World  magico-religious origins.   (Wasson: 1957)


                 
   Fly agaric mushroom (Amanita muscaria). This colorful mushroom is a powerful hallucinogenic, containing the drugs ibotenic acid and muscimol. The effects are unpredictable, and a few deaths have been attributed to this mushroom. It takes its name from the medieval practice of breaking the caps into a saucer of milk in order to stupefy flies. It is commonly found amongst birch trees in temperate regions in autumn. (caption and photo from www.sciencephoto.com) Credit:SIMON FRASER/SCIENCE PHOTO LIBRARY

 Quoting R. Gordon Wasson...
    "[the mushroom] It permits you to see, more clearly than our perishing mortal eye can see, vistas beyond the horizons of this life, to travel backwards and forwards in time, to enter other planes of existence, even (as the Indians say) to know God." 

                



Michael J. Harner ....
“Undoubtedly one of the major reasons that anthropologists for so long underestimated the importance of hallucinogenic substances in shamanism and religious experience, was that very few had partaken themselves of the native psychotropic materials (other than peyote) or had undergone the resulting subjective experiences so critical, perhaps paradoxically, to an empirical understanding of their meaning to the peoples they studied.” 
(From Marc Blainey #250104784)

One of the most influential archaeologists of the time, Sir J. Eric S. Thompson, was a major doubter. He wrote Borhegyi as follows:
 
   Quoting archaeologist  Sir J. Eric S. Thompson....
  "I had heard of the theory that these stones might represent a narcotic mushroom cult, but I would think it a difficult theory to prove or disprove... I know of no reference to their use among the Maya, ancient or modern" (Thompson to de Borhegyi, March 26,1953, MPM Archives) 
  Thompson was not unfamiliar with mushroom stones. He hadfoundan anthropomorphic mushroom stone representing a seated individual with a mushroom cap in the course of a trial survey of the Southern Maya area.  The specimen came from the Central Highlands of Guatemala. Thompson described the piece as a huge mushroom-like object that some anthropologists thought to be stone stools--though he admitted that they could hardly have been comfortable seats!  He also excavated and illustrated several tripod mushroom stones with plain stems at Finca El Baul on the Coastal piedmont of Guatemala. These he also described as stone seats. (Borhegyi in Wasson, 1962:49)
 
  Archaeologist Michael D. Coe...
   "I do not exactly remember when I first met Gordon Wasson, but it must have been in the early 1970's. He was already a legendary figure to me, for I had heard much of him from the equally legendary and decidedly colorful Steve Borhegyi, director of the Milwaukee Public Museum before his untimely death. Steve, who claimed to be a Hungarian count and dressed like a Mississippi riverboat gambler, was a remarkable fine and imaginative archaeologist who had supplied much of the Mesoamerican data for Gordon and Valentina Wasson's Mushrooms, Russia and History, particularly on the enigmatic "mushroom stones" of the Guatemala highlands. His collaboration with the Wassons proved even to the most skeptical that there had been a sort of ritual among the highland Maya during the Late Formative period involving hallucinogenic mushrooms" (from the book; The Sacred Mushroom Seeker: tributes to R. Gordon Wasson, 1990 p.43) 

 In 1972  Wasson  declared the matter resolved:
 "Some Middle American specialists may challenge my assumption of a connection between the "mushroom stones", which ceased to be made centuries before Columbus arrived on these shores, and today's surviving mushroom cult." .... "For years I had only an assumption to go on , but now, thanks to discoveries made by the late Stephan F. de Borhegyi  and us, I think we can tie the two together in a way that will satisfy any doubter"   (Wasson,1972:188n)  


Furst, who supported  Borhegyi and Wasson's research added:
"The connection between these sculptures and the historic mushroom cults of Mesoamerica has not always been accepted. Though many mushroom stones are quite faithful to nature, they were, until recently, not even universally thought to represent mushrooms at all, and a few die-hards even now, in the face of all the evidence, reject this interpretation." (1972)

I am pleased that now, after more than a half century of virtual denial by the anthropological community of the centrality of hallucinogenic substances, and in particular two varieties of hallucinogenic mushrooms, the Amanita muscaria and psilocybin, I can finally present undeniable visual evidence of itsexistence "hidden in plain sight" in the ancient art and iconography of Mesoamerica.
 
  Ethno-Mycologist  R. Gordon Wasson...
"I believe the whole corpus of surviving pre-conquest artistic expression should…be reviewed on the chance that divine mushrooms figuring therein have hitherto escaped detection”.  (from Thomas, 1993 p.644 11-17n)

                    


Since the great majority of the images I have found appear to represent theAmanita muscaria mushroom,  I am ready to propose that the Amanita muscaria mushroom like the Vedic god Soma in East Indian mythology, is the metaphorical  key to decoding the esoteric religions of the New World that prevailed from prehistoric times.       

                                                                 SOMA                         
                 "DIVINE MUSHROOM OF IMMORTALITY"
                                  "Hidden In Plain Sight"                         
              
 
  Like the god Soma of ancient Hinduism, the ancient god myths of Mesoamerica contain a  sacramental food or beverage associated with sacrifice and immortality.  I  have found sufficient visual evidence in the art of Mesoamerica and South America to identify this sacramental food as an hallucinogenic substance, most notably,  Amanita muscaria or psicilocybin mushrooms. Like the Vedic god Soma , the Amanita muscaria mushroom of Mesoamerica assumes, from earliest times, the persona of the god itself. In Mesoamerica this god took the form of the Underworld "were jaguar".
 
 
MUSHROOMS AND UNDERWORLD JAGUAR TRANSFORMATION

 
                           
 
 Above left, "hidden In plain sight,"  the ceramic Precolumbian mask depicts the transformation of a human into a "were-jaguar," a half-human, half-jaguar deity first described and named in 1955 by archaeologist Matthew W. Stirling. The were-jaguar appears in the art of the ancient Olmecs as early as 1200 B.C.  I believe this mask symbolizes the soul's journey into the underworld where it will undergo ritual decapitation, jaguar transformation, and spiritual resurrection.  An Amanita muscaria mushroom (actual specimen shown in the photo on the right) is encoded into the head and nose of the human side, while the left half of the mask depicts the effect of the Amanita mushroom as resulting in were-jaguar transformation.The were-jaguar eventually came to be worshiped and venerated throughout Central and South America.  Mexican art historian, Miguel Covarrubias, demonstrated that later images of Quetzalcoatl, feathered serpents, and rain gods like the Mexican god Tlaloc were all derived from the Olmec were-jaguar associated with sacrifice and the underworld (Miller and Taube, 1993:185)
(photo below by Prof. Gian Carlo Bojani Director of the International Museum of Ceramics in Faenza, Italy) (Photo of Amanita muscaria by Richard Fortey)
                   

  

Image of "Weeping God"  from VANKIRK, Jacques, and Parney Bassett-VanKirk,  Remarkable Remains of the Ancient Peoples of Guatemala,  Norman: University of Oklahoma, 1996.)  

   "...fanged anthropomorphic individuals with dangling eyeballs, are commonly associated with the god Quetzalcoatl in his form of Ehecatl the Wind God”.( Borhegyi 1980:17)     
             
The stone carving shown above is a good example of the clever way in which the Precolumbian artist hid the sacred mushrooms of underworld jaguar transformation from the eyes of the uninitiated.   I believe that knowledge of the mushroom Venus resurrection ritual was considered so sacred that the artist deliberately obscured mushroom imagery. In this case the sculptor hid them behind the tears of the "Weeping God",  known in legend as Quetzalcoatl Ce Acatl, the bearded god-king of the Toltecs.  In order to distinguish this semi-historical Quetzalcoatl from Quetzalcoatl as the Feathered Serpent or Wind God deity,  the Toltecs prefixed his birth date to his name, Ce Acatl,  meaning "One Reed."
  While at first glance they give the illusion of dangling eye-balls, if you look closely at the mask you will see that the legendary tears of Quetzalcoatl are actually encoded Amanita mushrooms "hidden in plain sight." This bearded and fanged deity shared feline, serpentine, and bird-like features. Identified as a Feathered or Plumed Serpent by archaeologists in his earliest representations,  he took on many additional guises and attributes over the years, and became known by a great variety of names throughout the New World. I have elected to refer to him, as did the Toltecs and Aztecs, as Quetzalcoatl.
There is plenty of evidence in Mesoamerican mythology linking the many avatars of Quetzalcoatl, Jaguar-Bird-Serpent, to the duality of the planet Venus.  Eduard Seler was the first to link feathered serpent imagery to the planet Venus and Quetzalcoatl and Seler believed that the jaguar-bird-serpent image was associated with war and the Morning Star ( Milbrath ).  In Aztec mythology the cosmos was intimately linked to the planet Venus in its form as the Evening Star, which guides the sun through the Underworld at night, as the skeletal god Xolotl, the twin of Quetzalcoatl.  As the Morning Star, Quetzalcoatl's avatar was the harpy eagle.  Among the Quiche Maya,  Venus in its form as the  Morning Star, was callediqok'ij,  meaningthe "sunbringer" or "carrier of the sun or day."(Tedlock, 1993:236). 

 According to Spanish chronicler Fray Diego Duran, (The Aztecs,1964, p.149) it was written that before Quetzalcoatl departed  his beloved Tula, he left orders that his figure be carved in wood and in stone, to be adored by the common people. “They will remain as a perpetual memorial to our greatness in the way that we remember Quetzalcoatl”.

Anthropologist and author Irene Nicholson...
 "In spite of the great gulf that separates Precolumbian thought from our own in many of its external aspects; in spite of distortions, irrelevancies, decadence and subsequent annihilation by European conquerors of a great part of it; the culture which this mysterious leader established [Quetzalcoatl Votan] shines down to our own day. Its message is still meaningful for those who will take the trouble to make their way, through the difficulties of outlandish names and rambling manuscripts, to the essence of the myth".   (from the book, Mexican and Central American Mythology 1967, p.136)

 
The ancient cultures of the Nahua and Maya developed similar ideologies and mythologies from the same Olmec roots. The sacred mushroom ritual shared by these cultures was intended,  I believe, to establish direct communication between Earth and Heaven (sky) in order to unite man with god. As told in the Popol Vuh, the sacred book of the ancient Quiche Maya,  the sun-god of the Maya, Kinich Ajaw, and his Aztec equivalent, Huitzilopochtli, would be extinguished in the underworld if not nourished with the blood of human hearts. Quetzalcoatl's essence in the world as a culture hero was to establish this communication. Quetzalcoatl taught that mankind must make sacrifices to the deity and transcend this world in order to achieve immortality. There is good reason to believe that this ritual was regularly performed  prior to sacrifice, whether the sacrifice was performed willingly by the participant, or carried out  by another individual.

 

       
     (jpg - 4.bp.blogspot.com/.../s320/Mexico+City+080.jpg)
  (Photo of Amanita muscaria, Fly Agaric Mushrooms from Salvia Space Ethnobotanicals)                 
   Above, another Precolumbian incense burner (Toltec?) from Central Mexico encodes Amanita muscaria mushrooms as the "legendary tears of Quetzalcoatl."  Note as well that the scroll at the bottom of the censer repeats a hook-shape that I have come to believe is the symbol of a religion based on mushrooms and worship of the planet Venus.
 
                 
 Photograph © Justin Kerr 
Above, on the left, is the Amanita muscaria mushroom, and on the right a Maya figurine (300-900 C.E.) photographed by Justin Kerr (K 656a).  The figurine wears a headdress inspired by the Amanita muscaria mushroom. Its contorted face depicts the "Olmec snarl", a common motif in Olmec art which I believe  represents the mushroom's effect of jaguar transformation and the soul's mythical underworld journey.  The figurine holds in its hands a concave mirror.  Mirrors were used by shamans to see into the past and future and communicate with ancestors and gods. I believe that in many, if not most cases, this communication was conducted under the influence of mushrooms.  According to Hugh Thomas (1993 p.14) "The mushrooms of the Mexica (Aztecs), the most important of these plants, came from the pine-covered slopes of the mountains surrounding the valley."  Above left is an  Amanita muscaria mushroom commonly found in the pine-covered slopes of highland Guatemala.
  The early Olmecs were likely the first to create concave mirrors from iron-ore minerals. Terrence Kaufman and Lyle Campbell , two linguists  studying the diffusion of languages in Mesoamerica, postulate that the language of the ancient Olmec,  the "mother culture" of civilization, was Mixe-Zoque.  Borhegyi  (1980)  suggested that the Olmec of La Venta likely spoke Mayan or Proto-Mayan, and that the words muxan and okox (mushroom) are two of several words borrowed or loaned by the ancient Maya, perhaps as early as 1000 B.C.E.  (Furst, 1976, p. 79).
          
                   (Photo of Amanita muscaria mushroom from Royalty Free Stock Photos)                          
                       
 The photograph above is of an Olmec whistle owned by Higinio Gonzalez of Puebla, Mexico. It most likely comes from the San Lorenzo phase of Olmec culture, 1200-400 B.C.E.  These infantile baby-faced figurines, many of which depict the symbolism of a snarling jaguar, are a distinctive feature in Olmec art.This figure appears to represent an Olmec baby wearing an Amanita mushroom cap and holding a gigantic Amanita mushroom. According to ethno-mycologist Gastón Guzmán, one of the effects of the Amanita muscaria mushroom experience is to see objects as gigantic in size. (Guzman, 2010).
        
The rise of the Olmec, the first complex civilization in the New World in the swampy jungles of the Gulf Coast has puzzled archaeologists for some time. Archaeologists contend that Olmec culture appears to come from out of nowhere in full bloom at the site of San Lorenzo, in Chiapas, Mexico. Carbon 14 dates place Olmec civilization at San Lorenzo at 1200 B.C.E. (M. D.  Coe, 1970, p.21). 

The discovery of numerous toad bones in Olmec burials at San Lorenzo suggests that the Olmecs may have used other mind-altering substances, such as hallucinogenic toad toxin, in various ritual practices (Coe, 1994:69; Furst, 1990: 28; Grube, 2001:294).  Mushroom-shaped stones, many bearing toad images carved on their base, have been found throughout Chiapas, Mexico, the Guatemala highlands, and along the Pacific slope as far south as El Salvador.  (Borhegyi, 1957, 1961, 1963, 1965a, 1965b). Gordon Wasson was the first to call attention to the pervasiveness of the toad and it's association with the term toadstool, with the intoxicating or poisonous mushrooms in Europe. Tatiana Proskouriakoff demonstrated that in Mayan glyphs the toad is the divine symbol of rebirth (Coe, 1993:196)   .
 Quoting from ethno-archaeologist Peter T. Furst:
"It is tempting to suggest that the Olmecs might have been instrumental in the spread  of mushroom cults throughout Mesoamerica, as they seem to have been of other significant aspects of early Mexican civilization......" It is in fact a common phenomenon of South American shamanism  (reflected also in Mesoamerica) that shamans are closely identified with the jaguar, to the point where the jaguar is almost nowhere regarded as simply an animal, albeit an especially powerful one, but as supernatural, frequently as the avatar of living or deceased shamans, containing their souls and doing good or evil in accordance with the disposition of their human form" (Furst 1976, pp. 48,79)."



   
  Photographs © Justin Kerr # 6608
Owner: Denver Art Museum Denver CO
Maya vase K6608 from the Justin Kerr Data Base of Maya vase paintings, depicts three underworld jaguars which may symbolize the three hearth stones of creation, a "trinity of gods" in Maya religion known at the archaeological site of Palenque as GI, GII, GIII.  The underworld jaguars all wear mushroom shaped ear plugs, and wear sacrificial scarves, symbolic of underworld decapitation. The scarves metaphorically bear the colors and spots of the Amanita muscaria mushroom.

  
Jaguar Effigy Incensario with an encoded stylized mushroom for a nose. Remujadas, Veracruz, Mexico. Classic period, circa 450-650 A.D. Height 14½”.  Above right is a cross section of Amanita muscaria fruiting body, (Wentworth Falls, Author, Casliber  Category:Amanita muscaria)   (Photo above left from Stendahl Galleries Fine Precolumbian Art).


                                

                      
Photograph © Justin Kerr:
Maya figurines from the Justin Kerr Data Base. Above, on the left, is a  bearded dwarf, K2853 holding a shield and wearing a hat designed as an upside down Amanita mushroom (Princeton Art Museum). In Mesoamerican mythology the dwarf is related to Quetzalcoatl and guides the dead in their descent into the underworld. On the right is a photograph of an Amanita muscaria mushroom with its trademark skirt  (photograph copyrighted and owned by the artist, Esther van de Belt ).  According to Gordon Wasson,  among the various tribes in Siberia where the inebriating mushroom Soma has survived, words used for, or to describe the Amanita muscaria mushroom personify it as "little men."
           
  Above is a figurine from Nayarit, Western Mexico, dated 100 C.E-, depicting an individual sitting under a gigantic Amanita muscaria mushroom.  The figurine, which is 7.5 cm tall,  is now in the INAH Regional Museum in Guadalajara Mexico.  As mentioned earlier, one of the effects of the Amanita muscaria mushroom experience is to see objects as gigantic in size.  The photo of the Amanita muscaria mushroom was taken by : © Michael Wood.                                                    

       
  Above are two figurines from western Mexico, Late Formative period  300 B.C. to A.D. 200.
  In Mesoamerica, mushrooms and dogs were believed to lead the deified dead into the underworld for rebirth.
                                                  

 (Photograph above right provided by Dr.Gaston Guzman <gaston.guzman@inecol.edu.mx>) 
  

                
                                        

The standing female ballplayer figurine shown above wears a helmet and ballgame glove and mushroom-inspired belt. Sacred mushrooms such as the Amanita muscaria, above on the right, were likely consumed before entering battle and before the ritual ballgame, enhancing one's vision and strength as well as bravery to its wildest levels. The figurine is from the site of Xochipala, Mexico, in the western state of Guerrero, and dates to 1200-900 C.E.  It is now in the  Princeton University Art Museum.   Numerous ballplayer figurines have been found at Xochipala and at such other Preclassic sites as Tlatilco and Tlapacoya in the Valley of Mexico. Borhegyi conjectured that a change in ballgame rituals and a switch from the Olmec influenced "hand ball game" most likely came as a result of the powerful influence of Teotihuacan and newly instituted Quetzalcoatl rites. (Borhegyi 1980: p. 24).  For more on ballgame hand stones and ballgame gloves see Borhegyi, 1961: 129-140.   ( photograph of ballplayer from Whittington, 2001) (photo of Amanita mushroom from Erowid)  
                                   
 Above is a female figurine with encoded mushroom in her head. Tlatilco culture, Puebla, Mexico, Early-Middle Preclassic periods, 1300-800 B.C. Dimension: 6.75in x 0in x 0in 17.145cm x 0cm x 0cm
Purchased with funds provided by The Lake Family Endowment
2000.017.005 (http://sniteartmuseum.nd.edu/collection/aztlan/index_pages/aztlan_all.html)
 
   
Photographs © Justin Kerr
Maya Vase K7289 from the Justin Kerr Data Base depicts a ruler or priest involved in a mushroom ritual of underworld jaguar transformation. The ruler is depicted holding a ceremonial bar from which emerges the divine vision serpent (bearded dragon) known to scholars as the Och Chan.  A deity wearing the ears of a deer and blowing upon a conch shell emerges from the jaws of the vision serpent.  The ruler or priest wears a mushroom inspired ceremonial cloak and the headdress of the underworld jaguar.


   
 BACKGROUND TO STUDY (CONTINUED)
In 1996, about the time my own twin sons were born, I began to wonder what had happened to the interesting line of inquiry that my father had opened. I knew that great strides had been made in Maya studies but, to my considerable surprise I realized that there was almost no mention of mushrooms, or for that fact any other hallucinogenic substances, in the current literature.   Curious to discover what had happened, I decided to look into the matter myself. 
I began by reading his publications. Over the next few years, as I dug deeper into the subject,  I read through the scores of letters that he had exchanged with other Mesoamerican scholars that are housed in the Borhegyi Archives at the Milwaukee Public Museum (hereinafter Borhegyi, MPM), as well as the more than 500 letters that he exchanged with Gordon Wasson  (Wasson Archives at Harvard's Peabody Museum.(hereinafter Wasson HPM)  In time, I also read through my mother's extensive library of books and pamphlets on Mesoamerican archaeology and ethnology and began to acquire my own personal library in addition to using materials from local library collections.

Now thoroughly intrigued by this introduction to archaeological research (I had majored in physical education at the University of Wisconsin),  I Joined the Maya Society of Minnesota in order  to attend their lectures and workshops in Maya archaeology. Assisting with their lecture programs as a board member, I met with many of the visiting archaeologists and shared ideas with them. In the fall of 2004 I enrolled in a course entitled "Topics in Maya archaeology"  at Hamline University. My assignments in that class introduced me to the online research site  FAMSI  (Foundation for the Advancement of Mesoamerican Studies, Inc). Here I discovered Justin Kerr's remarkable compilation and data base of roll-out photographs of Mesoamerican ceramic figurines and Maya vase paintings. It was this site, above all, that permitted me to make the detailed study of Mesoamerican visual art. This task was  immensely facilitated by new photographic technology, the computer, and my ability to access the Kerr database on my home computer, all modern day miracles unavailable to earlier researchers. As a result of this study and solid evidence from other scholars,  I have been able to expand this subject far beyond my father's pioneering efforts.
 I found no mention of images of mushroom stones, pottery mushrooms, or images of actual mushrooms in Kerr’s extensive index.However, after hours of examining hundreds of Maya vase paintings, I discovered a significant amount of mushroom imagery, both realistic and abstract, of both the.Amanita muscaria or Fly Agaric mushroom, and the better known hallucinogenic Psilocybin mushroom.  It was easy to understand, however, why the imagery had not been noted earlier. On many vases the images of mushrooms, or images related to mushrooms, were so abstract, and so intricately interwoven with other complex and colorful elements of Mesoamerican mythology and iconography, that they were, I believe, quite deliberately  "hidden in plain sight," in an effort to conceal  this sacred information from the  eyes of the uninitiated.

  Much of the mushroom imagery I discovered was associated with an artistic concept I refer to as jaguar transformation. Under the influence of the hallucinogen,  the "bemushroomed" acquires feline fangs and often other attributes of the jaguar, emulating the Sun God in the Underworld. This esoteric association of mushrooms and jaguar transformation was earlier noted by Peter Furst,  together with the fact that a dictionary of the Cakchiquel Maya language compiled circa1699 lists a mushroom called "jaguar ear" (1976:78, 80) .
  Many of the images involved rituals of self-sacrifice and decapitation in the Underworld, alluding to the sun's nightly death and subsequent resurrection from the Underworld by a pair of deities associated with the planet Venus as both the Morning Star and Evening star. This dualistic aspect of Venus is why Venus was venerated as both a God of Life and Death.  It was said that (The Title of the Lords of Totonicapan, 1953 third printing 1974, p.184), they [the Quiche] gave thanks to the sun and moon and stars, but particularly to the star that proclaims the day, the day-bringer, referring to Venus as the Morning star. 
 Mushrooms were so closely associated with death and underworld jaguar transformation and Venus resurrection that I conclude that they must have been believed to be the vehicle through which both occurred. They are also so closely associated with ritual decapitation, that their ingestion may have been considered essential to the ritual itself, whether in real life or symbolically in the underworld. It is also important to note that in many cases the mushroom images appeared to be associated with period endings in the Maya calendar.  
  One of the most renownedSpanish chroniclers, Fray Diego Duran, wrote in his Histories of New Spain (1537—1588) that his writings would likely go unpublished because many of his contemporaries feared that they would revive ancient customs and rites among the Indians. He added that  "(they) were quite good at secretly preserving their customs”.  Duran mentions that the word for sacrifice, nextlaoaliztli, in the Nahuatl language of the Aztecs, meant either "payment", or the act of payment. He writes that young children were taught that death by the obsidian knife was a most honorable way to die, as honorable as dying in battle or for a mother and child to die in childbirth. Those who were sacrificed by the obsidian knife were assured a place in Omeyocan, the paradise of the sun, the afterlife.    
 My studies have also led me conclude that all variants of the Toltec/Aztec gods Quetzalcoatl and Tlaloc, and their Classic Maya counterparts, Kukulcan, K´awil and Chac, though they may have different names and be associated with somewhat different attributes in different culture areas, are linked to the planet Venus through divine rulership, lineage and descent.  In Mesoamerica they are also linked with warfare. Maya inscriptions tell us that the movement of the planet Venus and its position in the sky was a determining factor for waging a special kind of warfare known as Tlaloc warfare or Venus "Star Wars." These wars, waged against neighboring city-states for the express purpose of taking captives for sacrifice to the gods, thus constituted a form of divinely-sanctioned "holy" war.     
Spanish chronicler Fray Sahagun, who was the first to report mushroom rituals among the Aztecs, also suggested that the Chichimecs and Toltecs consumed the hallucinogen peyote before battle to enhance bravery and strength(Furst 1972, p.12)Hallucinogens taken before battle likely eliminated all sense of fear, hunger, and thirst, and gave the combatant a sense of invincibility and courage to fight at the wildest levels. "This drunkenness lasted two or three days, then vanished"  (Thomas, 1993, p.508).

    
              
     Photographs © Justin Kerr
   Above are two Late Classic (600-900 A.D.) Maya figurines, both representing warriors wearing what I would argue are mushroom inspired headdresses.

                                      
      Above is a Post Classic gold figurine of an Aztec warrior wearing a mushroom inspired nose plug.
 
  Admittedly I have bypassed the traditional route of doctoral studies in New World archaeology, art history, and religion.  It should be noted, however,  that I am far from the first layman to make some significant contributions to Mesoamerican scholarship. The important contributions to our understanding of Maya glyphic writing by the late Soviet lay scholar, Yuri Knorosov, come immediately to mind. It is, in fact, in partial tribute to him and to his “discoverer,” Maya archaeologist, Michael D. Coe, that I have titled my book “Breaking the Mushroom Code.” (See Coe, Breaking the Maya Code, 1992)  With that said, I can now present what I consider to be indisputable visual evidence of the many metaphorical relationships to mushrooms that  I discovered  within the Mesoamerican religious iconography depicted on sculptures, murals, codices, and vase paintings.

 While I may be the first to call attention to this encoded mushroom imagery, these images can be viewed and studied with ease on such internet sites as Justin Kerr's Maya Vase Data Base and F.A.M.S.I. ( Foundation for the Advancement of Mesoamerican Studies, Inc).  
  In summary, the mushroom inspired images I have presented to this point, most of which are cleverly encoded by the artist, are just a few of the many images I found that clearly  represent mushrooms and mushroom worship. Mushroom imagery occurred with such frequency and in such indisputably religious context that there can be no doubt as to their importance in the development and practice of indigenous religion.  In these pages, and those that follow,  I demonstrate how and why I reached these conclusions by leading my readers through many of the mushroom-related images, most notably of the Amanita muscaria mushroom,  that I  found encoded in Mesoamerican art.  By so doing I hope to correct a lamentable gap in our knowledge and understanding of the past.
While reading through one of Borhegyi´s letters I found that he had quoted two interesting passages from native chronicles written around 1554.  Both related to indigenous use of mushrooms in Guatemala.  One,  from The Annals of the Cakchiquels,  (1953:82-83), 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.”
 Another passage from the legendary Popol Vuh, (Goetz,1950:192) one of the most important native written documents of the Guatemala highlands, reads:
 “And when they found the young of the birds and the deer, they went at once to place the blood of the deer and of the birds in the mouth of the stones that were Tohil, and Avilix.  As soon as the blood had been drunk by the gods, the stones spoke, when the priest and the sacrificers came, when they came to bring their offerings.  And they did the same before their symbols, burning pericon (?) and holom-ocox (the head of the mushroom, holom=head, and ocox= mushroom”).
Still another passage from the PopolVuh identifies Tohil, not as a stone god, but as the charismatic leader of the Quiche Maya and a variant of Quetzalcoatl,  "..Even though Tohil is his name he is the same as the god of the Yaqui people who is named Yolcuat and Quitzalcuat ".  (Tedlock, 1985:183)
 At the end of his letter, Borhegyi added: “I think this section definitely indicates that the Quiche used mushrooms in connection with their religious ceremonies.  I even wonder what made the stones speak?"
In one of  Wasson letters, he refers  to the fact that  the Aztecs, at the time of the Spanish Conquest, revered three different kinds of narcotic mushrooms. This reference led me to a Wasson pamphlet in which he wrote that he had found this information in a guide for missionaries written before 1577 by Dr. Francisco Hernandez , physician to the king of Spain (Wasson, 1962: 36; see also Furst, 1990 ed., 9)
 Spanish chronicler Jacinto de la Serna, 1892 (The Manuscript of Serna) described the use of sacred mushrooms for divination:
"These mushrooms were small and yellowish and to collect them the priest and all men appointed as ministers went to the hills and remained almost the whole night in sermonizing and praying" (Quest for the Sacred Mushroom, Stephan F. de Borhegyi 1957).
  
  Photograph © Justin Kerr    Photograph on right Copyright magic-mushroom.com
Maya Polychrome ceramic container with diving god wearing bird headdress. ht. 11.4 cm. U.S. Library of Congress, J. Kislak Collection 
    The Toltec /Maya vessel above is from Quintana Roo, Mexico, postclassic Maya, 1200-1400 C.E.  The vessel depicts the image of a diving god, wearing the familiar guise of the harpy eagle, attributes that link this diving deity to Quetzalcoatl as the Morning Star and god of Underworld resurrection.  I would argue strongly that the objects in the hands of the diving Quetzalcoatl (Kukulcan in Yucatec Mayan) above, are the severed caps of psilocybin mushrooms, and do not represent, as other scholars would argue, balls of incense. The removal of the head of the mushroom or mushroom cap is a symbolic reference to ritual decapitation in the Underworld. The idea that Quetzalcoatl was in direct opposition to human sacrifice is simply not true. He was the god of self-sacrifice. Wasson writes that the stems of sacred mushrooms were removed and the mushroom caps consumed ritually in pairs prior to self-sacrifice.
 It should be noted that among the Khanty of Western Siberia only the cap or head of the Amanita muscaria mushroom is eaten.  
Wasson theorized  that the origin of ritual decapitation lay in the mushroom ritual itself, In a letter to Borhegyi in 1954 he writes:
"The cap of the mushroom in Mije (or Mixe) is called kobahk, the same word for head. In Kiche and Kakchiquel it is doubtless the same, and kolom ocox is not “mushroom heads”, but mushroom caps, or in scientific terminology, the pileus of the mushroom. The Mije in their mushroom cult always sever the stem or stipe (in Mije tek is “leg”) from the cap, and the cap alone is eaten. Great insistence is laid on this separation of cap from stem. This is in accordance with the offering of “mushroom head” in the Annals and  the Popol Vuh.  The writers had in mind the removal of the stems".
  "The top of the cap is yellow and the rest is the color of coffee, with the gills of a color between yellow and coffee. They call this mushroom, pitpa "thread-like", the smallest, perhaps 2 horizontal fingers high, with a cap small for the height, growing everywhere in clean earth, often along the mountain trails with many in a single place. In Mije the cap of the mushroom is called the "head" "kobahk in the dialect of Mazatlan. When the "heads are consumed, they are not chewed, but swallowed fast one after the other,  in pairs." ( June 7, 1954, MPM archives)   
                                                      
   Above is a page from the Codex Ríos, a Spanish colonial-era manuscript, now in the Vatican library (also called Codex Telleriano-Remensis), attributed to Pedro de los Ríos, a Dominican friar working in Oaxaca and Puebla between 1547 and 1562. The codex itself was likely written and drawn in Italy after 1566. The "bearded" deity above who has been identified as the Aztec goddess Mayahuel, goddess of the maguey plant, probably represents an aspect of Quetzalcoatl, (note beard and mushroom headdress) as the god who bestowed sacred mushrooms and thus immortality to mankind.  
     
Metaphorically, then, the  mushrooms bestowedto mankind represent the soul and flesh of Quetzalcoatl. If human beings partake of him they acquire some of his divine essence. In the scene below from the Codex Vindobonensis, Quetzalcoatl holds in his left hand the head of the underworld god of death. I interpret this as symbolizing their belief that a ritual decapitation in the underworld would result in the deceased's resurrection and rebirth. I believe that this interpretation is strengthened by the two depictions of the V-shaped cleft symbolizing the portal to the underworld in the left panel of this scene. The upper scene depicts the deceased in the act of plunging through the portal into the underworld. In the lower scene, the portal is shown being opened by the outstretched arms of Quetzalcoatl.  It would not have been difficult for them to conclude that  mushrooms were indeed a gift to mankind from the gods..
In the Codex Vindobonensis Mexicanus  [below], believed to be a 14th century Mixtec document, the original of which is now held in the National Library of Vienna, Austria, page 24 shows the ceremonial use of mushrooms held in the hands of gods. Attention was first called to these figures by Alfonso Caso, who provisionally identified what he called "T-shaped" objects in the manuscript as mushrooms. Heim later published this page in color and accepted without hesitation its mushroomic interpretation. More recently, Furst has concurred in this opinion in his minute examination and analysis of the codex. Also summarizing the significance of this page, Wasson concludes that it shows "the major place occupied by mushrooms in the culture of the Mixtecs." The additional collateral evidence to be considered further supports the validity of these opinions, and extends the base upon which they rest (Lowy 1980 pp.94-103).


                          Page 24 of the Mixtec Codex Vindobonensis
  
  Above is page 24 of the Mixtec Codex Vindobonensis, also known as the Codex Vienna. The codex is one of the few prehispanic native manuscripts which escaped Spanish destruction. It was produced in the Postclassic period for the priesthood and ruling elite.  A thousand years of history is recorded In the Mixtec Codices, and Quetzalcoatl (9-Wind), who is cited as the great founder of all the royal dynasties, is the pervasive character. 
In 1929 Walter Lehmann noted the resemblance to mushrooms of the objects portrayed in the hands of many of the characters depicted in this Codex.  Alfonso Caso later confirmed, although reluctantly, that they were indeed mushrooms. (Wasson 1980, p. 214).  In the second row from the top, the last figure on the right wearing a bird mask has been identified as the Wind God, Ehecatl. an avatar ofQuetzalcoatl.  He is shown bestowing divine mushrooms to mankind.  
According to Aztec legend,  Ehecatl-Quetzalcoatl created mankind from the bones he stole from the Underworld Death God, whose decapitated head Quetzalcoatl holds in his hand.  Note the tears of gratitude on the individual sitting immediately opposite Quetzalcoatl.  This individual, and those who sit behind Quetzalcoatl on the left also hold sacred mushrooms and all appear to have fangs.  Fangs suggest that, under the magical influence of the mushroom, they have been transformed in the Underworld into the underworld jaguar. 
In the middle of the page on the right side Quetzalcoatl is depicted  gesturing to the god Tlaloc directly in front of him to open the portal to the underworld.  According to Peter Furst, who describes this  iconography, the scene depicts the divine establishment of the ritual consumption of sacred mushrooms" (1981, p.151).  He identifies the triangular or V-shaped cleft in the basin of water on the left as a cosmic passage through which deities, people, animals and plants pass from one cosmic plane to another. 
On the bottom left,  two figures stand beside another V--shape portal of Underworld resurrection. The figure on the left who points to the sky, also has fangs. He appears to be a human transformed at death into the Underworld Sun god, or mythical "were jaguar".  This gesture probably signifies resurrection from the Underworld. The two-faced deity in front of him holds what appear to be sacred psilocybin mushrooms similar in shape to the ones in the photograph below.
 This two-faced deity is,  in all likelihood,  the dualistic planet Venus and the god of Underworld sacrifice and resurrection. Note that the two-faced deity is painted black (signifying the Underworld) and wears a double-beaked harpy eagle headdress (signifying the sun's resurrection). The five plumes in the harpy eagle's headdress refer to the five synodic cycles of Venus. The three mushrooms in his hand refer to the Mesoamerican trinity:  the three hearthstones of creation. ie., the sun, the morning star and the evening star.
The circle below the feet of the figure on the left is divided into four parts, two of them dark and two light, each with a footprint.  The Fursts, Peter and Jill, have identified this symbol as representing the north-south axis or sacred center as the place of entry into the Underworld. (Furst, 1981: 155).This symbol also appears in the scene above in association with a figure plunging through the a V-shaped cleft into the Underworld.

 Ethno-mycoligest  Bernard Lowy, 
"Maya codices has revealed that the Maya and their contemporaries knew and utilized psychotropic mushrooms in the course of their magico-religious ceremonial observances" (Lowy:1981) .



 
    
 The two pages above are from the Madrid Codex (Maya Tro-Cortesianus Codex), and depicts what I believe are noticeable glyphs representing Amanita muscaria mushrooms, in the middle registry of both pages (pages of Madrid Codex from F.A.M.S.I). 

     
The ancient myth of Quetzalcoatl’s creation was preserved for us by a Franciscan friar named Jeronimo de Mendieta in 1596. In his manuscript, Historia Eclesiastica Indiana, Mendieta writes that it was “Quetzalcoatl, the Mexican Prometheus, the beneficent god of all mankind, descended to the world of the dead to gather up the bones of past generations, and, sprinkling them with his own blood, created a new humanity”. (Alfonso Caso, 1958; THE AZTECS, PEOPLE OF THE SUN)

 

                                                                                                                 
  A miniature stone hacha, the Spanish word for axe, from Veracruz, Mexico (Late Classic Period, 700-900 C.E.) ( photograph from Whittington, 2001)
Hachas, like the one depicted above, fit into the belt or yoke worn by ballplayers in the Mesoamerican ballgame. This hacha was probably used in ceremonies associated with the ballgame. The hacha represents a decapitated trophy head of a wrinkled faced and toothless old man wearing a cone-shaped hat. The wrinkled face and toothless mouth suggest the Old Fire God (Xiuhtecutli), while a closer look reveals the image of a sacredpsilocybinmushroom encoded in the cheek and hat. The conical or cone-shaped hat, in this case mushroom-inspired, is a trademark attribute of the Mexican god-king Quetzalcoatl and of his priesthood.

                              
                                             (Photograph by Stephan de Borhegyi)

Another stone hacha from Veracruz with a  mushroom in profile encoded in the cheek.  Borhegyi believed that  stone hachas , as well as anthropomorphic and zoomorphic vertically and horizontally tenoned stone heads, were symbolic of the human (trophy) heads of earlier times. Stone hachas were worn on ceremonial ballgame yokes, while the tenoned stone heads were set into the walls of formal ball courts. (1980:17) 
        
Photographs © Justin Kerr
Maya vase K4932  depicts Maya merchants carrying large sacks over their shoulders filled with what appear to be mushrooms.
  FraySahagun (in book 9 of 12) refers to mushrooms with a group of traveling merchants known as the pochtecas, meaning merchants who lead, because they were followers of  Quetzalcoatl who they worshipped under the patron name Yiacatecuhtli or Yacateuctli, Lord of the Vanguard. The pochteca journeyed down from Central Mexico into the Gulf lands and into the Maya region carrying merchandise as well as spreading the religion of Quetzalcoatl.    
The complex iconography along the rim of this vessel depicts what I believe represent cross cut  mushrooms; a symbol similar in shape to glyphs representing the planet Venus. The X-icon, which is a common symbol found on Maya vase paintings, most likely represents a sacred portal to the underworld. The fact that the X-icon above is twisted may be a reference to the symbol olin, meaning movement or motion. If so it may refer to the mushroom-Venus portal's movement of up and down, down into the underworld as a death star, and up from the underworld, and into the heavens as a resurrection star.       
  
   
 Photographs  © Justin Kerr
 Above left is an effigy censer lid from Copan, Honduras, A.D 600-700,depicting a Maya ruler wearing mushroom-inspired ear plugs like the jade ones depicted on the right.

             
  Photograph  © Justin Kerr
The gold Aztec figurine above left (K2048, Justin Kerr Data Base) depicts a warrior wearing a  mushroom-inspired nose plug. Hallucinogenic mushrooms appear to be linked with what scholars have called "Tlaloc warfare" or "Venus star-wars".  Note that the warrior holds a shield depicting the "quincunx", a Mesoamerican Venus symbol identifying the four cardinal directions of the universe and its cosmic center, the sacred portal into the spirit world. On the right is a gold mushroom-inspired ear ornament.
  "They [the Aztecs] could do practically anything, nothing seemed to difficult for them; they cut the greenstone, they melted gold, and all this came from Quetzalcoatl - arts and knowledge." - Fray Bernandino Sahagun. 
 
 
                                      
                        Replica mushroom stone alongside a stone toad receptacle from the                                                        de Borhegyi family collection  (Photo by Cory de Borhegyi)
 


Ethno-Mycologist  R. Gordon Wasson...
"In the association of these ideas we strike a vein that must go back to the remotest times in Eurasia, to the Stone Age: the link between the toad, the female sex organs, and the mushroom, exemplified in the Mayan languages and the mushroom stones of the Maya Highlands. Man must have brought this association across the Bering Strait (or the land bridge that replaced it in the ice ages) as part of his intellectual luggage.”



In Mesoamerica mushrooms were also most likely consumed by priests before the holy act of penis perforation. In this ritual blood was drawn from the penis and sprinkled upon the exhumed bones or cremated ashes of deceased ancestors, thus emulating in myth the way of Quetzalcoatl.
 It was through blood sacrifice that Mesoamerican rulers and priests nurtured the gods who had been their ancestors.  I believe that the mushroom was consumed in rituals of human sacrifice and self sacrifice. Self sacrifice by means of ritual bloodletting was likely the most important ritual among the ancient Maya. The act of bloodletting was so sacred in fact that according to Michael D. Coe, today's unofficial  "Dean of Maya studies", that the perforator itself was worshiped as a god (from Olmec Bloodletting: An Iconographic Study 1991).  
           
            
  The carved relief panel above is one of a series of six carvings in the vertical side walls of the South Ball Court at El Tajin, in Veracruz, Mexico (drawing from Coe, 1994, p.117). The carved panel depicts an individual, a ruler or Underworld god, with were-jaguar fangs, in the sacred act of drawing blood from his penis. Note that the figure in the water below receiving the blood offering, wears a fish headdress, which may be a symbolic reference to a mythological ancestor from a previous world age, who survived a world ending flood by being changed into a fish. The bearded god above him, with two bodies, likely represents Quetzalcoatl in his twin aspects of the planet Venus representing both the Evening Star and Morning Star. Most importantly, note that there are tiny mushrooms depicted on the limb of a tree just left of center. This tree, I believe, represents the world tree as the portal leading up and down at the center of the universe.  The bottom of the panel has an intricate scroll design which I  believe is more than mere decoration and likely represents a stylized cross-section of a mushroom. Stylized Venus symbols are also depicted on the panel at both of the sides. Each Venus symbol is associated with three circles, maybe representing the three hearth stones of creation.

Stephan de Borhegyi...
“When one world collapsed in flood, fire, or earthquake, they believed another was born only to come, in its turn, to a violent end”. “This philosophy probably led religious specialists to divine by magical computations the sacred cycle of 52 years, at the end of which cosmic crisis threatened the survival of mankind and the universe”. “Mesoamericans further believed that in order to avoid catastrophe at the end of each 52-year period man, through his priestly intermediaries, was required to enter into a new covenant with the supernatural, and in the meantime, he atoned for his sins and kept the precarious balance of the universe by offering uninterrupted sacrifices to the gods” (Borhegyi,1965a:29-30)..

The resurrection ritual was likely timed astronomically to the movements of Venus and possibly to the sacred period of inferior conjunction. At this time Venus sinks below the horizon and disappears into the "underworld" for eight days. It then rises from the underworld as the Morning Star. Bloodletting rituals were often performed in caves, which were believed to be entrances into the underworld. Cave ritualism on an elite level as apposed to a folk level is evident as early as 1000 B.C. at the Olmec influenced site of Chalcatzingo, near the Valley of Mexico (Pasztory, 1997:90).  Archaeologist  Brent Woodfil  found ceramic mushrooms in the Candelaria cave system in the highlands of Guatemala. There has been some speculation that these sacred caves may have been believed to be the legendary Chicomoztoc, the name given for the place of mythical origin of the ancient Mayas, Toltec and Aztecs--a place known as the "seven caves of emergence” (Woodfill,2002). According to Mary Miller and Karl Taube, (1993:136) the four founders of the Quiche lineages, who were formed of maize, "journeyed to Tulan Zuyua, the mountain of the seven caves, and there they received the gods, whom they then carried home in bundles on their backs. "Balam Quitze received Tohil, who gave humans fire, but only after human sacrifice to him had begun". 

                                MAYA VASE INTERNET STUDY
 Classic Maya vase paintings are rife with imagery of sacrifice in the Underworld. Since hundreds of these vase paintings can now be viewed in roll out photographs on Justin Kerr's website,  I checked  carefully for mushroom imagery and discovered a significant amount of encoded mushroom-related symbolism. These vase paintings frequently depict images of self sacrifice which include images of were-jaguars and other characters from Maya mythology.  
            According to first-hand reports written at the time of the Spanish Conquest, the Aztecs ate the mushrooms or drank a mushroom beverage in order to induce hallucinatory trances and dreams. During these dreams they saw colored visions of jaguars, birds, snakes, and little gnome-like creatures. 
                         

Photograph  © Justin Kerr  
 Maya vase K1185 from the Justin Kerr Data Base, depicts a Maya scribe with what I believe is a sacred mushroom encoded into his headdress.  Painted Maya vessels like the one pictured above may have contained a divine drink concocted from the Amanita muscaria mushroom or other hallucinogenic mushrooms in a manner very similar to that described for the legendary Soma. Soma was prepared by extracting juice from the stalks of a certain plant. That certain plant was likely the Amanita muscaria mushroom, first identified by ethno-mycologist  R. Gordon Wasson. Soma was the divine beverage of immortality, and in the Rig-Veda Soma was referred to as the "God for Gods" seemingly giving him precedence above Indra and all other Gods (RV 9.42).The drinking of Soma by priests at sacrifice produced the effects of god within, and according to Wasson the act of collecting hallucinogenic mushrooms was always accompanied by a variety of religious sanctions. For example, among the present day Mixtecs the sacred mushrooms must be gathered by a virgin. They are then ground on a metate, water added, and the beverage drunk by the person consulting the mushroom." (Borhegyi, 1961)
                                


 The ritual use of intoxicating enemas for spiritual transformation has been described in the earliest Spanish accounts of native customs. This ritual use of enemas, although poorly understood, is commonly represented in Maya vase paintings. 
   Below are Maya vase paintings showing the that clearly represent  that mushrooms were not only ingested orally but also by means of enemas.
  

Photograph © Justin Kerr Kerr
Maya vase K5172, photographed in roll out form by Justin Kerr,  probably depicts an enema ritual associated with the ballgame. On the left the ballplayer wears a deer headdress and a ballgame belt or yoke. The yoke takes the shape of a loop that believe identifies the mushroom religion.  He crouches on one knee, and holds an Amanita muscaria mushroom in one hand and an enema apparatus in the other.  
A mushroom infusion administered by means of an enema would have a much quicker and more powerful effect on the body than one ingested orally. 
  
Photographs © Justin Kerr
Maya Vase painting K8662 depicts four separate scenes and should be read from left to right. Here a priest or shaman, prepares an enema for the sacred mushroom ceremony.
Scene three depicts a large plate-size Amanita mushroom in the lap of the priest. Scene four depicts the priest holding the enema device.  On the far right, the device is filled with a mushroom infusion, possibly one that could be identified as the semi-mythical Soma,  to be injected into the colon. Such a device was used as a means to avoid vomiting and to achieve the altered state of consciousness required for self sacrifice.  The priest holds a small vase containing the mushroom mixture which he has poured from a larger jar marked with a twisted X-icon which is a symbol of the portal to the Underworld.  The portal, identified with the planet Venus, carries the deified dead to the heavens by a divine bird symbolized by eagles or vultures as avatars of the Morning Star. This X-icon, like the sacred ballcourt in the underworld, Identifies the holy place of rebirth and deified resurrection.  Soma was prepared by extracting juice from the stalks of a plant which, according to Wasson, can be identified as the Amanita muscaria mushroom.
                         
 Above is an abstract scene from a Late Classic Maya vessel, depicting a Maya ruler or priest wearing a jaguar headdress and holding what appears to be a ceremonial plate with an Amanita muscaria mushroom.    
 
Photographs © Justin Kerr
Maya vase K8792, depicts a Maya ruler and wife in a hallucinogenic trance. The ruler in this scene is sitting on his thrown next to a drinking vessel (Maya vase). Based on the artist's use of mushroom inspired headdresses, the vessel would likely contain a mushroom beverage. The ruler appears to be hallucinating as he fixates on his transforming hand. Behind the ruler is his wife, who appears to be in a euphoric trance. She wears a symbolic mushroom headdress and a blouse with two of the loop symbols associated with the religion. Behind her on the ground is a ritual bundle which may contain the bones and skull of the deceased ancestor who will be summoned through the vision serpent god named  K'awil.  The sacrificial victim in this scene is depicted on the left in front of the ruler. His arms are crossed in front, suggesting that he is a willing participant.  By so doing he emulates the way in which Quetzalcoatl sacrificed himself to become immortal and deified at death.
   Photograph © Justin Kerr
  Maya vase K2763 depicts an offering of a mushroom, most likely an Amanita muscaria mushroom judging by it's size and shape.
    
 Photograph  © Justin Kerr
Maya Vase painting K2797 from the Justin Kerr Data Base, represents a great example of mushroom-inspired art. The individual on the far left clearly holds what can only be a sacred mushroom in his hand. The Maya god just to the right of this individual being offered a mushroom has been identified by scholars as God K. Maya glyph expert David Stuart (1987) found a syllabic spelling for God K's name which reads K'awil, meaning "sustenance" in Yukatek Mayan, but also meaning "idol" or "embodiment" in the Poqom and Kaqchikel Mayan languages (Freidel, Schele, Parker: 1993 p.410 n). The Maya god K'awil is commonly recognizable by the smoking tube, (and obsidian mirror, or axehead) that penetrates his forehead. These attributes are metaphors of the power to penetrate, or enter, into the Underworld. In native mythology K'awil who is often depicted as a one legged god, symbolized a bolt of lightning which, by penetrating the ground and entering the underworld, could create new life in a place of death and decay. In both scenes the figure who has summoned the god K’awil to the underworld wears a mushroom-inspired headdress.

                     
Photograph  © Justin Kerr
  Maya vase K1882 shows the Maya god K'awil, on the left, as the serpent-footed god (manikin scepter). The artist has encoded what looks like a mushroom into the forehead of K'awil at the base of his projecting trademark smoking tube.  The Maya saw K'awil as a spirit who, through divine transformation, enters the material world via lightning, conflating with the attributes of other gods and with material objects.  One-legged gods like K'awil and his Aztec counterpart Tezcatlipoca may be an esoteric metaphor for the divine mushroom--a one-legged god manifested from the power of lightning.   The words "serpent" and "sky" are homonyms in the Mayan language.According to David Freidel "the axe through the forehead signaled that the person was in a state of transformation embodied by the power of lightning"(Freidel, 1993:194,199).  Dennis Tedlock's analysis of the Popol Vuh reveals that "the three q'abawil were wooden and stone deities called Cacula Huracan, Lightning One-leg"; Chipa Cacula, "Youngest or Smallest Lightning"; and "Sudden or Violent Lightning" and suggests that spirit is manifested within material objects (Tedlock,1985, 249-251).  Since it was believed that stones were  created from lightning, and the spirit K'awil entered this world through lightning into material objects, stones may have been carved to look like mushrooms, in order to worship K'awil as a one-legged god of divine transformation.  The mushroom stones, were most likely venerated with the blood of human and animal sacrifices.  It may be that the one-legged gods of Mesoamerica, K'awil and his Mexican counterpart Tezcatlipoca, both represent the divine mushroom and that the one-leg refers to the mushroom's stem or stipe, as well as to lightning.  
 
It should be noted that the mysterious plant worshiped in the Rig Veda called Soma, which was identified by Gordon Wasson as the Amanita muscaria mushroom, was found high in the mountains and was associated with lightning.  The mushrooms' sudden appearance after a storm led to an association with thunder and lightning.  The ancient peoples believed that mushrooms appeared where lightning hit the ground.
In the center, above, an aged deity with the antlers and ear of a deer emerges from the head of Kawil's divine serpent foot. He holds in his hands a conch shell attached to what appears to be a three-stemmed mushroom bundle. K'awil, who I would argue is the esoteric mushroom god of the Classic Maya, represents the embodiment  of divine spirit who opens a divine portal for the so-called vision serpent, known as the och chan (Olmec dragon?) during ritual blood letting in veneration of the ending of a period of bundled time.  Note that K'awil's eyes appear to be fixated on this mushroom bundle.  Also note that the Maya god Chac, his head identified by his spondulus ear flair, can be seen rising from the Kawak throne above.
 
 Chac is the most frequently depicted Maya god in the three surviving pre-Hispanic codices Scholars have also identified Chac as being the gods Kukulcan, Quetzalcoatl and Itzamna (God D) because of his reptilian or snake-like appearance, it is likely that all are different  manifestations of the same god. The Maya also associated Chac with the four cardinal directions of the world, with each direction represented by a different color.  
         
               
  Photographs © Justin Kerr
Owner: Popol Vuh Museum, Guatemala

 Maya vase K3066, depicts a Late Classic version of the Preclassic bearded Olmec dragon (Och Chan?). This Quadripartite Maya god is known as Chac. I believe he represents a Maya counterpart, versions of the dualistic Mexican Venus gods Quetzalcoatl and Tlaloc, all being connected with Venus warfare during the Classic period, and with the four cardinal directions and it's sacred center. Chac is the God who wields the axe of Underworld decapitation, and who I believe is intimately associated with hallucinogenic mushrooms that act as divine portals to the Underworld. These portals to the Underworld are located at the four cardinal directions and it's sacred center, which can be seen depicted in Maya vase K3066.  Chac, like the Mexican god Tlaloc, is associated with rain, lightning and thunder. Both gods are depicted in art wielding lightening bolts, and the axe associated with Underworld decapitation. Although Chac is identified with the four cardinal directions, he was sometimes thought of as the "one" god who resided at the center of the universe. The Quiche Maya of the Guatemala Highlands describe the Amanita muscaria mushroom as supernatural and call it lightening mushroom or in Quiche Mayan  cakulja ikox, ikox meaning mushroom, and relate this supernatural mushroom with the Lord of Lightening, Rajaw Cakulja (Furst, 1976 p.82).  
Note that the artist has encoded a hook-shaped symbol to create what is called a serpentine eye. I believe this iconography code for Quetzalcoatl, like the Ik symbol depicted in Chac's eye in the Dresden Codex, also associated with Quetzalcoatl. Note the X-icon in the head symbolizing I believe decapitation as the sacred portal of Venus Underworld resurrection.  A page in the Dresden Codex portrays four Chacs seated in the trees located at the four cardinal directions of time and space. A fifth Chac is seated in a cave representing the cosmic center of the world. This configuration of five, identified as the quincunx, is a reference to the central portal of Venus resurrection, Quetzalcoatl, and the spirit world.
It should be noted "that the number 5 was specifically associated with the god Quetzalcoatl and his quincunx symbol, and also with Venus, one aspect of Quetzalcoatl". According to Eric Thompson the idealized Venus cycle always ended on the day 1-Ahau, (Milbrath p.170). The synodic revolution of Venus, from Morning Star to Morning Star is 584 days, and that these revolutions were grouped by the Nahuas in fives, (see Maya  Dresden Codex) so that 5x584 equaled 2,920 days, or exactly eight solar years (Nicholson, 1967 pp. 45-46).

   
     
Photographs © Justin Kerr
 Above is Maya vase K502. I believe that the artist encoded abstract or stylized mushrooms conflating with the "hook symbol" which I will continue to demonstrate is code for the mushroom religion. The image I believe represents a bird encoded with the sacred symbol of three, referring to the three stones of Maya creation.  The mushroom bird image may  allude to avian resurrection, from the Underworld as the Morning Star aspect of Venus. The stylized mushrooms, would symbolize the sacred journey into the underworld,  the so called mushroom portal to the Underworld.  The image of the bird itself would symbolically represent the harpy eagle, who resurrects the newly born Sun God from the Underworld and is one of the avatars of the Feathered Serpent Quetzalcoatl as the Morning Star. The dual image of three dots may represent the three hearth stones of Maya creation, and the dualistic nature of the planet Venus as both an Evening Star, the Sun Gods executioner in the Underworld, and the harpy eagle who resurrects the Sun God from the Underworld.

     
Photograph © Justin Kerr
  Above, Maya vase K5534 depicts the journey of a ruler into the underworld. Note the partial loop encoded on the conch shell carried on the back of the second figure on the right. Note also that the individual at the far right of the procession carries a large sack encoded with a mushroom.


                         MUSHROOM RITUALS AND HUMAN SACRIFICE

  Spanish chronicler Fray Diego Duran ...(Duran, 1971)  
“The Indians made sacrifices in the mountains, and under shaded trees, in the caves and caverns of the dark and gloomy earth. They burned incense, killed their sons and daughters and sacrificed them and offered them as victims to their gods; they sacrificed children, ate human flesh, killed prisoners and captives of war....One thing in all this history: no mention is made of their drinking wine of any type, or of drunkenness. Only wild mushrooms are spoken of and they were eaten raw.”
...“It was common to sacrifice men on feast days as it is for us to kill lambs or cattle in the slaughterhouses.... I am not exaggerating; there were days in which two thousand, three thousand or eight thousand men were sacrificed...Their flesh was eaten and a banquet was prepared with it after the hearts had been offered to the devil.... to make the feasts more solemn   all ate wild mushrooms which make a man lose his senses... the people became excited, filled with pleasure, and lost their senses to some extent." 
    
Photographs © Justin Kerr,
This Maya vase painting K638 from the Kimbell Art Museum, Ft. Worth Texas, depicts a prisoner stripped of his clothing, his arms bound behind his back, being led by priests into the underworld to undergo the ritual of underworld decapitation. The prisoner is followed by a priest holding an axe. He is dressed in the guise of the underworld jaguar. That the prisoner is an offering to a Venus God is indicated by the Venus glyphs in the cartouche at the lower right. The artist encodes the four cardinal directions and it's sacred center in the mushroom-inspired shields. The shields also encode three stems symbolic of the creator gods who represent the three hearth stones of Maya creation. The priest leading the way into the underworld wears a robe decorated with symbolic mushrooms. The portion of his headdress which is painted red is esoterically shaped to form a partial loop, the symbol of the religion.
The priest on the far right wears a red tunic with white  spots symbolic of the Amanita muscaria mushroom. The priest directly  behind the prisoner wears an Amanita-inspired hat with the same colors.  Dictionaries of Maya highland languages compiled after the Spanish Conquest mention several intoxicating mushroom varieties whose names clearly indicate their ritual use. One type was called xibalbaj okox, "underworld mushroom" in reference to the belief that the magic mushroom transported one to a supernatural realm known as the underworld  (Sharer, 1983: 484). The artist infers that  they all journey into the underworld as a group under the influence of Amanita mushrooms, including the prisoner who will be ritually decapitated by a priest dressed as the underworld jaguar.

    
Photograph © Justin Kerr
          
   Photograph © Justin Kerr
  The above Maya vase painting K2781, from the Justin Kerr Data Base, drawn below by Alexandre Tokovinine, strongly  supports my theory that a ritual intoxicating drink such as the beverage Soma, was consumed prior to sacrifice and ritual decapitation. It was believed that this beverage would transport the individual to the Underworld in which underworld decapitation was the portal to rebirth and divine resurrection.
   


 
Photographs © Justin Kerr
Maya Vase painting K7516 depicts a decapitation scene, in which the individuals involved standing in line appear to be willing participants. The individual on his knees above is about to lose his head. The victim on the left however may be a captive (note rope around arms?) being fed what I would argue are hallucinogenic mushrooms prior to decapitation. The arms-on-chest gesture of the standing victims depicted above has been associated with self sacrifice and submissiveness.  It is a gesture commonly depicted on monuments at sites in the Guatemala Highlands and the Guatemalan Pacific Piedmont, (the Soconusco) in the Cotzumalhuapa region at El Baul and Bilbao.   
          
            Photographs © Justin Kerr 
Maya vase K5390 from the Justin Kerr Data Base depicts four warriors. The leader at the center right holds what appears to me as being a red capped Amanita muscaria mushroom in his left hand in the stylized shape of the Fleur-de-lis emblem. In his right hand he holds a staff which bears an upside down ceremonial trophy head, symbolizing the mushroom ritual of decapitation in the Underworld. The warrior at center left on his knees receiving the sacred mushroom of underworld jaguar transformation wears what looks like a stylized mushroom inspired headdress along with symbolic jaguar attire. 
                                                

                         AMANITA MUSCARIA MUSHROOMS
                ENCODED IN SOUTH AMERICAN ART
 
   Ethno-archaeologist Peter Furst...
 "Little is known of the pre-Hispanic mushroom use in South America, with the single exception of an early Jesuit report from Peru that the Yurimagua Indeans, who have since become extinct, intoxicated themselves with a mushroom that was vaguely described as a "tree fungus" (Furst, 1976 p.82). 
                   
 
 In the course of my studiesI not only found mushroom-related symbolism throughout Mesoamerica, but also in the art of the Inca, Mochica, Chavin, Chimu, and Paracas cultures of South America, and in the Rapa Nui civilization of Easter Island. Peter Furst (1976, p.80-82)  writes that similar religious concepts of the Olmecs and Maya existed in South America. He has identified mushrooms and mushroom headdresses on Moche ceramic vase paintings (200-700 A.D.) such as those I found on the portrait vessels above and below.
               
             
                    
Above are pre-Columbian ceramic Moche portrait vessels, from Peru wearing headdresses encoded with what I propose are Amanita muscaria mushrooms. The Moche culture reigned on the north coast of Peru during the years 100-600 A.D.
                                        
Above is a Peruvian figurine from the Denver Museum, holding what appears to be an Amanita muscaria mushroom in his left hand.

                                
 Above, a gold mushroom inspired ornament, most likely was worn as an head ornament by an Andean ruler or priest. The ornament that bears the metaphorical shape of a half-sliced mushroom as well as a  ritual axe, is decorated with imagery reminiscent of the spotted caps of the Amanita muscaria mushroom.
  There is also plenty of evidence of a trophy head cult in the archaeological record of South America. According to Andean researcher Christina Conlee (Texas State University) large numbers of decapitated heads or so-called trophy heads have been found in archaeological excavations in the area of Peru.  At the archaeological site of Tihaunaco not far from Lake Titicaca, several dozen decapitated bodies were found in a burial arranged in a geometric layout, buried alongside drinking vessels suggesting the act of ritual (Soma) sacrifice.     
                                           
   Above is a woven textile from Peru, South America, Paracas culture 750 B.C. to A.D. 100. The textile incorporates what appears to be mushroom-Venus iconography associated with a bodyless human head. The axe in his hand is a metaphor denoting mushrooms+ decapitation=portal to Venus resurrection. The axe is purposely shaped to look like an Amanita muscaria mushroom.  I believe that the design below the figure's chin symbolizes Venus. Similar in design to Venus symbols from Mesoamerica and Easter Island, it represents the Evening Star aspect of Venus associated with the ritual of underworld decapitation.
  As in Mesoamerica and South America, we find plenty of evidence in India of human sacrifice, and the offering of trophy heads to the gods. One account of mass sacrifice took place in Assam in north-eastern India in 1565 A.D. at a ceremony celebrating the re dedication of a temple to Rajah Nara Narayana. The Rajah celebrating this event had one hundred and forty men decapitated, and then offered their severed heads on copper and gold plates to the goddess Kali, wife of the Hindu god Shiva (Davies 1981, p.76). 
      
                                       
The painted textile above from the Chimu culture of Peru, 1000-1400 C.E.  depicts a figure standing astridewhat I believe is an Amanita muscaria mushroom.The fanged figure is accompanied by two jaguarswith spots alluding to the Amanita muscaria mushroom. They symbolize the underworld journey of the deceased and the effect of the mushroom as jaguar transformation.  Under the influence of the hallucinogen, the “bemushroomed” acquires feline fangs and often other attributes of the jaguar, emulating the Sun God in his journey into the Underworld. The esoteric association of mushrooms and jaguar transformation was earlier noted by ethno-archaeologist Peter Furst (1976:78, 80)The twin jaguars symbolize sacrifice and death in the Underworld, associated with the planet Venus as an Evening Star, while the twin birds symbolize the heavens and divine resurrection from the Underworld as Venus, the Morning Star.  
Images like the one above with encoded mushroom and Venus imagery generally depict rituals of self-sacrifice and decapitation in the Underworld, alluding to the sun’s nightly death and subsequent resurrection from the Underworld by a pair of deities associated with the planet Venus as both the Morning Star and Evening star. This dualistic aspect of Venus is why Venus was venerated as both a God of Life and Death.  It was said that (The Title of the Lords of Totonicapan, 1953 third printing 1974, p.184), they [the Quiche Maya] gave thanks to the sun and moon and stars, but particularly to the star that proclaims the day referring to Venus as the Morning star.Note that the figure above has a stylized mushroom or axe-shaped icon encoded into his headdress. This I believe is code for ritual decapitation under the mushroom's influence, and that the three-step design or icon on either side of the mushroom inspired axe alludes to the mushroom journey into the Underworld. In Mesoamerica this icon represents a ballcourt, and the ball court was thought of as the entrance to the Underworld. The three-step design, therefore, came to symbolize descent into the Underworld. The mushroom-shaped axe I believe is a metaphor or code for Mushroom-Venus resurrection, via the ritual of decapitation in the Underworld.
 
  The mythological stories of two brothers who are successful tricksters is a story which is found throughout South America (Harold Osborn 1968, 1983 p.124).
  It is reasonable that a belief in the redemptive power and divinity of hallucinatory mushrooms could have spread from one culture to another. The first mushroom cult, identified by its powerful artistic expression of the were-jaguar, dominated Olmec culture as early as 1500 B.C.  As early as 850 B.C. a were-jaguar cult begins to appear in South America, identified in the religious art of the Chavin and Paracas cultures of Peru. B.C.  

Mushroom Mythology 2

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SOMA IN THE AMERICAS
http://www.mushroomstone.com/somaintheamericas.htm
 
        
         THE ORIGIN OF A MUSHROOM RELIGION IN THE NEW WORLD
                        A New Road of Archaeological Inquiry
                                                              By Carl de Borhegyi
                                                                  Copyright 2011
 
 Over the years there has been a lot of speculation among scholars concerning the true identity of the mystery plant in the Rig Veda called Soma, the only plant known to have been deified in the history of human culture, (Furst, 1972:201). While the hymns about Soma have come down to us through time, the botanical identity of Soma remains a mystery. Theories abound as to Soma's forgotten identity, yet among Vedic and Hindu scholars Soma is believed to be a species of Ephedra.                                        
 We know from the sacred texts called the Rig Veda, (Veda is a Sanskrit word meaning "to see") that Soma was an intoxicating plant worshiped as both a god and holy beverage by a people who called themselves Aryans. We are told that drinking Soma produces immortality, and that the gods drank Soma to make them immortal.
The Soma religion of the ancient Aryans is believed to have originated in the Ararat (Aryans) plains of Armenia in northeastern Anatolia, an area of present day Turkey that new evidence would suggest is the likely origination point for religion and civilization.
The Aryans, who introduced their Vedic religion into the Indus Valley civilization around 1600 B.C.,believed that sacrifices were necessary to keep the world in balance.This balance was maintained through the acts of ritual sacrifice and the offering of a hallucinogenic drink called Soma (Sanskrit), and Haoma (Avestan) among the ancient Persians of Iran. After closely examining the archaeological and historical evidence, we find many parallels between the ancient Vedic religion of East India, China, and Iran, with the mythology and religion of the Americas.The evidence I present would strongly infer that the Indo-Aryans, or Chinese,  migrated across the Bearing Straits, or voyaged across the Pacific Ocean, around 1000 B.C. bringing with them their Soma religion and trophy head cultlong before the voyages of Christopher Columbus.
  The prevailing anthropological view of ancient New World history is that its indigenous peoples developed their own complex cultures independent of outside influence or inspiration.  Any suggestions to the contrary have been generally dismissed as either fanciful, racist, or demeaning. The peoples of the New World, scholars have argued,  were fully capable of developing their own civilizations as sophisticated as any found in Asia or the West. Today trans-oceanic contact between the hemispheres is still considered highly unlikely despite the exception of the Viking outpost discovered in Newfoundland in the 1960's, and the recent awareness that early humans reached far distant Australia by boat as many as 50,000 years ago. After viewing the visual evidence presented below, readers of this study may wish to challenge this view of New World history with a more open-minded acknowledgement of the capability of ancient peoples to explore their environment and disperse their intellectual heritage to its far corners. 
  Transoceanic contact with the ancient civilizations of the New World will remain a problem until it can be demonstrated without a shadow of a doubt that the traits of New World civilizations had their antecedent or origin in the Old World.
 My study of pre-Columbian art  began in 1996, inspired by a theory first proposed over fifty years ago by my father, the late Maya archaeologist Dr. Stephan F. de Borhegyi, that hallucinogenic mushroom rituals were a central aspect of Maya religion. He based this theory on his identification of a mushroom stone cult that came into existence in the Guatemala Highlands and Pacific coastal area around 1000 B.C. along with a trophy head cult associated with human sacrifice and the Mesoamerican ballgame.
  My study presents visual evidence of encoded mushroom imagery never identified before, "Hidden In Plain Sight",  that proves that the late ethno-mycologist Robert Gordon Wasson was in fact correct in surmising that the true identity of Soma was the hallucinogenic Amanita muscaria mushroom. Moreover, I also believe that both the Amanita muscaria mushroom and the Psilocybin mushroom were worshiped and venerated in Mesoamerica like the god Soma in ancient India and southeast Asia. These sacred mushrooms were so cleverly encoded in the religious art of both the New and Old Worlds, that prior to this study they virtually escaped detection.   
Quoting  R.  Gordon Wasson….
 ”What was this plant that was called “Soma”? No one knows. Apparently its identity was lost some 3,000 years ago, when its use was abandoned by the priests”.
” I believe that Soma was a mushroom, Amanita muscaria (Fries ex L.) Quel, the fly-agaric, the Fliegenpilz of the Germans, the fausse oronge or tue-mouche or crapaudin of the French, the mukhomor of the Russians. This flaming red mushroom with white spots flecking its cap is familiar throughout northern Europe and Siberia. It is often put down in mushroom manuals as deadly poisonous but this is false, as I myself can testify. Until lately it has been a central feature of the worship of numerous tribes in northern Siberia, where it has been consumed in the course of their shamanic sessions. Its reputation as a lethal plant in the West is, I contend, a splendid example of a tabu long outliving the religion that gave rise to it. Among the most conservative users of the fly-agaric in Siberia the belief prevailed until recent times that only the shaman and his apprentice could consume the fly-agaric with impunity: all others would surely die. This is, I am sure, the origin of the tabu that has survived among us down to our own day.”    (From Wasson’s, Soma of the Aryans: ttp://www.iamshaman.com/amanita/soma-aryans.htm)
 The following images of encoded  Amanita mushrooms are presented for educational, scholarly, and artistic research purposes.In accordance with Title 17 U.S.C. Section 107, any copyrighted work on this page is distributed under fair use without profit or payment for non-profit research and educational purposes only.   
   
  Despite the reluctance of the archaeological community to accept a theory of a mushroom cult among the Maya, my father supported his theory with a solid body of archaeological evidence as well as historical evidence found recorded in various Spanish chronicles and Aztec codices.  
The historical evidence came to the attention of my father through his extensive correspondence with R. Gordon Wasson.  Wasson  pointed him toward reports of ritual use of hallucinogenic mushrooms among the Aztecs in a number of Spanish chronicles written shortly after the Spanish conquest.   Wasson also directed him toward reports of the existence of modern-day ritual use of hallucinogenic mushrooms in various parts of Mexico and, in particular, among the Mazatec Indians of Oaxaca. Together, Borhegyi and Wassonsurmised that If the mushroom stones did, indeed, represent a mushroom cult, then the mushroom itself was an iconographic metaphor, and the mushroom stone effigies could supply the clues necessary to decipher their meaning.  
  As a result of my studies, and solid evidence from other Mesoamerican scholars, I have been able to expand the subject of mushroom cults far beyond my father's pioneering efforts. I have found an abundance of archaeological evidence supporting the proposition that Mesoamerica, the high cultures of South America, and Easter Island shared, along with many other New World cultures, elements of a Pan American belief system so ancient that many of the ideas may have come from Asia to the New World with the first human settlers.  I believe the key to this entire belief system lies, as proposed by R. Gordon Wasson, in early man's discovery of the mind-altering effects of various hallucinatory substances. The accidental ingestion of these hallucinogenic substances could very well have provided the spark that lifted the mind and imagination of these early humans above and beyond the mundane level of daily existence to contemplation of another reality.
 This study which is exclusively my own work presents visual evidence that both the hallucinogenic Amanita muscaria mushroom and the Psilocybin mushroom were worshiped and venerated as gods in ancient Mesoamerica. These sacred mushrooms were so cleverly encoded in the religious art of the New World, "Hidden in Plain Sight" that prior to my study besides the obvious depictions like mushroom stones they virtually escaped detection.  

                                                    
                   MUSHROOM STONES FROM MESOAMERICA
   MUSHROOM GODS OF  MESOAMERICA
  Ethno-archaeologist  Peter Furst, who supported  Borhegyi and Wasson's mushroom cult theory added: 
"The connection between these [mushroom] sculptures and the historic mushroom cults of Mesoamerica has not always been accepted. Though many mushroom stones are quite faithful to nature, they were, until recently, not even universally thought to represent mushrooms at all, and a few die-hards even now, in the face of all the evidence, reject this interpretation." (1972)
  
  One of the most influential archaeologists of the time, the late Sir J. Eric S. Thompson, was a major doubter of an ancient Maya mushroom cult. He wrote my father as follows:
 Quoting Sir J. Eric S. Thompson.... 
 "I had heard of the theory that these stones might represent a narcotic mushroom cult, but I would think it a difficult theory to prove or disprove... I know of no reference to their use among the Maya, ancient or modern" (Thompson to Borhegyi, March 26,1953, MPM Archives).    
  Thompson was not unfamiliar with mushroom stones. He hadfoundan anthropomorphic mushroom stone representing a seated individual with a mushroom cap in the course of a trial survey of the Southern Maya area.  The specimen came from the Central Highlands of Guatemala. Thompson described the piece as a huge mushroom-like object that some anthropologists thought to be stone stools--though he admitted that they could hardly have been comfortable seats!  He also excavated and illustrated several tripod mushroom stones with plain stems at Finca El Baul on the Coastal piedmont of Guatemala. These he also described as stone seats. (Borhegyi in Wasson, 1962:49)

               
    The ballgame yoke fragment with footprint was excavated by J. Eric Thompson along with a tripod mushroom stone from a pit in front of Monument 3 at the Pacific coastal site of El Baul in Guatemala.

  The mushroom stone excavated by Thompson at El Baul  (Type D) came from an offertory-cache which included a small stone ballgame yoke, evidence that linked mushroom stones and mushroom rituals with the ritual ballgame and to the monument itself. Monument 3 at El Baul is a huge boulder sculpture representing a bearded individual with an aquiline-nose. I believe that the sculpture is an image of the (priest-king) Quetzalcoatl, and that the shrine itself was dedicated to Quetzalcoatl and to the planet Venus.  

   R. Gordon Wasson writes...
  "If I were to postulate the nature of a mushroomic cult, it would be of an erotic or procreative character. Sahagun says that the narcotic mushroom incita a  la   lujuria,-- excites lust. He described it in a dancing scene where it is eaten." (Wasson to Borhegyi 3-27-1953)  
  "Some Middle American specialists may challenge my assumption of a connection between the "mushroom stones", which ceased to be made centuries before Columbus arrived on these shores, and today's surviving mushroom cult." .... "For years I had only an assumption to go on , but now, thanks to discoveries made by the late Stephan F. de Borhegyi  and us, I think we can tie the two together in a way that will satisfy any doubter"   (Wasson,1972:188n)
 Eric Thompson mentions the erotic practices introduced into Yucatan by the Itza which he says was introduced as part of the cult of Quetzalcoatl-Kukulcan (J.E.S. Thompson 1966 p. 127)
 Thompson mentions that the ruler of Chichen Itza, Nacxit, was the name for Quetzalcoatl-Kukulcan, and that in the books of the Chilam Balam, he is called Nacxit Kukulcan who was ruler of Chichen Itza, who introduced violence and sin to Chichen Itza,(J.E.S. Thompson 1966 p. 128).
 
 
  Quoting Maya Archaeologist Stephan F. de Borhegyi....
      " I think that the story is as follows: the priest king Quetzalcoatl /Kukulcan, (Gucumatz) was expelled by his enemies from Tula (Tollan), sometime around 960A.D (Quetzalcoatl was accused with sodomy and incest.).  He left with a small group of his followers and went to Tlapallan, that is, the Laguna de Terminos region.  Here he apparently settled down.  It would seem that some of the Chontal tribes accepted the mushroom cult introduced by him and after a few years, the pressure of enemy tribes forced them to move on, led by descendants of Quetzalcoatl and his followers.  Some went northeast to Chichen Itza; others moved southward following the Usamacinta toward Guatemala" (Borhegyi to Wasson, April 1954).

     
  

Image of Quetzalcoatl as a "Weeping God"  from VANKIRK, Jacques, and Parney Bassett-VanKirk,  Remarkable Remains of the Ancient Peoples of Guatemala,  Norman: University of Oklahoma, 1996.)              

The stone carving shown above is a good example of the clever way in which the Precolumbian artist hid the sacred mushrooms of underworld jaguar transformation from the eyes of the uninitiated.   I believe that knowledge of the mushroom Venus resurrection ritual was considered so sacred that the artist deliberately obscured mushroom imagery. In this case the sculptor hid them behind the tears of the "Weeping God",  known in legend as Quetzalcoatl Ce Acatl, the bearded god-king of the Toltecs.  In order to distinguish this semi-historical Quetzalcoatl from Quetzalcoatl as the Feathered Serpent or Wind God deity,  the Toltecs prefixed his birth date to his name, Ce Acatl,  meaning "One Reed."
     Maya Archaeologist Stephan F. de Borhegyi....
  "...fanged anthropomorphic individuals with dangling eyeballs, are commonly associated with the god Quetzalcoatl in his form of Ehecatl the Wind God”.( Borhegyi 1980:17)   
  While at first glance they give the illusion of dangling eye-balls, if you look closely at the mask you will see that the legendary tears of Quetzalcoatl are actually encoded Amanita mushrooms "hidden in plain sight." This bearded and fanged deity shared feline, serpentine, and bird-like features. Identified as a Feathered or Plumed Serpent by archaeologists in his earliest representations,  he took on many additional guises and attributes over the years, and became known by a great variety of names throughout the New World. I have elected to refer to him, as did the Toltecs and Aztecs, as Quetzalcoatl.
There is plenty of evidence in Mesoamerican mythology linking the many avatars of Quetzalcoatl, Jaguar-Bird-Serpent, to the duality of the planet Venus.  Eduard Seler was the first to link feathered serpent imagery to the planet Venus and Quetzalcoatl and Seler believed that the jaguar-bird-serpent image was associated with war and the Morning Star ( Milbrath ).  In Aztec mythology the cosmos was intimately linked to the planet Venus in its form as the Evening Star, which guides the sun through the Underworld at night, as the skeletal god Xolotl, the twin of Quetzalcoatl.  As the Morning Star, Quetzalcoatl's avatar was the harpy eagle.  Among the Quiche Maya,  Venus in its form as the  Morning Star, was called iqok'ij,  meaningthe "sunbringer" or "carrier of the sun or day." (Tedlock, 1993:236). 

 According to Spanish chronicler Fray Diego Duran, (The Aztecs,1964, p.149) it was written that before Quetzalcoatl departed  his beloved Tula, he left orders that his figure be carved in wood and in stone, to be adored by the common people. “They will remain as a perpetual memorial to our greatness in the way that we remember Quetzalcoatl”.
 
                MUSHROOM STONES FROM MIDDLE AMERICA
                                         
           (Photograph of Maya mushroom stones by Dr. Richard Rose reproduced from Stamets, 1996) 
       
  The Preclassic Mayan mushroom stone pictured at the far left isfrom the site of Kaminaljuyu in the Guatemala Highlands, which depicts a mushroom emerging from the back of a crouching jaguar. Mushroom stones with a double edge or groove on the underside of the cap, have been dated to the Late Pre-Classic period about 300-100 B.C. by Stephan F. de Borhegyi based on the few mushroom stones that have been excavated in context at Kaminaljuyu. 

   Quoting the late Ethno-Mycologist Robert Gordon Wasson...
"In examining these mushroomic artifacts we must keep in mind that they were not made for our enlightenment. They were iconic shorthand summarizing a whole bundle of associations ,--whatever those associations were. The Christian cross is to be found in endless shapes, including the "effigy cross" or crucifix, and all stem back to a complex of emotions, beliefs, and religious longings. The crucifix would reveal to an archaeologist eons hence more than, say, a Maltese cross. So with the mushroom stones, the subject matter of the effigies holds the secret".   
 " There is little doubt that the substance called Soma in the Rig Veda has been identified as the fungus Amanita Muscaria."
"In the association of these ideas we strike a vein that must go back to the remotest times in Eurasia, to the Stone Age: the link between the toad, the female sex organs, and the mushroom, exemplified in the Mayan languages and the mushroom stones of the Maya Highlands. Man must have brought this association across the Bering Strait (or the land bridge that replaced it in the ice ages) as part of his intellectual luggage.”
  "When we look at the mushroom stones we must always remember that in pre-Conquest times most art, if not all, was religious, as it once was in Europe. And we must remember that the hold on the inner life of the Mesoamerican peoples of the ethnogeny, notably the entheogenic mushrooms, was all-powerful, as it is to this day in remote corners of highland Mexico. Those who have not explored the role of the entheogens *in the cultural past of Mesoamerica easily overlook that role or assume that it was of minor importance, solely because for us it is of no importance”. (Wasson, 1980:189).
   "I believe the whole corpus of surviving pre-conquest artistic expression should…be reviewed on the chance that divine mushrooms figuring therein have hitherto escaped detection”.  (from Thomas, 1993 p.644 11-17n)
[*] Entheogen, meaning “God within us” is the term used by Wasson for those plant substances that, when ingested, give one a divine experience.  This semantic distinction distinguishes their role in the early history of religions from their abuse and vulgarization by the “hippie” sub-culture of the l960's and 1970s.
 
                     MUSHROOM WORSHIP ENCODED IN PRE-COLUMBIAN ART
   
    
Spanish chronicler Jacinto de la Serna, 1892 (The Manuscript of Serna) described the use of sacred mushrooms for divination: "These mushrooms were small and yellowish (Psilocybin mushrooms) and to collect them the priest and all men appointed as ministers went to the hills and remained almost the whole night in sermonizing and praying" (Quest for the Sacred Mushroom, Stephan F. de Borhegyi 1957).Serna in 1650 pointed out that the Aztec calendar was called the "count of planets". Serna  writes that the people of Mexico "adored and made more sacrifices to the sun and Venus than any other celestial or terrestrial creatures", and that it was believed that twins were associated with the sun and Venus (The Manuscript of Serna).
   
The Rig Veda, never mentions any planets by name, but identifies the planets by the family name of Vedic seers. Vedic names like Surya (the Sun), Soma (the Moon), Brihaspati (Jupiter), Shukra (Venus), Budha (Mercury) are  the classical Hindu names for the planets, according to Vedic scholar David Frawley.  According to Frawley, originally there was one line or family of seers, the Bhrigvangirasas, and that they were divided into two groups, the Angirasas and the Bhrigus. The Angirasas were led by Brihaspati (Jupiter) and the Bhrigus by Shukra (Venus) and that with the diffusion and division of the Aryan peoples, some of the seers left with the migrating people. The Bhrigus according to Frawley "appear related to many people supposedly non-Aryan cultures of the ancient world whose calendars were based upon the cycles of Venus (Bhrigu) like the ancient Egyptians and American Indians and Mayans". Frawley suggest that based on astronomical references in the Rig Veda, that the Vedic seers had a calendar dating back to at least 6000 B.C. (from Gods, Sages and Kings: Vedic Secrets of Ancient Civiilzation p. 165-166).
 Out of the ten Rig Veda books, one hymn book is devoted entirely to Soma. The Vedas state that the god-plant Soma was found in the mountains and that the intoxicating juices from Soma were expressed from the flesh of the plant using so-called "Soma-stones."  The juices of Soma were then filtered through wool into large jars.  In like manner, mushroom stones, when they have been found in situ in the course of archaeological excavation, are often accompanied by stone grinding tools known as manos and metates.  Accounts of mushroom ceremonies still in practice among the Zapotec Indians of Mexico confirm the use of these tools in the preparation of hallucinogenic mushrooms for human consumption. Though separated by vast distances,  it is tempting to conclude that these manos and metates are, in fact, the same as the sacred stones described in the Rig Veda that were used to prepare the intoxicating drink known as Soma.


         
 Above are two of the nine miniature mushroom stones depicted and described below. They were found buried together in a Maya tomb, along with nine miniature stone metates and manos (Soma stones?) used in the preparation of a ritual mushroom beverage.  It was the mushroom communion in the Americas that actually transported one to the divine realm of the trinity. The nine mushroom stones were excavated from the Maya ruins of Kaminaljuyu, in Highland Guatemala.

                                                                      Soma?
       Amanita muscaria mushrooms encoded in Hindu and Buddhist art
     
                                                                                 
     Above is a Hindu carved relief panel (Sanchi stupasecond-first century B.C.)  In the middle of the carved panel is an umbrella-shaped object, located above what might be a depiction of the Soma stone used in the preparation rites of the Soma beverage. According to the Rig Veda, the Soma stones were used to press the juices from the Soma plant. (photograph fromhttp://www.exoticindiaart.com/article/buddhistart/)  
                       
                      
In both Iranian and Vedic Hindu mythology the haoma and soma plant grow beneath a sacred and mighty "world tree".   (Photograph from, Soma Haoma:  Identification of Soma and notes on lexeme corpora of ancient Indian languages.
(http://bharatkalyan97.blogspot.com/2011/09/decipherment-of-soma-and-ancient-indo.html)
 
 
          
                 
                                                                     Soma ? 
 Amanita muscaria mushrooms encoded in Indus Valleyfertility figurines 
                                        
   Above and below are ceramic female fertility figurines from the Indus Valley Civilization 3rd-2nd century B.C. which depicts the Mother Goddess or Earth Goddess, with multiple Amanita muscaria mushrooms encoded into her headdress.
          
                           Indus Valley Civilization female fertility figurines 
                           Soma: The Fly agaric or Amanita muscaria mushroom
    (http://www.123rf.com/photo_8651225_fly-agaric-or-fly-amanita-mushrooms-amanita-muscaria.html) 
 
        
      

                                                                         (photograph from the Walter Art Museum)            

  
 Earth Goddess figurine (Indus Valley 300 B.C) wearing a headdress that I would argue is comprised of five encoded Amanita muscaria mushroom caps, which could in fact be code, for the five synodic cycles of Venus.       
(Photograph of Amanita mushroom by

 Quoting Archaeologist David Freidel from the 1993 book Maya Cosmos...
    "we were surprised that every element of Maya cosmology, no matter where we started, drove us towards a few basic central themes: the creation of the cosmos; the ordering of the world of people, and of the gods and ancestors of the Otherworld; the triumph of the ancestral humans over the forces of death, decay, and dissease through cunning and trickery; the miracle of true rebirth out of sacrifice; and the origins of maize as the substance of the Maya body and soul. All of these themes are expressed in the Popol Vuh, the Book of Council of the K'iche (Quiche) Maya of highland Guatemala. The genesis stories in the Popol Vuh are a redaction of the central myths celebrated by lowland Classic Maya as a fundamental expression of their own genesis". These stories, as our colleague Michael Coe puts it, anchor Classic Maya thought in the same way that the Mahabharata and the Ramayana epics anchor popular Hindu experience and notions of royal power in Bali (Freidel, Schele, Parker, 1993 p.43).                           
     

        Mushrooms and the Fleur de lis Symbol Encoded in Indian Coins ?

           


      
  INDIAN COINS. Ancient. Magadha Janapada (c.600-500 BC), Silver Vimshatika, from the earliest series, approx 5.5g, (cf Rajgor series 10, 45-46) Baldwin's Auctions Ltd, Auction 71, 1247 and 1248
          
                                         
   Note the Fleur de lis symbol on the coin above right from the Kshaharata dynasty 1st century C.E.     
                                                      
  INDIAN COINS. Ancient, Satakarni I, Lead Karshapana from the Nasik region, bull and swastika, rev tree; Nahapana, Lead Karshapana, lion to right, rev vajra or thunderbolt. Note the symbol of the Fleur de lis on the coin above in the upper right hand corner. The  Satavahana Empire covered much of India from 230 BCE onward. (From http://en.wikipedia.org/wiki/Satavahana)  (photograph of coins from Baldwin's Auctions Ltd, Auction 71, 1322 ) 
    
                            
                                               Above is a sculpture of the Hindu trinity.     

         EVIDENCE OF SOMA'S TRANS-PACIFIC CONTACT BETWEEN THE
              OLD WORLD AND NEW WORLD BEFORE COLUMBUS
      
               
   The female figurine on the left with encoded Amanita muscaria mushrooms in her headdress is from the Harappa culture, Indus Valley civilization 3rd-2nd century B.C.  The female figurine on the right with encoded Amanita muscaria mushroom in her headdress is from Puebla, Mexico, Tlatilco culture Early-Middle Preclassic period 1300-800 B.C.  Both female figurines depict what I believe are encoded mushroom inspired headdresses and both depict vulva-shaped or vulva inspired legs and hips referring to fertility. The idea of a Vedic Soma cult in the New World suggests a very early transpacific contact with the Americas.  

Above left is a standing female figurine from the Indus Valley Civilization, Harappa Culture 3rd–2nd century B.C.  20.3 cm (8 in.) Terracotta, modeled face and hand-modeled body Classification: Sculpture Type, sub-type: Figure Indian, Museum of Fine Arts, Boston, John Wheelock Eliot Fund Accession number: 27.135 Provenance/Ownership History: Purchased by the MFA in 1927.

 Above right is a female figurine Tlatilco culture, Puebla, Mexico, Early-Middle Preclassic periods, 1300-800 B.C. Dimension: 6.75in x 0in x 0in 17.145cm x 0cm x 0cm
Purchased with funds provided by The Lake Family Endowment
2000.017.005 (http://sniteartmuseum.nd.edu/collection/aztlan/index_pages/aztlan_all.html)
   

   (For documentation of a female fertility cult concept in Mesoamerica see Vaillant, 1950: 50-51, for documentation of a female fertility cult concept in the Old World see Pritchard, 1943) 

            
 
 Photograph © Justin Kerr 
Above, on the left, is the Amanita muscaria mushroom, and on the right a Maya figurine (300-900 C.E.) photographed by Justin Kerr (K 656a).  The figurine wears a headdress inspired by the Amanita muscaria mushroom. The figurine's contorted face depicts what Olmec scholars call the "Olmec snarl", a common motif in Olmec art which I would argue represents the mushroom's esoteric effect of jaguar transformation and the soul's mythical underworld journey.  The figurine holds in its hands a concave mirror.  Mirrors were used by shamans to see into the past and future and communicate with ancestors and gods.
  
     
 
  Above is an image of the under-side of an Amanita muscaria mushroom depicting the gills and severed stem and vulva.   (http://www.flickriver.com/photos/mark_leppin/5919105321/) 
  
                 
                           (Copyright photograph: by ethno-Mycologist John W. Allen)
The sculpture above is from the ruins at Angkor Wat, located in present day Cambodia. It depicts three Apsaras, which are female deities in Hindu and Buddhist mythology who are able to change their shape at will. The sculpture depicts the Apsara on the far left, holding what appears to me and mycologist John W. Allen, to be a mushroom in her left hand. This would I believe, infer that the Apsara also has three stylized Amanita muscaria mushroom caps encoded in her headdress, below what appears to me to be pine trees, which would be a symbolic reference to Soma, the so-called mushroom of immortality, and of the World Tree, or Tree of Life, and that the number three would suggest a symbolic reference to the Vedic-Hindu-Buddhist Trinity, 
 
 For documentation of mirror gazing (captoptromacy) in Mesoamerica see T. Besterman, 1965,: 73-77; Museum of Primitive Art, 1965 and for documentation of mirror gazing in the Old World by J. Hastings, 1951: IV, 780-782) 
      LARGE Chinese Eastern Han Dynasty Sichuan Figure - Cook
  Han Dynasty Painted Pottery 'Sichuan' figurines depicting smiling ladies with (Soma) Amanita muscaria mushrooms encoded in headdress. The figurine on the right is called the Lady Holding a Mirror . 

                                            
  Late Classic (600-900 AD) Maya figurine, wearing what looks like a mushroom inspired headdress, Jaina Island, Campeche Mexico.       
 
         
      Photographs © Justin Kerr                 (Photo of Hindu statue from amazingdiscoveries.org)  
   The photo above on the left depicts the Maya deity scholars identify as the Maize God, known as First-Father, Hun-Nal-Ye.  The Maize God  sculpture itself is of the Late Classic period, and is from the Maya ruins of Copan, in Honduras.  He makes what appears to be the same hand gesture commonly depicted in Hindu and Buddhist art. Maya Maize God or Buddha ? Note what appear to be three mushroom caps encoded in the Maya deities head, symbolizing rebirth and a divine trinity. The photograph on the right represents the Hindu goddess Lakshmi, who makes a similar hand gesture, and holds in her hands objects that look like stylized mushrooms.  
 
        Quoting  Maya Archaeologist David H. Kelley...
   "Much of Aztec religion looks like a modified Hinduism in which one important change was the deliberate abandonment of religious eroticism" (Man Across the Sea, 1971, p.62).

              
   Above is a ballgame yoke fragment with footprint, excavated by archaeologist  J. Eric S. Thompson, along with a tripod mushroom stone from a pit in front of Monument 3 at the Pacific coastal site of El Baul in Guatemala.

 Buddhism is named for its reputed founder Gautama who came to be known as the Buddha, which means the enlightened one. Gautama was an Indian prince of the 6th century B.C. and Buddhist legend holds that during Gautama's lifetime he left footprints in all the lands where his teachings would be acknowledged.  Buddha died when he was eighty, breaking free of the cycle of rebirth and reaching nirvana, after eating a so-called poisonous mushroom.  It should be noted that Buddha's miraculous conception by his mother, whose name just happens to be "Maya" may be the possible origin for the name given to the ancient Maya ?  According to the Rig Veda, the divine enlightenment of Soma was called Maya.Did Buddhist monks reach the New World in pre-Columbian times, as some scholars will argue, its very tempting to think that the country of Guatemala where the Amanita muscaria mushroom grows in abundance, was named afterthe Buddha and called the land of the Gautema?

    
                                    THE SECRET OF THE ANCIENT MAYA ?
    "Maya according to the Rig-Veda, was the goddess, by whom all things are created by her union with Brahma. She is the cosmic egg, the golden uterus, the Hiramyagarbha." (The Project Gutenberg EBook of Vestiges of the Mayas, by Augustus Le Plongeon)                    
  In searching for the origin of the name Maya, one should revisit the strange coincidence that the Sanskrit word for the divine power, and enlightenment from Soma was called Maya. We are told that the gods themselves were described as Mayin.Linguists have already identified a number of Sanskrit words in Quechua, the Andean language of the Inca (Fox, 2005, p.118).    
  According to the the New World Encyclopedia;  
   In the  Rigveda, the term Maya, (maya)  is introduced referring to the power that devas (divine beings) possessed which allowed them to assume various material forms and to create natural phenomena.                
    Maya (Sanskritmāyā, from "not" and "this")  In early Vedic mythology, maya was the power with which the gods created and maintained the physical universe.
    Maya is the power that brings all reality into being as it is perceived by human consciousness. Therefore, all the particular things contained within this material world are products of maya.
   Soma (Soma),was considered to be the most precious liquid in the universe, and therefore was an indispensible aspect of all Vedic rituals, used in sacrifices to all gods, particularly Indra, the warrior god. Supposedly, gods consumed the beverage in order to sustain their immortality. In this aspect, Soma is similar to the Greek ambrosia (cognate to amrita) because it was what the gods drank and what helped make them deities. Indra and Agni (the divine representation of fire) are portrayed as consuming Soma in copious quantities. (Excerpt is from New World Encyclopedia)
   
   
                     
   The head shown above depicts what looks to me like five Buddhas sitting on a sacred mushroom. The head is in the collection of the British Museum and dates from A.D. 960-1279.  Buddha died of mushroom poisoning around ~479 BCE.

  
          
   MINIATURE MUSHROOM STONES FROM GUATEMALA
                                  
                                            Dr. Stephan Borhegyi, 1921-1969
   My father, "the Baron" examining a miniature mushroom stone from Guatemala. For more on miniature mushroom stones see Borhegyi de,  S.F., 1961, "Miniature mushroom stones from Guatemala,” American Antiquity, vol. 26: 498-504.
    In Mesoamerica I believe a ritual beverage made from juice expressed from the Amanita muscaria mushroom was probably consumed before battle and before the ritual ballgame. This mushroom beverage, I believe, was the same drink as the Soma beverage of the Rig Veda which reputedly enhanced one's bravery, and strength to its wildest levels.  Numerous ballplayer figurines have been found at Xochipala and at such other Preclassic sites as Tlatilco and Tlapacoya in the Valley of Mexico.  Borhegyi conjectured that a change in ballgame rituals and a switch from the Olmec influenced "hand ball game" most likely came as a result of the powerful influence of Teotihuacan and newly instituted Quetzalcoatl rites. (Borhegyi 1980: p. 24).  

   Stone board game pieces, from Mohenjo-daro
Harappa culture,Indus Valley Civilization
            
   

                          From, Games in Ancient Indus' Mohenjo-daro:

                                 Article from Past Horizons, Wednesday, February 16, 2011 
    (Photo above : bennylin0724, Flickr)(Image from http://goddesschess.blogspot.com/2011/02/games-in-ancient-indus-mohenjo-daro.htm.)   
    Archaeologists have also noted the almost exact similarity of an ancient board game played by the Aztecs called Patolli, with an ancient board game from India, called Pachisi (the so-called Pachisi-Patolli theory). Archaeologists like the late Gordon Ekholm argue that, because of the games layout and design, it could never have been developed independently on opposite sides of the worlds.
  For documentation of Patolli-Parchisi game in Mesoamerica and the Old World see Z. Nuttall, 1961,  S. Culin, 1898: 854 ff; S. Piggott, 1950: 190-191                         
 
              
The famous bronze statue on the left, of a young women sporting a club-like hand, is from Harappa, early Indus civilization. The figurine is thought to be about 4,500 years old. The standing female above right, represents a ballplayer from ancient Mexico wearing a protective helmet, ballgame glove anda mushroom-inspired ballgame protective cup and belt. The figurine comes from the site of Xochipala, Mexico, Tlatilco culture in the western state of Guerrero, and dates to 1200-900 B.C.E It is now in the  Princeton University Art Museum. Note the symbolic reference to the number three in the Harappa figurine's necklace, and the number of rings on the Tlatilco figurine's ballgame glove and ballgame belt or yoke.(For more on ballgame hand stones and ballgame gloves see Borhegyi, 1961: 129-140.   (photograph of Xochipala female ballplayer from Whittington, 2001).

                                       MUSHROOMS AND THE BALLGAME
   
(Photographs copyright Borhegyi)
 Pottery mushrooms dating to the middle or late Pre-Classic period have been found with  figurines of ballplayers at the archaeological sites of Tlatilco in Burial 154 (Trench 6), and at Tlapacoya in the Valley of Mexico ( Borhegyi 1980.).   A pottery mushroom (close up photo at right) was found near the figurine of an acrobat suggesting that  mushrooms may have been consumed to induce the super-heroic athletic ability and agility of a jaguar god or were-jaguar.  It might be important to note that the pose might represent an East Indian or Hindu yoga posture or a version of the “Dhanur Asan” “Vrischika Asan” which is an advanced yoga posture for people doing “Sheersh Asan”.  Pottery shaped mushrooms representing both the Amanita and Psilocybin mushrooms (Psilocybe mexicana), were likely used in bloodletting rituals. This blood-letting rituals was likely carried out after the consumption of sacred mushrooms, consumed before the ballgame and before the ritual of decapitation.
  Pre-Columbian pottery shaped mushrooms are reported to have been found in Mexico in the states of Chiapas, Tabasco, and Veracruzand in El Salvador, and Guatemala in both the highlands and the lowland Maya rain forest.
For more on pottery mushrooms see Borhegyi de, S.F., 1963, “Pre-Columbian pottery mushrooms from Mesoamerica”,  in American Antiquity, vol. 28:328-338.
  
  Ethno-mycologist  R. Gordon Wasson….
“There is nothing incompatible between the mushroom stones and the ball game. Those who have mastered the mushrooms arrive at an extraordinary command of their faculties and muscular movements: their sense of timing is heightened. I have already suggested that the players had ingested the mushrooms before they entered upon the game. If the mushroom stones were related to the ball game, it remains to be discovered what role they played”. (Wasson, from Mushrooms Russia & History, p. 178)
 The bemushroomed person is poised in space, a disembodied eye, invisible, incorporeal, seeing but not being seen….In truth, he is the five senses disembodied, all of them keyed to the height of sensitivity and awareness, all of them blending into one another most strangely, until, utterly passive, he becomes a pure receptor, infinitely delicate, of sensations”. (Wasson, 1972a:198;  Borhegyi, 1962)
                       
 It should be noted that in the Rig Veda, there are recurring themes that allude to decapitation and the spiritual potency of the head. In the ancient Hindu texts known as the Brahmanas, that follows the Vedas, one of the cups of Soma is referred to as the head of Gayatri, the eagle who bore Indra down from the heavens after beheading the dragon Vrtra and thus obtaining Soma, only after the beheading of the dragon Vrtra (Rush 2013, p. 296).  

        SOMA ENCODED IN HINDU AND BUDDHIST ART      
                                              
                                  
   The sculpture above is of a Hindu Goddess, holding what appears to be a mushroom in her right hand. Relief of Alasa Kanya at Vaital Deul, Bhubaneswar. Photograph from Wikipedia, the free encyclopedia.                               

                                
The sculpture above is of the Vedic-Hindu god Shiva, holding what appears to be a mushroom in his right hand; ( Angkor Wat, Cambodia, ~1200 AD)  photograph taken by ethno-mycologist John W. Allen  http://www.mushroomjohn.org/bio1.htm
            
            Above and below are images I believe depict the Buddha beneath a stylized mushroom.      
                                            
                                        
The caption to the photo above left identifies the image as a sandstone sculpture of Jina Parsvanatha, the 23rd ‘tirthankara’ (saint) of the Jain religion sitting beneath a Dhataki tree. (Image2006AU5756 from the collections.vam.ac.uk/item/O25006/)                      
  For a more detailed description on the sculptures presented above visit, www.herenow4u.net 

        

                   

  (source below: Gods, Sages, and Kings - By David Frawley p. 43-64) http://old.aravinda.in/Jnan%5CPhysics/AncientIndianMaritime.htm

"The Indians built ships, navigated the sea and monopolized the international trade both by sea route and land route. Indian literature furnishes evidence with innumerable references to sea voyages and sea-borne trade and the constant use of the ocean as the great highway of international intercourse and commerce". 

Rig Veda

"The oldest evidence on record is supplied by the Rig Veda, which contains several references to sea voyages undertaken for commercial purposes. One passage (I. 25.7) represents Varuna having a full knowledge of the sea routes, and another (I. 56.2) speaks of merchants, under the influence of greed,  going sending ships to foreign countries. A third passage (I. 56.2)mentions merchants whose field of activity known no bounds, w ho go everywhere in pursuit of gain, and frequent every part of the sea. The fourth passage (VII. 88.3 and 4) alludes to a voyage undertaken by Vasishtha and Varuna in a ship skillfully fitted out, and their "undulating happily in the prosperous swing." The fifth, which is the most interesting passage (I. 116. 3), mentions a naval expedition on which Tugra the Rishi king sent his son Bhujyu against some of his enemies in the distant islands; Bhujyu, however, is ship wrecked by a storm, with all his followers, on the ocean, "where there is no support, no rest for the foot or the hand," from which he is rescued by the twin brethren, the Asvins, in their hundred-oared galley. The Panis in the Vedas and later classical literature were the merchant class who were the pioneers and who dared to set their course from unknown lands and succeeded in throwing bridges between many and diverse nations. The Phoenicians were no other than the Panis of the Rig Veda. They were called Phoeni in Latin which is very similar to the Sanskrit Pani".  (http://old.aravinda.in/Jnan%5CPhysics/AncientIndianMaritime.htm)
   
                     SOMA IN SOUTH AMERICAN ART      
       
                  
 
  Ethno-archaeologist Peter Furst...
 "Little is known of the pre-Hispanic mushroom use in South America, with the single exception of an early Jesuit report from Peru that the Yurimagua Indeans, who have since become extinct, intoxicated themselves with a mushroom that was vaguely described as a "tree fungus" (Furst, 1976 p.82).                       
 
                                        
Above is a Peruvian figurine from the Denver Museum, holding what appears to be an Amanita muscaria mushroom in his left hand. Note the figurine's goggle shaped eyes, and the three esoteric symbols (probable trinity?), one on each leg and one at his waist. 
              
 
 In the course of my studiesI not only found mushroom-related symbolism throughout Mesoamerica, but also in the art of the Inca, Mochica, Chavin, Chimu, and Paracas cultures of South America, and in the Rapa Nui civilization of Easter Island. Peter Furst (1976, p.80-82)  writes that similar religious concepts of the Olmecs and Maya existed in South America. He has identified mushrooms and mushroom headdresses on Moche ceramic vase paintings (200-700 A.D.) such as those I found on the portrait vessels above and below.
               
             
                  
Above are pre-Columbian ceramic Moche portrait vessels, from Peru wearing headdresses encoded with what I propose are Amanita muscaria mushrooms. The Moche culture reigned on the north coast of Peru during the years 100-600 A.D.

                                
 Above, a gold mushroom inspired ornament, most likely was worn as an head ornament by an Andean ruler or priest. The ornament that bears the metaphorical shape of a half-sliced mushroom as well as a  ritual axe, is decorated with imagery reminiscent of the spotted caps of the Amanita muscaria mushroom.
  There is also plenty of evidence of a trophy head cult in the archaeological record of South America. According to Andean researcher Christina Conlee (Texas State University) large numbers of decapitated heads or so-called trophy heads have been found in archaeological excavations in the area of Peru.  At the archaeological site of Tihaunaco not far from Lake Titicaca, several dozen decapitated bodies were found in a burial arranged in a geometric layout, buried alongside drinking vessels suggesting the act of ritual (Soma) sacrifice.     
                                           
   Above is a woven textile from Peru, South America, Paracas culture 750 B.C. to A.D. 100. The textile incorporates what appears to be mushroom-Venus iconography associated with a bodyless human head. The axe in his hand shaped as a mushroom is a metaphor denoting mushrooms and the ritual of  decapitation opens the portal to Venus resurrection. The axe is purposely shaped to look like an Amanita muscaria mushroom.  I believe that the design below the figure's chin symbolizes Venus. Similar in design to Venus symbols from Mesoamerica and Easter Island, it represents the Evening Star aspect of Venus associated with the ritual of underworld decapitation.
  As in Mesoamerica and South America, we find plenty of evidence in India of human sacrifice, and the offering of trophy heads to the gods. One account of mass sacrifice took place in Assam in north-eastern India in 1565 A.D. at a ceremony celebrating the re dedication of a temple to Rajah Nara Narayana. The Rajah celebrating this event had one hundred and forty men decapitated, and then offered their severed heads on copper and gold plates to the goddess Kali, wife of the Hindu god Shiva (Davies 1981, p.76). 

      
                                       
The painted textile above from the Chimu culture of Peru, 1000-1400 C.E.  depicts a figure standing astridewhat I believe is an Amanita muscaria mushroom.The fanged figure is accompanied by two jaguarswith spots alluding to the Amanita muscaria mushroom. They symbolize the underworld journey of the deceased and the effect of the mushroom as jaguar transformation.  Under the influence of the hallucinogen, the “bemushroomed” acquires feline fangs and often other attributes of the jaguar, emulating the Sun God in his journey into the Underworld. The esoteric association of mushrooms and jaguar transformation was earlier noted by ethno-archaeologist Peter Furst (1976:78, 80)The twin jaguars symbolize sacrifice and death in the Underworld, associated with the planet Venus as an Evening Star, while the twin birds symbolize the heavens and divine resurrection from the Underworld as Venus, the Morning Star.  
Images like the one above with encoded mushroom and Venus imagery generally depict rituals of self-sacrifice and decapitation in the Underworld, alluding to the sun’s nightly death and subsequent resurrection from the Underworld by a pair of deities associated with the planet Venus as both the Morning Star and Evening star. This dualistic aspect of Venus is why Venus was venerated as both a God of Life and Death.  It was said that (The Title of the Lords of Totonicapan, 1953 third printing 1974, p.184), they [the Quiche Maya] gave thanks to the sun and moon and stars, but particularly to the star that proclaims the day referring to Venus as the Morning star.Note that the figure above has a stylized mushroom or axe-shaped icon encoded into his headdress. This I believe is code for ritual decapitation under the mushroom's influence, and that the three-step design or icon on either side of the mushroom inspired axe alludes to the mushroom journey into the Underworld. In Mesoamerica this icon represents a ballcourt, and the ball court was thought of as the entrance to the Underworld. The three-step design, therefore, came to symbolize descent into the Underworld. The mushroom-shaped axe I believe is a metaphor or code for Mushroom-Venus resurrection, via the ritual of decapitation in the Underworld.
 
  The mythological stories of two brothers who are successful tricksters is a story which is found throughout South America (Harold Osborn 1968, 1983 p.124).
  It is reasonable that a belief in the redemptive power and divinity of hallucinatory mushrooms could have spread from one culture to another. The first mushroom cult, identified by its powerful artistic expression of the were-jaguar, dominated Olmec culture as early as 1500 B.C.  As early as 850 B.C. a were-jaguar cult begins to appear in South America, identified in the religious art of the Chavin and Paracas cultures of Peru. B.C.   
                                                            
 
     MUSHROOMS AND UNDERWORLD JAGUAR TRANSFORMATION
  For documentation of feline-human hybrid motif with fertility associations in Mesoamerica see S. F.  de Borhegyi, 1951a, 1951b: 110.  For documentation of feline-human hybrid motif with fertility associations in the Old World see M. Burrows, 1941: 209; H. G.May, 1931-1932: 73-98; W. F. Albright,1938: 1-2, R. S. Starr, 1937: I, 437-441; Kelso, J. L. and J. P. Thorley, 1945: 91;
 
                                                                
 
Above left, "hidden In plain sight,"  the ceramic Precolumbian mask depicts the transformation of a human into a "were-jaguar," a half-human, half-jaguar deity first described and named in 1955 by archaeologist Matthew W. Stirling. The were-jaguar appears in the art of the ancient Olmecs as early as 1200 B.C.  I believe this mask symbolizes the soul's journey into the underworld where it will undergo ritual decapitation, jaguar transformation, and spiritual resurrection.  An Amanita muscaria mushroom (actual specimen shown in the photo on the right) is encoded into the head and nose of the human side, while the left half of the mask depicts the effect of the Amanita mushroom as resulting in were-jaguar transformation. The were-jaguar eventually came to be worshiped and venerated throughout Central and South America.  Mexican art historian, Miguel Covarrubias, demonstrated that later images of Quetzalcoatl, feathered serpents, and rain gods like the Mexican god Tlaloc were all derived from the Olmec were-jaguar associated with sacrifice and the underworld (Miller and Taube, 1993:185)
(photo below by Prof. Gian Carlo Bojani Director of the International Museum of Ceramics in Faenza, Italy) (Photo of Amanita muscaria by Richard Fortey)          
   

    
Jaguar Effigy Incensario with an encoded stylized mushroom for a nose. Remujadas, Veracruz, Mexico. Classic period, circa 450-650 A.D. Height 14½”.  Above right is a cross section of Amanita muscaria fruiting body, (Wentworth Falls, Author, Casliber  Category:Amanita muscaria)   (Photo above left from Stendahl Galleries Fine Precolumbian Art).
                                 
  
  The ancient cultures of the Nahua and Maya developed similar ideologies and mythologies from the same Olmec roots. The sacred mushroom ritual shared by these cultures was intended,  I believe, to establish direct communication between Earth and Heaven (sky) in order to unite man with god. As told in the Popol Vuh, the sacred book of the ancient Quiche Maya,  the sun-god of the Maya, Kinich Ajaw, and his Aztec equivalent, Huitzilopochtli, would be extinguished in the underworld if not nourished with the blood of human hearts. Quetzalcoatl's essence in the world as a culture hero was to establish this communication. Quetzalcoatl taught that mankind must make sacrifices to the deity and transcend this world in order to achieve immortality. There is good reason to believe that this ritual was regularly performed  prior to sacrifice, whether the sacrifice was performed willingly by the participant, or carried out  by another individual.

 

        AMANITA MUSCARIA MUSHROOM IMAGERY ENCODED IN TOLTEC ART
       
     (jpg - 4.bp.blogspot.com/.../s320/Mexico+City+080.jpg)
  (Photo of Amanita muscaria, Fly Agaric Mushrooms from Salvia Space Ethnobotanicals)                 
   Above, another Precolumbian incense burner (Toltec?) from Central Mexico encodes Amanita muscaria mushrooms as the "legendary tears of Quetzalcoatl."  Note as well that the scroll at the bottom of the censer repeats a hook-shape symbol that I have come to believe is another symbol of a religion based on mushroom rituals and the worship of the planet Venus.  
                  
The Soma beverage, and the Soma sacrifice, according to Vedic scholars was the focal point of Vedic religion. According to the Rig-Veda, Vayu was the first of the Vedic gods to drink Soma.  As the Wind God,. he is  associated with sacrifice, death and warfare. The same can be found in Mesoamerican mythology, in which the god Quetzalcoatl, in the form of Ehecatl the Wind God, delivers mushrooms to mankind, and Quetzalcoatl like his Vedic counterpart Vayu, is also connected with the fate of the dead.  
Among the Koryaks of Siberia, the fact of the Amanita muscaria's seedless growth lead to the belief that mushrooms were “virgin-births,” born from the divine spittle of god--the fluid we know as dew, that magically appears at dawn. In Mesoamerica the legendary Hero Twins of Maya mythology were also born miraculously from the spittle of their father's decapitated head.
   In the groundbreaking book published by Robert Gordon Wasson and his wife, Valentina Pavlovna Wasson, titled Mushrooms, Russia and History  (1957), the Wassons reported on the ritual consumption of mushrooms (the Amanita muscaria) among Siberian and northern Asian peoples, suggesting the possible antiquity of the mushroom cult to Stone Age times. The Wassons surmised that our own remote ancestors, perhaps 6000 years ago, worshiped a divine mushroom (Furst, 1972, reissued 1990, p.187).
 
  R. Gordon Wasson postulated that...
" There is little doubt that the substance called Soma in the Rig Veda has been identified as the fungus Amanita Muscaria."
 
  In the New World beginning around 1500 B.C. an ancient people scholars call the Olmecs, appeared suddenly, their art and mythology fully developed and in full blossom, and built pyramids and megalithic stone sculpture adorned with the images of their gods and rulers.The pioneering achievements of the ancient Olmecs in the arts, architecture, and writing give us the first great civilization in the New World. The religion of the ancient Olmecs was grounded in sacrifice, and the need to offer men, women, and children to the gods. The ritual of decapitation was based on what I believe was an esoteric cult of the human head associated with a trophy head cult. Spread by the first true civilization, Olmec religion  set the tone for all future religious beliefs in the New World.       
   
        
               (Photo of Amanita muscaria mushroom from Royalty Free Stock Photos)                          
                       
 The image above on the right is of an Olmec whistle photographed by Higinio Gonzalez of Puebla, Mexico. The figurine of a baby  likely comes from the San Lorenzo phase of Olmec culture, 1200-400 B.C.E.  These infantile baby-faced figurines, many of which depict the symbolism of a snarling jaguar, are a distinctive feature in Olmec art.This figure appears to represent an Olmec baby wearing an Amanita mushroom cap and holding a gigantic Amanita mushroom. According to ethno-mycologist Gastón Guzmán, one of the effects of the Amanita muscaria mushroom experience is to see objects as gigantic in size. (Guzman, 2010).
      The rise of the Olmec, the first complex civilization in the New World in the swampy jungles of the Gulf Coast has puzzled archaeologists for some time. Archaeologists contend that Olmec culture appears to come from out of nowhere in full bloom at the site of San Lorenzo, in Chiapas, Mexico. Carbon 14 dates place Olmec civilization at San Lorenzo at 1200 B.C.E. (M. D.  Coe, 1970, p.21). 

The discovery of numerous toad bones in Olmec burials at San Lorenzo suggests that the Olmecs may have used other mind-altering substances, such as hallucinogenic toad toxin, in various ritual practices (Coe, 1994:69; Furst, 1990: 28; Grube, 2001:294).  Mushroom-shaped stones, many bearing toad images carved on their base, have been found throughout Chiapas, Mexico, the Guatemala highlands, and along the Pacific slope as far south as El Salvador.  (Borhegyi, 1957, 1961, 1963, 1965a, 1965b). Gordon Wasson was the first to call attention to the pervasiveness of the toad and it's association with the term toadstool, with the intoxicating or poisonous mushrooms in Europe. Tatiana Proskouriakoff demonstrated that in Mayan glyphs the toad is the divine symbol of rebirth (Coe, 1993:196)

   Quoting ethno-archaeologist Peter T. Furst:
"It is tempting to suggest that the Olmecs might have been instrumental in the spread  of mushroom cults throughout Mesoamerica, as they seem to have been of other significant aspects of early Mexican civilization......" It is in fact a common phenomenon of South American shamanism  (reflected also in Mesoamerica) that shamans are closely identified with the jaguar, to the point where the jaguar is almost nowhere regarded as simply an animal, albeit an especially powerful one, but as supernatural, frequently as the avatar of living or deceased shamans, containing their souls and doing good or evil in accordance with the disposition of their human form" (Furst 1976, pp. 48,79)."
  

 Vedic worshipers partook in the Soma ritual because it reportedly produced a divine sense of power and inspiration. They believed that the gods themselves joined in the ritual drinking.  By pleasing the Vedic gods with sacrifice, song, drink and food, the devotees hoped to gain the support of nature and win favor with the gods. Sacrifice in both religions was both a symbol of fear and one`s affection towards the gods.
 If the identification of the Vedic god Soma, the mystery plant, and ritual beverage described in the Rig Veda is in fact the Amanita muscaria mushroom, as proposed by Wasson, then there can be little doubt that the Amanita muscaria mushroom was indeed the model for the numerous small stone sculptures known as Maya "mushroom stones." 
       
 
 Above are the nine Preclassic mushroom stones that were found in a cache along with nine miniature metates at the highland Maya archaeological site of Kaminaljuyu on the outskirts of Guatemala City. The contents of the cache were dated by Stephan  de Borhegyi at 1000-500 B.C.  The tall jaguar mushroom stone depicted above on the left with handles was excavated separately at Kaminaljuyu.
 In describing the contents of a cache of mushroom stones depicted above excavated at the Preclassic site of  Kaminaljuyu in the Guatemala Highlands, Borhegyi wrote;

  Archaeologist Stephan de Borhegyi...
  "The cache of nine miniature mushroom stones {depicted below} demonstrates considerable antiquity for the "mushroom-stone cult," and suggests a possible association with the nine lords of the night and gods of the underworld, as well as the possible existence of a nine-day cycle and nocturnal count in Preclassic times. The association of the miniature mushroom stones with the miniature metates and manos greatly strengthens the possibility that at least in some areas in pre-Columbian Mesoamerica metates were used to grind the sacred hallucinatory mushrooms to prepare them for ceremonial consumption."(Borhegyi 1961: 498-504)

  It should also be noted that the late Archaeo-astronomer David Kelly, notes links between the Mesoamerican calendar and the Hindu lunar mansions that track the positions of the moon amid the stars, and links the Mesoamerican cycle of the Nine Lords of the Night to the Hindu planetary week of nine days, that refers to five planets, the Sun and Moon, and two invisible planets believed to cause eclipses (Milbrath, 1999 p.292). 
   Diffusionists will argue that the best piece of evidence for trans-Pacific contact, is that both India and Mesoamerica shared a similar calendar, and that the sophistication in both calendars could not have been a duplicate invention.
    The Vedic-Hindu religion of East India and the religions of Mesoamerica both venerated a trinity of creator gods, as well as recognizing hundreds of other named gods. Both cultures knew of the corbel arch, shared sacred numbers, and the development of a place-value system using the concept of zero. For documentation in Mesoamerica see  A. L. Kroeber, 1948: 468-472, and for documentation in the Old World see O. Neugebauer, 1951: 18,20,26,140-1460)  
 
 
                               
        Photo of Robert Gordon Wasson by Allan B. Richardson. Courtesy Wasson Collection

     Mesoamerican Archaeologist Michael D. Coe...
   "I do not exactly remember when I first met Gordon Wasson, but it must have been in the early 1970's. He was already a legendary figure to me, for I had heard much of him from the equally legendary and decidedly colorful Steve Borhegyi, director of the Milwaukee Public Museum before his untimely death. Steve, who claimed to be a Hungarian count and dressed like a Mississippi riverboat gambler, was a remarkably fine and imaginative archaeologist who had supplied much of the Mesoamerican data for Gordon and Valentina Wasson's Mushrooms, Russia and History, particularly on the enigmatic "mushroom stones" of the Guatemala highlands. His collaboration with the Wassons proved even to the most skeptical that there had been a sort of ritual among the highland Maya during the Late Formative period involving hallucinogenic mushrooms" (from the book; The Sacred Mushroom Seeker: tributes to R. Gordon Wasson, 1990 p.43) 
 
My father was one of the leading researchers of the pre-Columbian ballgame before his untimely death in 1969. In his manuscript entitled...
  The Pre-Columbian ballgame:  A Pan-Mesoamerican Tradition; published posthumously in 1980, by the Milwaukee Public Museum. He writes that he believed that stone hachas , as well as anthropomorphic and zoomorphic vertically and horizontally tenoned stone heads, were symbolic of the human (trophy) heads of earlier times. Stone hachas were worn on ceremonial ballgame yokes, while the tenoned stone heads were set into the walls of formal ball courts. (1980:17) 

                                                                     
   A miniature stone hacha, the Spanish word for axe, from Veracruz, Mexico (Late Classic Period, 700-900 C.E.) ( photograph from Whittington, 2001)
Hachas, like the one depicted above, fit into the belt or yoke worn by ballplayers in the Mesoamerican ballgame. This hacha was probably used in ceremonies associated with the ballgame. The hacha represents a decapitated trophy head of a wrinkled faced and toothless old man wearing a cone-shaped hat. The wrinkled face and toothless mouth suggest the Old Fire God (Xiuhtecutli), while a closer look reveals the image of a sacred psilocybinmushroom encoded in the cheek and hat. The conical or cone-shaped hat, in this case mushroom-inspired, is a trademark attribute of the Mexican god-king Quetzalcoatl and of his priesthood.

     Anthropologist and author Irene Nicholson...
 "In spite of the great gulf that separates Precolumbian thought from our own in many of its external aspects; in spite of distortions, irrelevancies, decadence and subsequent annihilation by European conquerors of a great part of it; the culture which this mysterious leader established [Quetzalcoatl Votan] shines down to our own day. Its message is still meaningful for those who will take the trouble to make their way, through the difficulties of outlandish names and rambling manuscripts, to the essence of the myth".   (from the book, Mexican and Central American Mythology 1967, p.136)
   
  The late Maya archaeologist Lee A. Parsons, editor of my father's manuscript entitled The PreColumbian -ballgame:  A Pan-Mesoamerican Tradition;  published posthumously in 1980, by the Milwaukee Public Museum, believed the manuscript to be the most comprehensive study of the ballgame ever attempted. My father believed, but could not prove that the grisly ritual of decapitation and the so-called "trophy head cult" that was intimately connected with the Mesoamerican ballgame, did not originate in the New World but had its antithesis in the Old World.

  Quoting Stephan de Borhegyi... (from de Borhegyi 1980, p.25)
 "A final word on decapitation, the ballgame, and cultural diffusion may be in order. While human decapitation was a widespread custom throughout both the Old and New Worlds as early as the Paleolithic period, its association with ancient team games seems to have occurred only in central and eastern Asia, Mesoamerica, and South America (for ballgames in Southeast Asia, see Loffler, 1955). The use of severed human heads in the polo games of Tibet, china, and Mongolia goes back at least as far as the Chou Dynasty (approximately 1100 B.C. -250 B.C.) and possibly to Shang times (about 1750 B.C. -1100 B.C.). By the Han Dynasty (206 B.C.-220 A.D.), the polo game in China had become more refined and human heads were apparently replaced by balls. However, the custom of using "trophy heads" in the game must have survived in modern form in marginal areas, as evidence by the fact that the present day Tajik tribesmen of Afghanistan still use the head of a goat as a ball during the game (Abercombie, 1968). While more studies are needed along this line, it is tempting to suggest that the custom of using human heads in competitvive ballgames be added to the growing Pre-Classic inventory of "trans-Pacific contacts".
  

 Expanding on my father’s and Wasson's theory that the Amanita muscaria fly-agaric mushroom of Eurasia was likely the model for the ancient mushroom stones of Mesoamerica, anthropologist Weston La Barre, hypothesized in 1970, 

  Anthropologist Weston La Barre...
 "The American Indians interest in hallucinogenic plants represents a survival from a very ancient Paleolithic and Mesolithic shamanistic stratum, and that its linear ancestor is likely to be an archaic form of the shamanistic Eurasiatic fly-agaric cults that survived in Siberia into the present century, and that while profound socioeconomic and religious transformations brought about the eradication of ecstatic shamanism and knowledge of intoxicating mushrooms and other plants over most of Eurasia, a very different set of historical and cultural circumstances favored their survival and elaboration in the New World, which the early big-game hunters carried with them out of northeastern Asia as the base religion of American Indians"(Furst, 1976)  
 
                       

                       
                  Aztec incense burner depicting maize and Amanita muscaria mushrooms? 

      
    While reading through one of my father’s (Stephan F. de Borhegyi) correspondences with ethno-mycologist Robert Gordon Wasson, he mentions two interesting passages from native chronicles written around 1554.  Both related to indigenous use of mushrooms in Guatemala. 
  A passage from The Annals of the Cakchiquels,  (1953:82-83), 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.”
   A passage from the Popol Vuh, (Goetz,1950:192) reads:
 “And when they found the young of the birds and the deer, they went at once to place the blood of the deer and of the birds in the mouth of the stones that were Tohil, and Avilix.  As soon as the blood had been drunk by the gods, the stones spoke, when the priest and the sacrificers came, when they came to bring their offerings.  And they did the same before their symbols, burning pericon (?) and holom-ocox (the head of the mushroom, holom=head, and ocox= mushroom”).


   Knowing that the Amanita muscaria mushroom grows in association with the pine and birch trees in the cooler elevations of the Maya Highlands, its likely that these effigy mushroom stones may have been carved to symbolize rebirth and venerate the victims of sacrifice, such as toads,  birds, monkeys, jaguars, deer, peccary, rabbits, birds and humans.  The effigy mushroom stones may have been used as markers to honor the sacred spot where mushrooms sprouted  after lightening struck the ground. The knowledge that mushrooms suddenly sprout from the ground when lightening strikes is a concept also found recorded in the Rig Veda. The Rig Veda states that "Parjanya, the god of thunder and lightening was the father of Soma (Lowy 1974, p.188 and Wasson 1969).
 
   In the Vedas, as in Mesoamerica, the sun is compared to a bird or eagle flying across the sky. Soma, called the "Father of the Gods,"  was said to have been stolen from the highest heaven by an eagle to bestow insight and immortality to its drinkers. Agni the "God of Fire" was the intermediary between the heavens and earth,  and his two heads often depicted in Hindu art represents both domestic fire, and the fire of sacrifice. In Mesoamerica Quetzalcoatl is credited with introducing fire and sacrifice to mankind, and for fixing certain days in the sacred 260 day calendar for feasts and ritual sacrifice. If the Vedic god Soma was a mushroom, than the connection can be made to  Quetzalcoatl who is also credited with bestowing immortality to mankind by introducing them to divine mushrooms, as seen onpage 24 of the Mixtec Codex Vindobonensis (depicted on a previous page).
   The ancient myth of Quetzalcoatl’s creation was preserved for us by a Franciscan friar named Jeronimo de Mendieta in 1596. In his manuscript, Historia Eclesiastica Indiana, Mendieta writes that it was “Quetzalcoatl, the Mexican Prometheus, the beneficent god of all mankind, descended to the world of the dead to gather up the bones of past generations, and, sprinkling them with his own blood, created a new humanity”. (Alfonso Caso, 1958; THE AZTECS, PEOPLE OF THE SUN)
 Soma as a deity was the brother of Indra (Furst 1972 reissued 1990, p.225). Indra, who in Hindu mythology represents the King of the gods and Lord of the Heavens, was a heavy Soma drinking warrior god in the Rig Veda. His weapons were thunderbolts, and his invincible strength came from drinking Soma. He was believed to protect those who possessed the stones used in the preparation of Soma. The Soma-drinking Indra is celebrated in more hymns than any other god in the Rig Veda.  

     
                                              
   Above a sculpture of the Jain Goddess Ambika sitting on a feline or feline throne, holding a baby in one hand and what looks like the cap of an Amanita muscaria mushroom in her other hand. ( Photograph from http://commons.wikimedia.org/wiki/File:WLA_lacma_Jain_Goddess_Ambika.jpg  
  
     In Mesoamerica, the mushroom and the feline or jaguar is a symbol of the Underworld. The mushroom ritual in Mesoamerican mythology is deeply connected to blood sacrifice and the journey into the Underworld. In Mayan mythology  this epic journey into the Underworld is taken by a pair of mythical Twins in the Quiche Maya Popol Vuh. One pair of twins known as the Hero Twins enter the Underworld in search of their father and uncle who were both decapitated by the Lords of Death after losing a ballgame in the Underworld. In all likelihood the Hero Twins in metaphor probably represent the planet Venus entering the Underworld as a divine resurrection star in which both Hero Twins fail to resurrect their father from the Underworld, leaving him behind to rule the Underworld, as the Underworld Sun (jaguar). The twins in their own effort to be immortal, trick the Lords of Death by decapitating themselves, and in the end, they both are resurrected from the Underworld as the sun and moon. This myth represents a Mesoamerican metaphor, in which the same journey is made, (mushroom journey) by a ruler or priest, emulating the journey each night  by the sun, or Sun God as he travels below the horizon and into the Underworld, land of the dead, transforming into the Underworld jaguar, and sacrificing himself each night by ritual decapitation, to be reborn and resurrected as baby jaguar.                
                    
 Above and below are sculptures of the Hindu god Vishnu as Varaha, the boar avatar depicted here in separate sculptures with one foot on top of what appears to be a mushroom with little people beneath it.
                                       
         Above is a closeup of the same sculpture of the Hindu god Vishnu as Varaha, the boar avatar, depicted above with one foot on top of a mushroom.  I would argue that this is Soma, a mushroom metaphor for the World Tree, with little people underneath.
 

                         
  Above is a figurine from Nayarit, Western Mexico, dated 100 C.E. depicting a figure under an  Amanita muscaria mushroom.  The figurine, which is 7.5 cm tall,  is now in the INAH Regional Museum in Guadalajara, Mexico.  According to first-hand reports written at the time of the Spanish Conquest, the Aztecs ate the mushrooms as well as drank a mushroom beverage in order to induce hallucinatory trances and dreams. During these dreams they saw colored visions of jaguars, birds, snakes, and little gnome-like creatures.Another theory proposed by mycologist Gaston Guzman is that one of the effects of the Amanita muscaria mushroom experience is to see objects as gigantic in size.  Amanita muscaria mushroom photo © Michael Wood.
                                 
                      
Photograph © Justin Kerr:
Maya figurines from the Justin Kerr Data Base. Above, on the left, is a  bearded dwarf, K2853 holding a shield and wearing a hat designed as an upside down Amanita mushroom (Princeton Art Museum). In Mesoamerican mythology the dwarf is related to Quetzalcoatl and guides the dead in their descent into the underworld. On the right is a photograph of an Amanita muscaria mushroom with its trademark skirt  (photograph copyrighted and owned by the artist, Esther van de Belt ).  According to Gordon Wasson,  among the various tribes in Siberia where the inebriating mushroom Soma has survived, words used for, or to describe the Amanita muscaria mushroom personify it as "little men." 
   
  In Mesoamerican mythology dwarves were garanteed entrance into the paradise of Tlaloc called Tlalocan. In Maya vase paintings the dwarf is often portrayed as a guide of rulers, and priests as they journey into the Underworld.
        
     Photograph © Justin Kerr: 
   Maya vase K5505 from the Justin Kerr Data base depicts a bundle ceremony (bloodletting ceremony?) The female at the far right holds a vase with what may be a ritual drink (Soma sacrifice?).  The dwarf on the left gestures to an attendant who holds a staff and wears what appears to be an encoded mushroom in his headdress.

The mushroom inspired images I have presented to this point, most of which are cleverly encoded by the artist, are just a few of the many images I found that clearly  represent mushrooms and mushroom worship. In my study mushroom imagery occurred with such frequency and in such indisputably religious context that there can be no doubt as to their importance in the development and practice of indigenous religion.

  The red and white colors of the Amanita muscaria mushroom encoded below in Maya vase paintings.    
                   
  Photographs © Justin Kerr # 6608

Owner: Denver Art Museum Denver CO
Maya vase K6608 from the Justin Kerr Data Base of Maya vase paintings, depicts three underworld jaguars which may symbolize the three hearth stones of creation, a "trinity of gods" in Maya religion known at the archaeological site of Palenque as GI, GII, GIII.  The underworld jaguars all wear mushroom shaped ear plugs, and wear sacrificial scarves, symbolic of underworld decapitation. The scarves metaphorically bear the colors and spots of the Amanita muscaria mushroom.

 
    
Photographs © Justin Kerr,
This Maya vase painting K638 from the Kimbell Art Museum, Ft. Worth Texas, depicts a prisoner stripped of his clothing, his arms bound behind his back, being led by priests into the underworld to undergo the ritual of underworld decapitation. The prisoner is followed by a priest holding an axe. He is dressed in the guise of the underworld jaguar. That the prisoner is an offering to a Venus God is indicated by the Venus glyphs in the cartouche at the lower right. The artist encodes the four cardinal directions and it's sacred center in the mushroom-inspired shields. The shields also encode three stems symbolic of the creator gods who represent the three hearth stones of Maya creation. The priest leading the way into the underworld wears a robe decorated with symbolic mushrooms. The portion of his headdress which is painted red is esoterically shaped to form a partial loop, the symbol of the religion.
The priest on the far right wears a red tunic with white  spots symbolic of the Amanita muscaria mushroom. The priest directly  behind the prisoner wears an Amanita-inspired hat with the same colors.  Dictionaries of Maya highland languages compiled after the Spanish Conquest mention several intoxicating mushroom varieties whose names clearly indicate their ritual use. One type was called xibalbaj okox, "underworld mushroom" in reference to the belief that the magic mushroom transported one to a supernatural realm known as the underworld  (Sharer, 1983: 484). The artist infers that  they all journey into the underworld as a group under the influence of Amanita mushrooms, including the prisoner who will be ritually decapitated by a priest dressed as the underworld jaguar.
   
                              MUSHROOM OR UMBRELLA ?         
                                                      
                                  Photo © Israel Museum, Jerusalem, by Avshalom Avital  
   Standing figure holding a mushroom, Comala style, Colima, West Mexico
250 BCE–250 CE  Clay and pigment  H: 55; W: 30 cm
Gift of Mr. and Mrs. Arnold Maremont, Chicago, to American Friends of the Israel Museum
Accession number: B78.1549                                   
 
             
         Above are two figurines from western Mexico, Late Formative period  300 B.C. to A.D. 200.
  In Mesoamerica, mushrooms and dogs were believed to lead the deified dead into the underworld.
     ( Photograph on the left is from the Walter Art Museum, http://art.thewalters.org/browse/place/mexico/)                                                
  (Photograph above right was provided by Dr.Gaston Guzman      <gaston.guzman@inecol.edu.mx>) 
    
                  
  Above is a sculpture that depicts the Hindu god Vishnu striding across the sky.  The closeup on the right depicts what I would argue is a probable Amanita muscaria mushroom representing the Vedic-Hindu god Soma and not an umbrella. Carved relief from Mahabalipuram, seventh century.           
    
   
                              
                              
    The photo above is of a mythological battle scene in which a couple of umbrellas are depicted. I believe that the so-called umbrellas above actually represent Soma. The encoded mushrooms in the scene represents what we already know from the Rig Veda, that Soma was consumed by the gods before battle .
 The photo above and the caption below are from  archivenews.blogspot.com/2007/08/indian-sculptor-grace-of-divinity.htm                            
 The sculpture above, "Mahisasuramardini, eighth century A.D., Mamallapuram. This depiction of Durga, which is one of the treasures of Indian sculpture, shows the goddess killing the demon of ignorance in the form of a “mahisha”, or buffalo. In Indic thought the only evil is that of our own confusion, or lack of knowledge of the truth. Deities such as Siva and Durga are shown attacking and vanquishing the demons of our ignorance. The battle of Durga and the “mahisha“ is one such depiction of the victory of knowledge over ignorance, of good over evil".

      SOUTH AMERICAN MUSHROOM STONES OR PHALLIC STONES ?                
                
                     
 © South American Pictures/ Tony Morrison.( Photo from internet, http://members.cox.net/ancient-sites/inca/day10_LakeTiticaca.htm)  (Photo from internet, http://members.cox.net/ancient-sites/inca/day10_LakeTiticaca.htm)
  Here, at the Inca ruins of Chucuito in Peru, not far from Lake Titicaca, we see stone objects  that tour guides say represent phallic stones.  
Archaeologist Gordon F. Ekholm writes in a letter to Borhegyi that archaeologists Marion and Harry Tschopik found what they described as mushroom stones in the general fill at a Late Inca site on the shore of Lake Titicaca.It should be noted that there is an Inca legend of White Men with beards  who inhabited the shores of Lake Titicaca, (White God = Quetzalcoatl?) who built a great city, 2000 years before the time of the Incas. (Ekholm to Borhegyi, March 12, 1953, Borhegyi Archives, MPM)  
Without doubt early man noticed the likeness of certain mushrooms to a human penis. This association could have led them to draw metaphors with fertility and birth. According to Mexican mythology, Quetzalcoatl created mankind and he did so from the blood he drew from his penis in the underworld.  The photo of the tallest and most noticeable monument shown above appears to have a  U-shaped cleft resembling the meatus of a penis. It could equally be Identified, however, as a well known Mesoamerican symbol of a portal or entrance into the underworld. I would argue that these stone statues actually represent mushrooms, some of which appear to have been ritually decapitated.   
 
   Quoting Dead Sea Scroll scholar John Marco Allegro....
     "Somehow man had to establish communications with the source of the world’s fertility, and thereafter maintain a right relationship with it. Over the course of time he built up a body of experiential knowledge of rituals that he or his representatives could perform, or words to recite, which were reckoned to have the greatest influence on this fertility deity. At first they were largely imitative. If rain in the desert lands was the source of life, then the moisture from heaven must be only a more abundant kind of spermatozoa. If the male organ ejaculated this precious fluid and made life in the woman, then above the skies the source of nature’s semen must be a mighty penis, as the earth which bore its offspring was the womb. It followed therefore that to induce the heavenly phallus to complete its orgasm, man must stimulate it by sexual means, by singing, dancing, orgiastic displays and, above all, by the performance of the copulatory act itself:"
 
     Ethno-mycologist R. Gordon Wasson writes...
"If I were to postulate the nature of a mushroomic cult, it would be of an erotic or procreative character. Sahagun says that the narcotic mushroom incita a  la   lujuria,-- excites lust. He described it in a dancing scene where it is eaten." (Wasson to Borhegyi 3-27-1953)
                          
        
  Hindu sculpture depicting phallic worship. (from http://www.thehindu.com/arts/history-and-culture/article1608088.ece?viewImage=2)
     
   Maya Archaeologist David H. Kelley writes...
   "Much of Aztec religion looks like a modified Hinduism in which one important change was the deliberate abandonment of religious eroticism" (Man Across the Sea, 1971, p.62). 
 
   [--This abandonment of eroticism and its replacement with a violent cult of human sacrifice is definitely something which can be traced Archaeologically and which can be dated to the appropriate period equivalent to the Classical age of the Old World. The Mushroom cult seems to have diffused to the Old and New Worlds in its primitive but typical form (Shamanism)originally, developed into its full Vedic Soma religion in the Indus civilization period and then was transferred intact to the New World, especially mentioning the Maya realm. And then the specified abandonment happened and the religion became one of terrorism that steadily became worse and worse until the Aztec period.-DD]

Mushroom Mythology 3

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SOMA IN THE AMERICAS cont... 
                             Amanita muscaria mushrooms encoded in pre-Columbian art
Amanita muscaria mushrooms encoded in pre-Columbian art
                
 Above is a Maya figurine (300-900 C.E.) photographed by Justin Kerr (K 656a). The Maya figurine wears a headdress inspired by the Amanita muscaria mushroom. 

        Trans-Pacific Diffusion to and from the Americas
           
 "Diffusionism" is a term often used to describe the origins of cultural characteristics and their spread from one society to another.  As mentioned earlier, and worth noting again,  the prevailing anthropological view has been that the peoples of the New World developed their highly sophisticated civilizations completely on their own, without inspiration from the Old World and much less from extra-terrestrials.  While many of the more outlandish proposals have been discarded, the idea of trans-oceanic contact between the hemispheres is still considered highly unlikely, despite the fact  that we now know that early humans were using boats to explore their world as early as 50,000 years ago when they reached the shores of far distant Australia. 
 We know that the ancestors of the American Indians were from Asia, and that, wherever they came from, they brought with them from across the sea, or across the Bering Straits, a long tradition of shamanism. The foundation of shamanism, was the sacred substances used and rituals performed to attain divine ecstasy, which became the foundation of nearly all the religions of Mesoamerica and South America. 
 It may be that the origin of Soma and its rituals, as proposed by Wasson, is rooted in the shamanism of the Siberian forest people and came to the New World as early as the Paleolithic. In the late 1940s Gordon F. Ekholm proposed multiple transpacific contacts with the New World beginning as early as 3000 B.C. He believed  that this influence on New World civilization came from China, India or Southeast Asia (Ekholm, 1971). Ekholm and Geldern speculate that the Chinese, during the Chou and Han dynasties undertook planned voyages to and from the western hemisphere as early as 700 B.C.   
   Ethno-archaeologist Gordon F Ekholm...
"There are, of course, many problems concerning the kinds of evidence that have been presented in the area of transpacific contacts, but the principal difficulty appears to be a kind of theoretical roadblock that stops short our thinking about questions of diffusion or culture contact. This is true in anthropological thought generally, but the obstruction seems to be particularly solid and resistant among American archaeologists." (From Man Across the Sea; Problems of Pre-Columbian Contacts, 1971, third printing 1976, Chapter 2, Diffusion and Archaeological Evidence, by Gordon Ekholm page 54)
   
         
  Ethno-archaeologist Dr. Robert Heine Geldern...
 "The influences of the Hindu-Buddhist culture of southeast Asia in Mexico and particularly, among the Maya, are incredibly strong, and they have already disturbed some Americanists who don't like to see them but cannot deny them....Ships that could cross the Indian Ocean were able to cross the Pacific too. Moreover, these ships were really larger and probably more sea-worthy than those of Columbus and Magellan
 
 A study of visual imagery from Mesoamerica has led me to the conviction that around 1000-800 B.C a very early hallucinogenic mushroom cult began to take on the characteristics of a sophisticated and complicated religion. Many striking similarities between the images from the New World and Old World Asia further led me to believe that this hallucinogenic mushroom-inspired religion did not develop independently in the Americas. Rather, it was brought to the New World before Columbus by way of transpacific contact with India, China or Southeast Asia. The great religions of Asia, in essence, are derived from Vedism, the Vedas being the sacred texts that were introduced into the subcontinent around 1500 B.C. by the Aryans (Sanskrit for noble) that postdated the Harappa/Indus civilization. In Zoroastrian religion, the same sacred plant was known as Haoma. Like Soma, it played a major role in Persian culture and mythology.

  The visual evidence I present of an Amanita muscaria mushroom religion in the New World appears to point directly to the Vedic-inspired cult of Soma, the divine mushroom worshiped and venerated in the Vedas, despite the fact that it pre-dates the generally accepted dates of Old World contact by more than one thousand years. How, when, and if, Old World cultural ideas could have been brought to the Americas during Pre-Columbian times has long been a subject of intense debate among both Old World and New World scholars. This visual evidence, I believe, adds new fuel to a continuing controversy.
After viewing the evidence in favor of transpacific contact, my hope is that historians will be more open-minded to the concept that the oceans, thousands of years ago, were highways not barriers, and that readers of this study will challenge the older view of New World history with a more open-minded acknowledgement of the seafaring  capability of ancient peoples to explore their environment and disperse their intellectual baggage to its far corners.

           
   Above are two effigy Maya mushroom stones, from Guatemala, the mushroom stone on the left depicting a crouching "were-jaguar" and the mushroom stone on the right depicting the "were-jaguar's"  familiar Olmec snarl
 In Mesoamerica, around 1000 B.C. (de Borhegyi S.F. 1957, 1961, 1965a) a mushroom inspired religion originated or was introduced into the Olmec influenced Maya Highlands and Pacific coastal area of Guatemala. My belief is that the cult of the divine mushroom was brought to Mesoamerica by way of transpacific contact from India or southeast Asia.  
 The visual evidence I present of a divine Amanita mushroom cult in the New World before the arrival of Columbus points directly to the Vedic inspired cult of Soma, a divine mushroom worshiped and venerated in the Vedas, which became the basic sacred literature of Hinduism. There composition may have started  before 2000 B.C. even before the Aryans entered India (Wing-Tsit Chan,1969, p.13).The Amanita muscaria mushroom, or the Vedic Soma religion likely absorbed or superseded the minor religious beliefs it encountered in the New World including Easter Island, and that the mushroom's esoteric metaphors of death and rebirth may help explain the obsessive need to create megalithic stone sculptures.
 The great religions of Asia in essence, are fundamentally derived from Vedism, the Vedas being the sacred texts, that were introduced into the subcontinent (invasion from Iran?) around 1500 B.C. by the Aryans (Sanskrit for noble) a so-called invasion that postdated the Harappa/Indus civilization.
  Haoma, in Zoroastrian religion is the name of a sacred plant and divinity that plays a major role in Persian culture and mythology.
       
             
                          

    The head of Buddha below a probable Soma mushroom?

                                Central Javanese period, Indonesia, Date: 9th–10th century.
  (Photograph from the Metropolitan Museum of Art, Gift of Mr. and Mrs. Martin Lerner, 1988 Date: 9th–10th century Accession Number: 1988.431  http://www.metmuseum.org) 
                              
  Parasol or mushroom ? The sculpture above of Rshabha, a jina, is at the Rubin Museum of Art, where one of two shows of Jain religious art is on view. 
 
  The Amanita muscaria mushroom, identified by the late R. Gordon Wasson as the plant and god Soma from the Rig Veda, is I believe the metaphorical  key to decoding the esoteric religions of the Americas and of Easter Island.
(Compare the genesis myth the Nasadiya, the Rig Veda's "Hymn of Creation" (X:129)  with the,  Rig Veda Americanus, Sacred songs of the ancient Mexicans, with a gloss in Nahuatl, edited, with a paraphrase, notes and vocabulary, by Daniel G. Brinton 1890 (Produced by David Starner, Ben Beasley and the PG Online Distributed Proofreading Team Gutenberg E-book online)
 The Vedic gods of East Indian philosophy are in many ways very similar to the pantheon of gods of Mesoamerica, for they too derived much of their strength from the sacrifices of men. Vedic Hinduism and the religions of Mesoamerica both believed in a three-tiered cosmos, with celestial gods traveling back and forth from the heavens to the Underworld, and saw a triadic unity in their gods (Hindu triad, and Palenque Triad) that was essentially related to cosmic forces such as wind, rain-lightening, and fire, and the unity of creation, preservation, and destruction creating the cycle of life, death, and rebirth. In Hindu mythology Vishnu, Shiva, and Brahma, make up the Hindu Trinity of gods.
Mesoamericans believed in four great eras or world periods that ended in cataclysm prior to this world called the Fifth Sun. The idea of four previous worlds that were periodically destroyed, is also shared by early Vedics, Hindus, Buddhists, and Persian Zoroastrians.
My study of pre-Columbian art and religion was inspired by a theory first proposed over fifty years ago by my father, the late Maya archaeologist Dr. Stephan F. de Borhegyi, that hallucinogenic mushroom rituals were a central aspect of Maya religion. He based this theory on his identification of a mushroom stone cult that came into existence in the Guatemala Highlands and Pacific coastal area around 1000 B.C. along with a trophy head cult associated with the ritual act of decapitation and human sacrifice and the Mesoamerican ballgame.
It was believed by all Mesoamericans, that the greatest gift one could offer the gods was one's own life; a concept of eternal life from death.It's likely that in Mesoamerica the notion of divine immortality via Underworld decapitation was inspired by the mushroom ritual (Soma ritual?).
 

Photographs © Justin Kerr
Maya Vase K7152 also depicts a ruler (central figure), possibly one of the Hero Twins, in the sacred act of self decapitation. He holds the axe in his left hand. The blade is embedded in his severed neck, from which run three streams of blood. The personage on the far right smoking a cigar could represent a version of God L,  a Maya god of the underworld who frequently appears in scenes depicting cigar smoking and the mythical Xibalbans.  God L has been identified by scholars as the ruler of the Maya underworld. God L carries in one hand a drinking vessel and in the other an enema device. The possible mushrooms encoded under the monkey's tail (figure on the left) indicate that both the vase and the enema device contain a mushroom-based liquid (Soma juices?). This is reinforced by the akbal symbol of death and darkness on the jar behind God L.  Theimage of the Monkey God, known to scholars as God C, is a symbol of "divinity," and when merged with the image of an animal or thing such as a deer or tree, or even a mushroom, it marks the image as "holy."  The word K'uh in Classic Mayan glyphs was assigned to the monkey god and in glyphs his monkey-like profile was used to describe "holy" or "sacred" referring to "divinity" or "god" (M.D. Coe 2001, p.109). In Maya religion the monkey represents the first of the Nine Lords of the Night or Underworld, called the Bolon Ti Ku. These ninegods were responsible for guiding the Sun (identified as an underworld jaguar), into the underworld to be sacrificed by underworld decapitation and reborn and deified as the new Sun, or baby jaguar. The first god was the Monkey (GI) representing rebirth and Quetzalcoatl (G9), who was the last of the nine gods of the night (God L), represented the god of the underworld, underworld decapitation, and of period endings. He was therefore the god of life from death. The word K'uh in Classic Mayan glyphs was assigned to the monkey god and in glyphs his monkey-like profile was used to describe "holy" or "sacred" referring to "divinity" or "god" (M.D. Coe 2001, p.109)The hairdo of the central figure is  fashioned into a mushroom- Venus hook. The three streams of blood, I believe, represent the three hearthstones of Maya creation and deified resurrection. In Maya cosmology the planet Venus was believed to be the sun from the previous world age. Before this world was destroyed it was ruled by God L.  The tail of the monkey (figure on the left) forms the mushroom-Venus loop of divine Venus resurrection. According to Maya mythology, the humans who survived the previous world age were turned into monkeys. 

          
    Plate 24 Codex Laud, depicts the improbable act of self decapitation. Note in the upper right hand corner of the codex, that the blood that flows from the severed head encodes the symbol of the Fleur-de-lis, a symbol of divinity that esoterically refers to immortality via a trinity of gods.  Note the symbolism of the number three in the number of flint blades and spear heads above. 

                    
   Above is Plate 20, from the pre-Conquest Codex Laud, depicting the ritual of decapitation, lower left, encoding what I would argue are three blood streams which flow from the severed head, as being an esoteric reference to the three hearth stones of creation.        
  Note that the following images also depict the sacredness of the number three (Trinity?) encoded in the streams of blood which emerge from the neck of the decapitated figures below. 
The same can be said of ancient India, where volunteers or willing victims, who provided their own severed head as an offering to the goddess Kali, were given many special favors, including women at their disposal, until their death at the annual festival to the goddess Kali (Davies, 1981; p.76).
               
                             
    Above is an East Indian painting depicting what I would argue is the ritual drink (Soma?) consumed before the ritual act of self decapitation. The improbable act of self decapitation is also a common theme depicted on Maya drinking vessels. For this reason I would argue that the mushroom cult in Mesoamerica was tied to a ritual beverage aka Soma beverage and associated with decapitation (and self decapitation) and a trophy head cult. (The above image is from Wikipedia, the free encyclopedia)
                         
                              Above image is from  http://bridgetlyonsyoga.wordpress.com 

                                   
Above is a 19th century, woodblock painting depicting the decapitated goddess Chinnamastā, standing above Kama and Rati, the god of love and his wife, holding a sword in one hand and her severed head in the other. Like the Maya vase painting below three streams of blood gush from her neck.
                                 (The above image is from Wikipedia, the free encyclopedia)
          
In Hindu religion the Kali Yuga "the age of the demon", represents the completion of the four world ages in Hindu mythology.
                    
                    
  Like Mesoamericans, awaiting the return of Quetzacoatl at the end of the Mayan and Aztec calendars,  Hindus are also awaiting the return of a demon god associated with the ritual of decapitation at the end of the present world age known as the Kali Yuga (above). Note the similarities of the outstretched tongue on both the Aztec goddess Tlaltecuhtli, and the demon avatar Kali Yuga both deities associated with the Underworld sun (note sun rays behind head) and a trophy head cult and the ritual act of underworld decapitation, at the completion of the calendar and of the Kali Yuga.                
        
                         
 Above is a carved stone altar of the Aztec god Tlaltecuhtli / Museo Nacional de Antropologia, Mexico City, Mexico / Jean-Pierre Courau / The Bridgeman Art Library.
                
The ceramic three faced incense burner crowned with what looks to me like three Fleur de lis symbols, comes from the ancient Maya site of Comalcalco, located in Tabasco, Mexico near the mouth of the Usumacinta River. Its tempting to think that the three figures depicted above on the incense burner with tongue sticking out represents the trinity of Maya gods, known to scholars as GI, GII, and GIII. (Photograph © Rob Mohr, 2010)

 
                              
 Above is a closeup image of the central portion of the famous Aztec calendar stone, which depicts the Fifth Sun, surrounded by the four previous world ages, and their year bearer.
      At the center of the Aztec calendar stone is the Sun God depicted with a flint-tongue, or tongue esoterically in the image of a flint knife.The deity at the center of the Calendar Stone, looks more likely the Aztec, Great Goddess, sometimes male sometimes female Tlaltecuhtli.  Note the similarities of the extended tongue depicted on both Tlaltecuhtli and the Aztec Sun God with the images of the Kali Yuga demon avatar above.   


In southern India, we find megalithic stone sculptures called kuda-kallu (umbrella stones) which strongly resemble giant Amanita mushrooms, dating approximately 1000 B.C. to 100 B.C. around the same time that mushroom stones begin to appear in the Olmec-influenced Maya Highlands, where the Amanita muscaria mushroom grows.  According to eminent scholar Giorgio Samorina(Integration, vol. 6, pp. 33-40, 1995)the megalithic kuda-kallu are found in an area where the Amanita muscaria mushroom grows. These megalithic stone sculptures, when seen from the sky at sites like Kerala in south eastern India, look like large mushroom patches. 
 
                                                    ANCIENT INDIA'S

                    Kuda-kallu: umbrella-stones or mushroom-stones?

 
 

                            
   
 According to researcher Giorgio Samorini (Integration, vol. 6, pp. 33-40, 1995) "On the average the Kuda-kallu are 1.5-2 m. high and 1.5-2 m. wide. They consist of four stones cut like half segments, forming a base which supports a fifth stone having the resting side flat and the other one convex. The whole thing may resemble a parasol, but even more a large mushroom."
 (Photo above of kuda-kallu, or mushroom-shaped megalith from http://www.indianetzone.com/22/mangadu_an_archaeological_site_india.htm) 


 


     Indus Valley Civilization and Mesoamerican wheeled animal toys
   The discovery of pre-Columbian wheeled toys, also called chariots (A.D. 300-900) in Mexico has caused some scholars to re-examine the notion that the principle of the wheel was not known anywhere in the Americas before Columbus. Researchers have already noted the similarities of wheeled clay toys dug up in Mexico with wheeled clay toys from Mesopotamia, Syria, China, and India. The question remains,  of whether the invention of the wheel could have been made independently in both the Old Word and the New World.
For documentation of wheeled animal figurines in Mesoamerica see G.F. Ekholm, 1946; C. Irwin,1963; 131-135, and for documentation of wheeled animal figurines in the Old World see H. G. May, 1935: 23-24. E. Speiser, 1935: I, 68ff.; R. S. Star, 1937: I, 425.
                                
   Above is a wheeled toy from the Indus Valley Civilization, India, Harappa Culture from Chanhu- Prehistoric   
 14.0 cm (5.53 in.)
Clay
Classification: Ceramics
Type, sub-type: Pottery
India (Prehistoric, Harappa Culture from Chanhu-
Prehistoric
Museum of Fine Arts, Boston
Joint Expedition of the American School of Indic and Iranian Studies and the Museum of Fine Arts, 1935–1936 Season
Accession number: 36.2266
Provenance/Ownership History: Findspot Information: From Chanhu-daro, Sind. From Mound II, Level: 7.20 ft. Locus: Summit (226). See Mackay Reports. History of Ownership: [Expedition date:] 1935-1936 Season
 

                                     
  Above is a Pre-Columbian Wheeled Dog Figurine - Ceramic El Salvador - Pipil - 10 to 40 cm. in height. - Early Post Classic - Collection of Banco Agricola Comercial de El Salvador 


                                             ELEPHANTS IN THE AMERICAS ?
  While there clearly have been no elephants in the Americas since the extinction of the mastodon and wooly mammoth thousands of years ago, numerous images resembling elephants have been noted in Mesoamerican art over the years. A sampling are reproduced here leading the reader to wonder if the artists who produced the images could possibly have had any first hand knowledge of elephants. It should be further noted that, while all of the images bear some resemblance to Asian elephants,  none resemble an African elephant.  It is also doubtful if any of the images are depicted with tusks. 
                                    Drawing by Alfred P. Maudslay - Quirigua, Guatemala 19th c.(Image of elephants in Maya sculpture, http://ldsarchaeology.blogspot.com/)

                                        
    Several glyphs in William Gates, Dictionary of Maya Glyphs (1978: 165,165) are widely believed to represent Indian elephants. They are depicted in row 421. Below, in row 436 is a glyph that may represent an Amanita muscaria mushroom. 
 
     In row 434, the elephant's head variant is depicted in association with a jar or olla possibly identifying  the so-called Soma beverage of immortality, and just below in row 436 is a glyph I would strongly argue represents an  Amanita muscaria mushroom. 
                                           
 In the Rig Veda, Soma whose identity has been forgotten, was a divine inebriating plant, worshiped as a god by the Indo-European people who invaded or arrived in India from the northwest around 1600 B.C. The Rig Veda describes Soma as a sacred plant sent to earth by the god Indra, who consumed the intoxicating beverage before battle.                 
Soma was an integral part of Vedic religion where it was drunk by the priesthood during sacrifices, and verses in the Rig Veda refer to Soma as the  "single eye", the eye of the sun, symbolism, that can be clearly seen in the iconography at the ruins of Teotihuacan in highlands of Mexico, at the temple of Quetzalcoatl-Tlaloc and priesthood of the Feathered Serpent (the disembodied eye). The intoxication and ecstasy of Soma induces  supernatural vision, similar to that of the Mexican god Tlaloc whose goggled eyes represent the vision of divine immortality and his paradise of Tlalocan. Those who died in battle were taken to the paradise of Tlaloc called Tlalocan. Like Indra Tlaloc is also a god associated with lightening and  warfare. Known today as "Tlaloc warfare", the goal of this warfare was not to go into battle and kill, but to bring home as many captives as possible for later sacrifice to the gods.
  I believe strongly that this "Tlaloc Warfare" also known as "Venus Star Wars", was conducted under the influence of hallucinogenic mushrooms, and like the Vedic god Indra who consumed Soma before battle, those who consumed sacred mushrooms before battle experienced the effects of supernatural strength and vision which made them feel invincible in battle.
                           
  Shortly after the Spanish Conquest, chroniclers reported on the Aztecs ritual use of hallucinogenic mushrooms, who called their sacred mushroom Teonanacatl, meaning " Gods flesh"  "Teo" meaning god in the language of the Aztecs. One of the first twelve Franciscans to arrive shortly after the conquest of Mexico was Toribio de Paredes who the Indians affectionately called Motolinía "poor man".   Motolinía recorded...
“They 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 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 and Borhegyi, 1962)
Motolinía also described the calendar and Venus as the star Lucifer, which he said the Indians adored above all others save the sun. They performed more ritual sacrifices for it than for any other creature, celestial or terrestrial. He concludes that "the final reason why their calendar was based on this star, which they greatly revered and honored with sacrifices, was because these misguided people believed that when one of their principal gods, called Topiltzin or Quetzalcoatl, died and left this world, he was metamorphosed into that radiant star." (Lafaye,1987 )
  In a manuscript written by Hernando Ruiz de Alarcon between 1617-1629, called " Treatise on Indian Superstitions"  known today asTreatise on the heathen superstitions that today live among the Indians, which records in great detail the religious beliefs and rituals among the Aztecs.  Ruiz de Alarcon reported that the indigenous peoples believed that their sacred plants were gods, and described a tawny-colored mushroom made into a drink from its pressed-out juices.
 Spanish chronicler Hernando Ruiz de Alarcon... 
 "Although I think that it will not be held against me to speak of my opinions about why these heathen customs and superstitions have remained and have been continued for so long in these natives after baptism, and even some that were not permitted to them in their heathen state, such as drunkenness-- which in their heathen state, had the penalty of death. And the others have a weak foundation, because a tradition of their false gods is hardly found among their stories as much because they did not know how to write as because one has not been able to find absolute clarity even about how they have come to inhabit this land or by what route."
 "Thus the religion and devotion to their gods had few or no roots and the drunkenness which at present runs among them is so injurious and such a cruel enemy of Christian customs that it is today the worst of their vices.  This is the cause of the total destruction of the health of their bodies and consequently the sufficient and principal barrier to their preservation and increase. And although one offers me the objection that, since it has not been possible to prevent the lesser, neither will it be possible to remove the greater which is idolatry relative to drunkenness"  (Treatise on the heathen superstitions that today live among the Indians, p.39)
  Although Soma's actual identity has been lost through time, Soma was described as a god, and as a  "heavenly liquor"  that was guarded by a Serpent. The name of the Aztec-Toltec-Maya god  Quetzalcoatl can be translated to mean Feathered Serpent. 
   Throughout northern Asia, the Amanita muscaria mushrooms grow in a symbiotic relationship beneath giant birch trees. This fact likely gave rise to belief in a Tree of Life, and in Asia it was believed to have been surmounted by a spectacular bird, capable of soaring to the heights, where the gods meet in conclave. (from Furst 1976, p.102)  There are repeated references to the Food of Life, the Water of Life, the Lake of Milk that is hidden, ready to be tapped near the roots of the Tree of Life." "There where the tree grows near the Navel of the Earth, the Axis Mundi, the Cosmic Tree, the Pillar of the World." (from Furst 1976, p.103)       
It may not be coincidental that in Mesoamerica there is a parallel belief in a Tree of Life. In the Mayan creation story told in the Popol Vuh, the sacred book of the Quiche Maya of Highland Guatemala, a great bird monster known as Itzam-Yeh, the Principal Bird Deity, 7 Macaw or Vucub Caquix, sits atop the World Tree.  
                    

   Ethno-mycologist R. Gordon Wasson was the first to identify the above icon as an Aztec symbol representing sacred mushrooms. The mushroom symbol above right depictingstylized cross-cut mushrooms is from the Aztec statue of Xochipilli.
 The late Post-Classic period Aztec monument shown above left, now in the National Museum of Anthropology and History in Mexico City, depicts a bird sitting on top of the world tree. There are also six mushroomic symbols referring to the sacred number five. This symbol, called a quincunx, refers to the five synodic cycles of Venus as well as to the four cardinal directions and their sacred center. The four corners of each quincunx are made up of images which appear like cross-cut mushrooms like those already identified on the Aztec statue of Xochipilli.  The tree at the center of the quincunx is a divine portal leading up and down, which I would argue is a portal of mushroom-Venus resurrection.
 
                
  Above is a sixteenth-century drawing from the Florentine Codex, Book 11, by Frey Bernadino de Sahagun. The top image on the page depicts the sacred mushroom of Mexico, called teonanacatl  by the Aztecs meaning "Gods Flesh". The image of a bird perched on top of the mushrooms is a possible metaphor that alludes to the Principal Bird Deity that sits atop the world tree in Mesoamerican mythology.
 Above is another a scene, middle left from the Florentine Codex, depicting a seated figure wearing a white robe, drinking from a goblet. Note that directly in front of the seated figure are two mushroom caps  depicted next to the mushroom's stem which is still in the ground, evidence of a mushroom ritual among the Aztecs. 
         
   
                                             Static Monoscenic Narration
   Above is a carved relief panel of the Sanchi stupa,(second-first century B.C.)depicting the worship of what I would argue is not an umbrella but a mushroom, the symbol of the godSoma,depicted in Buddhist-Hindu World Tree mythology. (Photographs are from http://www.exoticindiaart.com/article/buddhistart/)
                                                            
Limestone carving of the enlightenment of the Buddha, 1st BCE. Note the possibility of two maybe three Amanita mushrooms underneath the sacred bodhi-tree. Also note that at the base of the empty throne are the Buddha's footprints. .British Museum, London, Great Britain (from http://www.lessing-photo.com/dispimg.asp?i=03060124+&cr=714&cl=1)

                
  The carved relief panel above is one of a series of six carvings in the vertical side walls of the South Ball Court at El Tajin, in Veracruz, Mexico (drawing from Coe, 1994, p.117). The carved panel depicts an individual, a ruler or Underworld god, with were-jaguar fangs, in the sacred act of drawing blood from his penis. Note that the figure in the water below receiving the blood offering, wears a fish headdress, which may be a symbolic reference to a mythological ancestor from a previous world age, who survived a world ending flood by being changed into a fish. The bearded god above him, with two bodies, likely represents Quetzalcoatl in his twin aspects of the planet Venus representing both the Evening Star and Morning Star. Most importantly, note that there are tiny mushrooms depicted on the limb of a tree just left of center. This tree, I believe, represents the world tree as the portal leading up and down at the center of the universe.  The bottom of the panel has an intricate scroll design which I  believe is more than mere decoration and likely represents a stylized cross-section of a mushroom. Stylized Venus symbols are also depicted on the panel at both of the sides. Each Venus symbol is associated with three circles, maybe representing the three hearth stones of creation.

                                      
  Above is a photograph of a carved panel from a Hindu temple in India, depicting probable mushrooms encoded in the so-called "world tree" or "Tree of Life".   Note that the tree emerges from what looks to me like a Mesoamerican Venus symbol.

Stephan de Borhegyi...
“When one world collapsed in flood, fire, or earthquake, they believed another was born only to come, in its turn, to a violent end”. “This philosophy probably led religious specialists to divine by magical computations the sacred cycle of 52 years, at the end of which cosmic crisis threatened the survival of mankind and the universe”. “Mesoamericans further believed that in order to avoid catastrophe at the end of each 52-year period man, through his priestly intermediaries, was required to enter into a new covenant with the supernatural, and in the meantime, he atoned for his sins and kept the precarious balance of the universe by offering uninterrupted sacrifices to the gods” (Borhegyi,1965a:29-30)..


            
 Above is a drawing by the late Linda Schele, which likely depicts a scene from the Maya creation story as told to us in the Popol Vuh in which the Hero Twin named Hunahpu on the right wearing a mushroomic looking hunters cap, strikes down the bird monster, 7 Macaw, or Vucub Caquix from his tree using a blowgun. Note on the left that a serpent can also be seen hanging from the tree.
           

 In the Maya creation story of the Popol Vuh, we are told that the decapitated head of the Hero Twins father Hun Hunahpu after being sacrificed in the Underworld by the Lords of Xibalba, after a ballgame, was placed in a tree, and that the daughter of one of the Lords of Xibalba named Xquic becomes impregnated when she visits the decapitated head for herself, and that the severed head of Hun Hunahpu spits in the palm of her hand, impregnating her, thus creating the miraculous birth of the legendary Hero Twins. According to Wasson (in Furst 1976, p.85) divine spittle is also related to the origin of the Amanita mushroom in Siberia.

We also are told in the Popol Vuh that one of the creator gods named Gucumatz, whose name literally means feathered serpent, (the Quiche Mayan translation of Quetzalcoatl) created the earth, raised the sky, and fashioned humans from maize.
         


    Above are depictions of the World Tree and the Principal Bird Deity. On the left is a drawing of the famous sarcophagus lid of Lord Pacal of Palenque, and on the right Izapa Stela 2 .
                     (Image of Izapa Stela 2, from Wikipedia, the free encyclopedia)

    
                          
  There is also a large mythical bird-like creature named Garuda - that appears in both Hindu and Buddhist mythology (source Cult Of The Ancient Gods)  
   In the Rig Veda, Soma,  the plant around which the Vedic sacrifices took place, is described as an intoxicating liquid  that was pounded or pressed out of the plant using special pressing stones (RV IX.11.5-6;IX.109.17-18)  Similarly, there is archaeological evidence from the Guatemalan highlands supporting the use of metates to grind  sacred hallucinogenic mushrooms prior to their consumption in a mushroom ceremony. This possibility is supported by the fact that the practice survives to the present in  Mazartec mushroom ceremonies in southern Mexico. (Borhegyi, 1961:498-504)
 In the highlands of Guatemala where the majority of effigy mushroom stones have been found, and where the Amanita muscaria mushroom grows in abundance, archaeologists discovered nine miniature mushroom stones in a Maya tomb, along with nine mortars and pestles, stone tools which were likely used in the mushroom's preparatory rites (see Borhegyi,1961, 498-504).
  In the Rig Veda, Soma and Agni, are gods, the sacred drink and the sacred fire. Like the blood in humans and animals, the juice of Soma was considered to be the divine fluid in all beings, just as Agni was their life giving spark. Agni is a god representing a trinity of earthly fire (hearth fire), lightning, and the sun. Agni's power was personified in the god Soma.  Soma and Agni represent the two great roads between this world and the other world ...They are the great channels of communication between the human and the divine: the sacred fire and the sacred drink: (from Furst 1976, p.102). 
 
    
                      THE CHURNING OF THE MILK OCEAN
   According to Vedic literature, the Gods got together at the beginning of time and churned
the ocean to extract a substance which would offer them immortality. According to Richard J. Williams author of "Soma in Indian Religion" Etheogens as Religious Sacrament (2009 p.2 Introduction), The Gods agreed to share this mighty elixir, calling it  Amrita, or Amrit which is a Sanskrit word for "nectar", a sacred drink also in Buddhist mythology that grants their gods immortality.
  Rig Veda.....  

  "Flow on Soma as the great ocean, the Father of the Gods through all the laws (Rig Veda IX.109.2)".
  "Flow on Soma as peace for us, draw out for our milk an ambrosial juice, increase the ocean of the hymn (Rig Veda IX.61.15)". 
 "The oceans roars in the original laws, generating creation as the king of the world (Rig Veda IX.97.40)".
  "Soma (the Moon) stirs the ocean with the winds (Rig Veda IX.84.4)
  "You are the all knowing ocean, oh seer, yours are the five directions in the law, you transcend Heaven and Earth, yours are the constellations, flowing Soma, who are the Sun (Rig Veda IX.86.29)".
  "The ocean-going angels have flowed to the wise Soma (Rig Veda IX.78.3)".
 "Flowing Soma, the Divine King, the vast truth, crosses the ocean by the wave (Rig Veda IX.107.15)".
  (from David Frawley, author of Gods, Sages and Kings: Vedic Secrets of Ancient Civiilzation)

  The Churning of the Milk Ocean, is told in several ancient Hindu texts, the avatar of the Vedic god Vishnu is the sea tortoise depicted below as the pivot for Mt. Mantara acting as the churning stick. At the suggestion of Vishnu, the gods, and demons churn the primeval ocean in order to obtain Amrita, which will guarantee them immortality  (Kangra painting eighteenth century). 
 
        
       The gods and anti-gods churning the cosmic sea for the butter of immortality
                                          (Above image is from worldviewtherapy.blogspot.com) 
   In both Vedic (Hindu kalpas) and Mesoamerican cosmology (Popol Vuh) there was the belief in cyclical creations, a multi-tiered heaven and underworld, deities who reside at the four cardinal directions and its sacred center (see Madrid Codex below).  Vishnu is the preserver and protector of creation in the Hindu Trinity of Gods. Among the ancient Maya the Turtle has been identified with rebirth, and the shell with divinity. In the creation mythology of the ancient Maya the first created image was the turtle constellation Ac, identified as the three stars (hearthstones of creation?) of the belt of Orion (Brennan,1998 p.93).      
                
   
              
  Above is a sculpture that depicts the Hindu god Vishnu striding across the sky.  The closeup on the right depicts what I would argue is a probable Amanita muscaria mushroom representing the Vedic-Hindu god Soma and not an umbrella. Carved relief from Mahabalipuram, seventh century.
   East Indian scholar Aiyangar Naryan mentions in his book;  Essays on Indo-Aryan Mythology, that Vishnu represents the sun god, and that Vishnu's so-called "three strides" (depicted above) across the sky, represents his placing one step at the point of the winter solstice in the south (the beginning of the Uttarâyana), the second step at the point of the vernal equinox, and the third step at the point of the summer solstice in the north..."  According to Aiyangar Naryan, Vishnu is said to "rise" at the winter solstice, which is a sort of rebirth common in the stories of sun gods". (from Was Krishna Born on December 25th? by D.M. Murdock/Acharya S; Internet source).  Naryan mentions that the tortoise or sea turtle is mentioned in the Vedas in two places , the Satapathabrahmana V.1,5, and the Taittiriya-Aranyaka, I.28-25; and that the tortoise is clearly stated to be the Creator of the universe. In the Rig Veda both the summer and winter solstice were of great importance in the Soma rituals.  
       
              THE CHURNING OF THE MILK OCEAN, IN MESOAMERICA ?   
                  
I found a drawing by Daniela Epstein-Koontz, of a ball court relief panel from the archaeological site of El Tajin, in Veracruz Mexico.  As far as I know I am the first to connect this ballcourt scene with Hindu mythology, and the Churning of the Milk's Ocean, often depicted in Hindu art. Note the dual headed serpent at the bottom of the scene on the right and left, emerging from the ocean's depth. The turtle at the bottom of the scene, an avatar of the Hindu god Vishnu acts as the central pivot point, below the churning mechanism which is composed of an intertwined serpent being pulled at both ends by sky deities (four cardinal directions) who create the new born sun (Vishnu ?), the arrows in the scene representing what will be the sun's rays of light. If this ballcourt scene does represent Hindu mythology, and I feel certain that it does, than the two deities behind the central characters hold containers or ritual buckets in their hands filled with the Soma beverage. 
    For documentation of motif of ritual bucket (bag?) held by figures in hieratic scenes in Mesoamerica see Drucker, Hiezer, & Squier, 1955: 198. For documentation of motif of ritual bucket (bag?) held by figures in hieratic scenes in the Old World see H. Frankfort, 1955: pl.83.  
                   
                  
     The photograph above K4880, from the Justin Kerr Data Base, is of a turtle depicting an incised  Venus glyph. The turtle carved from shell, was excavated from a burial in the Mundo Perdido of Tikal, Guatemala.  In Maya creation myths the first manifestation of creation is a Cosmic Turtle from which First Father is reborn.  The turtle artifact above is in the National Musuem of Guatemala. Museum no. 1875. length 4.5 cm.  In Mesoamerican mythology  the planet Venus, (aka Quetzalcoatl) is clearly linked with the creation of the universe, and an analysis of the Paris Codex (Milbrath, 1999; p.176) Zodiac pages 23-24, suggests that the turtle is closely linked with the constellation of Orion (see cosmic turtle, Bonampac murals room II) just like the turtle is in Hindu mythology. According to Mesoamerican scholars Mary Miller and Karl Taube, (1993:175) there are a number of Late Classic altars carved in the form of a turtle. One such turtle altar (Itzimte Altar 1), depicts Maya Kaban curls.  Legendary Maya scholar Linda Schele has deciphered that the Hero Twins father, Hun Hunahpu, is reborn (as Sun God?) from the Underworld through the back of a cosmic earth turtle. Resurrection myths in Mesoamerica are clearly linked to a cosmic turtle, the ritual ballgame and the belt of Orion. I believe that the turtle is linked to the planet Venus and thus Quetzalcoatl as both a Morning Star, and a feathered serpent. In the Quiche creation myth of the  Popol Vuh, Plumed Serpent swims in the sea before the dawn of creation. 
                                  
The drawing above by Jenni Bongard is taken from the Madrid Codex, which depicts the three hearth stones of creation, placed on the back of the Cosmic turtle. The X-symbol depicted on each of the three stones likely represents the glyph jal, a verb according to Michael Coe, to create ( see Coe's, Reading the Maya Glyphs: 2001 p.163).  Note as well that the turtle's tail is in the shape of the Maya kaban curl.

                  The Churning of the Milk Ocean in the Codex Selden                                  
   Depicted above in the Codex Selden, is another scene that I feel quite certain, represents a Mesoamericanized version of the Hindu inspired creation myth known as The Churning of the Milk Ocean. The complex scene on the page is first and foremost divided into three sections, separating the upper world, from the underworld, and the middle world from which the tree emerges.  The upper world is depicted and framed at the corners of the page with a sky band depicting disembodied eyes, which represent the soul of the deified ancestral dead as the stars above.  Framing in the bottom portion of the page is a two-headed feline/serpent, depicted with a stylized design of criss-crossing  bands which can be linked to a Maya verb jal, which means create, (Coe; p.163). The dual headed serpent which frames the bottom of the page also surrounds a body of water that I believe represents the so-called Milk ocean of Hindu mythology. Emerging from this sea of creation (note waves) is a tree depicting a single eye, and intertwined serpents, emerging from a sacred altar platform that depicts a band of stylized step glyphs, symbolizing the descent and emergence from the underworld. Its worth noting that verses in the Rig Veda refer to Soma as the  "single eye", the eye of the sun, symbolism, that can be clearly seen in the iconography above. Coiled around the trunk and branches of this sacred tree is a two-headed serpent, which depicts  feline fangs symbolizing the serpents descent into and out from the underworld. The serpents feline attributes represent the underworld transformation that takes place prior to the Sun God's resurrection from the underworld.  The central portion of the scene likely symbolize middle earth, from which the Tree of Life emerges. The codex scene depicts two main characters or deities sitting on opposite sides of  the tree. I believe they symbolize both the God of Life and the God of death. The God of Life and god of the upper world sits at the left of the tree. He appears to have emerged from the mouth of the serpent below him at left.  Opposite the God of Life, on the other side of the tree is the God of Death, who has emerged from the mouth of the serpent with the feline head. 
Both deities hold in their hands a ritual sacrament, to be eaten or offered as a gift to the Tree of Life, from which the Sun God is reborn and immortality is obtained.
At the top of the page we see the newly born Sun God emerge from a V-shaped cleft depicted in the upper branches of the Tree of Life. To the right of the Sun God in the upper right hand corner of the page is an icon that is shaped like a drinking vessel that bears a symbol of five points beneath the vessel that refers to the so-called  "fiveness" of Venus, referring to the planets five sonodic cycles, noted by scholars in the Dresden Codex. I believe that this symbol is linked to the Soma ritual and the sacred day Ahau, in the Venus calendar,  when Venus is first visible rising from the Underworld as the Morning Star. I would argue that this Venus resurrection ritual is intimately connected with the Soma beverage and Soma sacrifices mentioned in the Rig Veda. The symbol to the left of the Sun God, and opposite the probable Soma vessel located at the left hand corner of the page is the year sign in the Aztec calendar.        
 Moving on to the middle portion of the scene, I believe the sequence of events, reads from right to left, and is as follows. Just to the right of the altar platform from which the Tree of Life emerges, there is a bleeding turtle just above a body of water I believe refers to the "Milk Ocean" in Hindu mythology. The bleeding turtle is located just below the deity identified as the God of Death and the Underworld.  The bleeding turtle in this scene represents the sacrificial victim, whose shell or carapace in this scene will be the sacred portal linked to immortality and divine resurrection. The turtle's bloody heart can be seen sitting on top of the altar platform just to the left of the tree, as a sacrificial gift to the Gods of Life and Death who are responsible at times completion for the death and daily rebirth and resurrection of the Sun God. Note that the three turtle carapaces depicted in the primordial sea moving from right to left, under the Tree of Life, is a reference to the three hearthstones of creation, and that the turtle carapace located on the far left just below Tlaloc's severed head appears to have a star symbol inside the shell, which likely alludes to the planet Venus and that the turtle represents Venus as a divine resurrection star.                                              
Just below the Tree of Life, underneath the altar platform is the carapace of the turtle with the head of a feline emerging, symbolizing the turtle's transformation in the underworld into the Underworld Jaguar. The sequence of events moves to the left, and then up, with the empty turtle carapace still in the sea, but just above and  to the left of the altar platform is a stylized severed head, associated with the ritual act of decapitation. The stylized severed head bears the image of the Mexican Rain and Lightening God Tlaloc, who also represents the God of the Underworld and thus he represents the god of underworld decapitation, as the Evening Star aspect of the planet Venus. Tlaloc's severed head in this scene is stylized to represent a divine star reborn from the Underworld.  Tlaloc can be easily identified in this scene by his trademark goggled eyes, feline fangs, and handlebar mustache. Those who died for Tlaloc or were under his watchful eye, went directly to his divine paradise called Tlalocan.  
     The Soma ritual was an integral part of Vedic-Hindu religion where Soma was drunk by the priesthood during sacrifices. Verses in the Rig Veda refer to Soma as the  "single eye", the eye of the sun, symbolism that can be seen encoded in the trunk of the Tree of Life, above in the Selden Codex, and above along the top border, in which the stars represent the disembodied eyes of deified ancestors who look down upon them from Tlalocan. 
                        
  The "single eye" motif is a common icon in the pre-Hispanic codices, and can be found in the iconography at the great city of Teotihuacan in the highlands of Mexico where Tlaloc and Quetzalcoatl the Feathered Serpent shared the same temple. 
 

 
        The Churning of the Milk Ocean myth depicted in a Mural at Tulum?
    
  (drawing by Felipe Davalos G)
  Above is a drawing of a Mural from the Maya site of Tulum, Structure 5, in Yucatan Mexico, which depicts what I believe is a Post Classic Maya version of the Hindu myth, The Churning of the Milk Ocean. Note the intertwined serpents in the main section of the scene as well as a serpent swimming below in the primordial sea along with a fish and a turtle in the lower section. The turtle bears the so-called head of a god scholars have identified as God N.  Once again the turtle acts as the central pivot point, below the churning mechanism, which is composed of intertwined serpents. The characters above likely depict the gods from the four cardinal directions representing both life and death, upper world and underworld.  The four deities use hand gestures to churn the Milk ocean, and together with the serpent and turtle, (both are avatars of the planet Venus), create and resurrect the reborn sun god.  (drawing of Mural 1 from Tulum from Milbrath 1980).
 

      THE CHURNING OF THE MILK OCEAN IN THE MADRID CODEX
                          

Above is page 19, from the Madrid Codex, also known as the Maya Tro-Cortesianus Codex  depicts what I believe are elements of the same Hindu inspired myth The Churning of the Milk Ocean. Note that the deity above the turtle is painted blue, just like the Hindu god Vishnu is in Hindu art, and that the turtle below once again acts as the pivot point for the churning stick. The serpent's intertwined body is the mechanism by which the gods churn the milk's ocean. In the scene above the artist depicts the importances and creative forces of self sacrifice by substituting a rope for the serpents long body, depicting a blood letting ritual in which the rope (the serpents body) is being pulled through the penises of the gods above. The glyphs in the scene marked with the X-symbol, may represent the Maya word jal, a verb meaning to create ( see Reading the Maya Glyphs: 2001 p.163).
The Vedic god who may have been the inspiration or prototype for the ancient Maya rain god Chac, depicted in the scene above on the upper right with an elephant inspired nose, was the Vedic rain god Indra, a warrior god who according to the Vedas assumed many of the attributes of the god Soma.
             
                      Maya Kaban curls associated with Hindu altars
                      
                
    Above is a photograph taken byLaurence Caruana, of the altar in the inner sanctum of the Devi Jagadambi temple in India, built by the rulers of the Chandella dynasty between the 10th and the 12th centuries. The photo on the right is a closeup of the altar with possible mushroom, taken by Laurence Caruana. Caruana, noted the probable mushroom, and made drawings (below) in his notebook of symbols he found etched in the floor below the possible mushroom altar.

                                                                                                       
   Above are the symbols Caruana drew in his notebook that he found etched in the floor, in the inner sanctum of the Devi Jagadambi temple in India. Three of these symbols are commonly found in Maya vase paintings as I will demonstrate. The ?-mark symbol depicted above in the upper left hand corner of Caruana notes is a symbol similar to the Maya symbol known as the "kaban curl", (Stephen Houston, June 17, 2010 http://decipherment.wordpress.com).   This symbol is often depicted in Maya vase paintings associated with the ear of the sacrificial deer, or ancestor or deity impersonating a sacrificial deer (control F Maya vase K7152). The encircled cross depicted in Caruana notes in the middle row is also a common symbol in Maya art depicted below with four kaban curls in the Maya plate K6363. The X-symbol according to Michael Coe ( Reading the Maya Glyphs: 2001 p.163,) represents the glyph jal, a verb for creation.
 
A glyph in William Gates, Dictionary of Maya Glyphs (1978: 165,165) row 436 depicts what I would argue is an Amanita muscaria mushroom glyph, and to the far right is an image of an incense burner with a ?-mark shaped symbol called a"kaban curl".
      
    Below are several Maya plate and vase paintings from the Justin Kerr Data Base which depict a ruler or priest making hand gestures similar to those found in Hindu art.  
        
             
                                         
Photographs © Justin Kerr
    Above is Maya plate K6363 that depicts four ?-mark shaped symbols called kaban curls within the so-called encircled cross. Note the were-jaguar sitting at the center, and that the four figures surrounding the encircled cross are making a hand gesture similar to those found in East Indian art.
                  
              
Photographs © Justin Kerr
In Maya vase K2802  the three characters in the vase painting appear to be one and the same individual journeying into the Underworld. The scene was probably intended to read from right to left. The figure on the far right with an elongated head is depicted with an enema device protruding from his rectum. He makes the same hand gestures as the Maize God from Copan and wears what looks like a ballgame belt or yoke decorated with three dots--a symbol which may refer to the three hearth stones of creation seen in the constellation of Orion. That he ( Hun Ahau?) embarks on a journey of death into the Underworld is indicated by the middle character, a skeletal death god wearing a death collar formed by a circle of disembodied eyes. He holds another disembodied eye in his right hand. He can be identified as the same individual because of the bloody defecation that now streams from his rectum.  Note that the defecation is mushroomic and decorated with the ?-mark symbol known as the kaban curl that I believe is code for the Soma sacrifice. His ceremonial death in the Underworld by ritual decapitation  is indicated by the severed head shown on top of what appears to be either a jar, or a possible mushroom stone, at his feet. The mushroom enema and symbolic journey into the Underworld, plus the Maize God's sacrifice (decapitation) in the Underworld, transforms him into the so-called were-jaguar or Jaguar God of the Underworld, depicted at the far left.    

           
            
   
       Above is a fifteenth century painting of Jain art depicting Mahavira the great teacher of Jainism who lived around the same time as Budda. The hand gesture depicted in the image above and below is a common hand gesture in Maya vase paintings. Note the similarity of the use of the X-icon above in Maya vase painting K3059  and the above image. In Mesoamerican the X-icon I believe represents a symbol identifing a portal of divine immortality linked to sacred mushrooms or a mushroom beverage like Soma, connected with Underworld decapitation and Venus resurrection. The symbol of the swasyika, depicted above has been found in the New World, and is thought to have originated in the Indus Valley (Harappa) which is one of the earliest places where the swastik or swastika is found.      
    

                       South American vessel with Swastika symbol


                                                           
   Above is a vessel dating from early Sican/Lambayeque period. The vessel was found in a pyramid, and depicts a Swastika symbol painted in carbon, nicknamed the German vessel by the staff at the Huaca Rajada Site Museum where it is on display. 
                                                 

                                        

                       North American vessel with Swastika symbol

                            Hohokam pottery vessel in the Pueblo Grande Museum, Phoenix Arizona.                                          
             
           

             Pre-hispaniccodex from Mexico with Swastika symbol

                        
          

                  

    Similarities in East Indian and Mayan Hand Gestures            
 
   Above is a painting from Hindu mythology (Trichinopoly painting, 1820) depicting Rama making a hand gesture to a monkey deity.
       
     Above is Maya vase K2796 from the Justin Kerr Data Base, known as the Vase of 7 Gods, which depicts the Maya God L on the far right making a hand gesture, to six other Underworld deities, as he smokes his trademark cigar. The vessel is from the archaeological site ofNaranjo,  and depicts a  4 Ahau 8 Cumku calendar round date.
      
Above is Maya vase K5353 from the Justin Kerr Data Base, that depicts a ruler making a hand gesture to a willing victim of self sacrifice. The likely victim of decapitation in the Underworld, the possible victim holds both of his hands hands on opposite shoulders which is likely a symbol of submissiveness.  Note the figure on the far right also makes the same hand gesture as the ruler, and that a drinking vessel sits by the rulers side, containing what might be a possible mushroom beverage made from the juices of the possible Amanita muscaria mushrooms sitting in the offering plate below him.  

  Above is Maya vase K7999, which depicts a Maya ruler sitting on his throne, making a hand gesture to a sacrificial victim who crosses his arms, hands to opposite shoulders, a submissive gesture I believe that refers to suicide or self sacrifice to the gods most likely by the ritual act of decapitation.  I propose that the ancient Maya believed that decapitation whether in real life or in the Underworld, was the sacred act of deification, note the X-symbol, which I believe refers to a sacred portal of immortality (mushroom inspired), and that the ancient Maya believed that the stars in the night sky were the decapitated heads of deified ancestors. 
Photographs © Justin Kerr
  
Photographs © Justin Kerr
     Above is  Maya vase K6316, depicts a Maya ruler wearing what I believe is a mushroom inspired headdress, making a hand gesture to an elite across from him who may be holding a mirror or  presenting an offering. Although difficult to see the offering held in front of the ruler may be a sacred mushroom.  The woman standing behind the ruler, maybe his wife, is holding an offering plate which contains a decapitated head.
   
Photographs © Justin Kerr
    Above is a Maya vase painting which depicts a mirror ceremony, in which the ruler makes a hand gesture with one hand and holds a flower or mushroom in the other.  
                 
   Photographs © Justin Kerr
Maya vase K5062; from the Justin Kerr Data Base depicts the mushroom mirror ritual of underworld jaguar transformation. In Mesoamerica mushrooms and mirrors were used in esoteric rituals to portal themselves into the Underworld to communicate with the deified dead. Archaeologist Gordon Ekholm was the first to see the resemblance of Mesoamerican mirrors with Chinese bronze mirrors and noted that both Asian and Mesoamerican cultures shared the idea of hell, its demons and its torments. The mirror ceremony in Mersoamerica dates back to the Pre-Classic Olmec civilization. The priesthood and/or the royal elite, likely used narcotic mushrooms, and stared into obsidian mirrors for purposes of divination, introspection, and communication with certain patron deities and the ancestral dead.  Note the mushroom with turned up cap in the bowl next to the ruler’s right hand. Below the ruler, notice the encircled cross below on the three large jars called ollas, which may contain the Soma beverage.  The three jars in front of the ruler, refer symbolically to creation, and the three hearthstones of creation, and they most likely contain a hallucinogenic beverage Soma, identified by the encircled X-symbol. which is why the other individuals in the scene wear  jaguar, puma and deer headdresses, all symbols of sacrifice.

   Above are Maya glyphs number 436, depicting an Amanita muscaria mushroom, my so-called Soma glyph, along side a glyph number 438, that depicts the ?-mark symbol, or kaban curl on a three-pronged (Trinity?) incense burner.  (From William Gates, Dictionary of Maya Glyphs (1978: 165,165)
   
Keep in mind the strong relationship between the deer and the mushrooms found growing in deer dung and sacrifice. Note that in the Maya vase painting above K2802, (control F) the same ?-symbol or Kaban curl appears in the blood stream of the mushroom enema of the death god holding a disembodied eye in his right hand. Both vase paintings depict an enema scene in the Maya Underworld in which the act of decapitation (note decapitated head in Maya vase K2802) is associated with a jar or olla (Soma beverage?) and mushrooms. The S-symbol above right, although depicted backwards in Caruana's drawing is a common motif seen below seven images down in the Vase of the Seven Gods, (Kerr number K2796). The X-symbol above in the circle, is a symbol I believe represents a portal to the Underworld, a symbol I've seen depicted on ollas or jars which I believe contain a ritual beverage like the Soma beverage (urine possibly?), note the turned up mushroom in the bowl by the rulers side, in Maya vase painting K5062 above. Also on the Home page, control F, Maya vase K3066  which depicts the same encircled X-symbol associated with mushrooms, a central portal, and the four cardinal directions.                                        
     
Photographs © Justin Kerr
Maya Vase K7289 from the Justin Kerr Data Base depicts a ruler or priest involved in a mushroom ritual of underworld jaguar transformation. The ruler at the right is depicted holding a ceremonial bar from which emerges the divine vision serpent (bearded dragon) known to scholars as the Och Chan.  A deity wearing what appears to be the ear of a deer with ?-mark symbol blowing upon a conch shell, emerges from the jaws of the vision serpent. This ?-mark icon must be code for the transformed deer god. Note that the ruler or priest wears a mushroom inspired ceremonial cloak and the headdress of the underworld jaguar.
       
      Above is Maya vase K2011, which depicts symbols that resemble two of the East Indian symbols depicted above in the drawings by Laurence Caruana.  Note the encircled X-symbol encoded on the shields of the warriors on the left, and the Kaban curls encoded in front of their faces.
  Maya archaeologist Stephen Houston...
  "Perhaps: the Kaban curl invokes a heady, glandular, earthy odor, the musk of the peccary or other mammal, thus joining many other cues in Maya imagery to the nature of smells, both strong and delicate. As a glyph, the sign is securely read KAB, “earth,” as shown by direct substitution with [ka-ba] in texts at Palenque and elsewhere. But, in imagery, “musk, strong odor” helps to explain a number of other features. Many of us have noticed the common appearance of the Kaban curl within the ears and, more rarely, the faces of deer, some of which occur as day signs".
     
 

               AMANITA MUSHROOM IMAGERY AND SOMA RITUALS
                 DEPICTED IN THE PRE-COLUMBIAN MADRID CODEX
 
                             
Above is page 22 of the Madrid Codex which depicts what I believe is an Amanita muscaria mushroom, in the hand of the Maya Rain god Chac, bottom left,(Indra?) and what may be the preparation of the ritual  Soma drink by the blue deity in the scene at the bottom right (Vishnu?).
Below are more pages from the Madrid Codex which depict what I believe is the offering of an Amanita muscaria mushroom to a seated ruler or Sun God, painted blue on the left page below (Vishnu ?) in the middle registry.

                                
        
                            

Above right on page 95 of the Madrid Codex we see the black death god, ruler of the Underworld with a flint knife in one hand while offering up an Amanita muscaria mushroom in the other. The four characters in the upper registry all are depicted in the act of bloodletting or maybe in the act of self decapitation. At the bottom in the middle we see the Maya long-nose god Chac holding an axe in one hand and a severed head in the other.

    
 The two pages above are also from the Maya Tro-Cortesianus Codex, and depicts what I believe are noticeable glyphs representing the Amanita muscaria mushroom, in the middle registry of both pages, which I have suggested may represent the Vedic worship of Soma the mushroom of immortality.(pages of Madrid Codex from F.A.M.S.I)

  MUSHROOM RITUALS AND DECAPITATION DEPICTED IN MAYA VASE PAINTINGS
 
The Mesoamericans, I believe, came very early to the conviction that, under the influence of the sacred mushroom, "the near death experience" I like to call it, a divine force actually entered into their body--a state they described as "god within" (Maya?).  Because mushrooms appeared to spring magically over night  from the underworld,  apparently sparked by the powers of lightning, wind and rain,  it would have been easy for these ancients  to conclude that they were divine gifts  brought to them by the wind god Ehecatl, and the rain god Tlaloc, both of them avatars of Quetzalcoatl.
 In 2007, when I began searching the Justin Kerr Data Base of Maya vase paintings for mushrooms, one of the first Maya vase paintings I found with encoded mushroom imagery was Maya vase K1490, illustrated below. This Late Classic Maya vase painting (600-900 C.E.) from highland Guatemala was like a Maya vase "Rosetta Stone" in the amount of information it contained.  I immediately saw the mushrooms in the robes of the twin smokers on the far right. I also noticed that the artist had encoded mushroom imagery into the headdresses, and that mushrooms were on the tips of the noses of the executioners with obsidian knives. A dark loop symbol was repeated three times along the upper rim of the vessel. Because of this repetition, I suspected that it might be important and related to mushroom-inspired religious beliefs. 
In the Popol Vuh, numerous passages reveal obscure connections between Maya creation myths, the ballgame, ritual decapitation, self decapitation (Borhegyi,1969: 501) and Maya astronomy, involving the movement of the sun, moon, and the planet Venus that are commonly depicted on  Maya vase paintings.

      
   Photographs © Justin Kerr  K1490 
 In the vase painting above, the Lord of the Underworld is depicted as the white skeletal god in the center of the scene. He holds a decapitated head in one hand and a  serpent-bird staff in the other. Known as Skeletal God A, his fleshless body represents death and decay,  but also the transformation at death from which life is regenerated.
Like many other Late Classic period carved and painted vessels, Maya Vase painting K1490 depicts the sacred (and improbable) ritual of self-decapitation. Note that the third individual from the right has no head. He holds in his left hand the obsidian knife with which he has decapitated himself. In his right hand he holds the cloth in which he will wrap the head. The fourth individual from the right is shown holding the decapitated head by the hair with his right hand, and a knife in his left hand.  After a close examination of this scene, it occurred to me that it might depict an early version of an episode related in the colonial period document known as the Popol Vuh.
Archaeologist Michael D. Coe was the first to recognize that many of the scenes depicted in Maya vase paintings are images of the Maya underworld, Xibalba, and versions of the creation story of the Quiché Maya of highland Guatemala. This myth, written in Quiche Maya using Spanish orthography, is known today as the Popol Vuh,  It involves two sets of divine twins.
The first set of twins, known as Hun Hunahpu and Vucub Hunahpu, play a ballgame in Xibalba with the Lords of Death and are defeated. The Popol Vuh  tells us that these twin Maya gods, were sacrificed by decapitation in the underworld after losing a ballgame against the Lords of the Death. Their bodies were buried under the ballcourt at the place of ballgame sacrifice. The sons of Hun Hunahpu, another set of twin gods known as the Hero Twins, Hunahpu and Xbalanque, follow their father and uncle into the Underworld to avenge their deaths. They also play a ballgame against the Lords of Xibalba.  Hunahpu and Xbalanque, however,  were accomplished tricksters as well as ballplayers. They were  ready for any trap that might be set for them by the Lords of Death. (Coe,1973, 1975a). 
I believe that this complex scene illustrates the passage in the Popol Vuh in which the Hero Twins smoke cigars in the underworld.That they are smoking hallucinogenic cigars is suggested by the mushrooms that are clearly painted on their robes and in their mushroom-inspired headdresses. The two smokers are the first two individuals on the right. The two figures in front of them, since they wear the same clothing as the first pair,  may be the same set of twins. One of the twins, however, has  undergone sacrificial decapitation. Another interpretation could be that the two smokers, through their hallucinations, are seeing the fate of their father and uncle in their underworld struggle against the Xibalbans.
In the scene depicted above,  all four of the figures on the right wear sacrificial scarves around their necks. The figure in black wears what appears to be a helmet shaped like a mushroom.  As noted earlier, he holds an obsidian blade in one hand, and the decapitated head of the figure behind him in the other.  
 Dennis Tedlock has identified five episodes involving underworld decapitation and self decapitation in his translation of the Popol Vuh. He notes that, based on evidence discovered by Borhegyi and Wasson, he does not rule out the presence of an Amanita muscaria cult in the Popol Vuh (Tedlock,1985: 250).  In one episode the Hero Twins decapitate themselves in the underworld in order to come back to life. The two decapitated heads shown in this scene belong to the twins.   (Jay I. Kislak Collection, Rare Book and Special Collections Division, Library of Congress)

 Maya Archaeologist Stephan de Borhegyi...

  "According to the Popol Vuh, (Thompson, 1967, pp.27-28), the twin heroes Hunahpu, and Xbalenque (the decapitated Maya culture heroes who played ballgames with the Lords of Xibalba), became the moon (or morning star?) and the sun after their death. That the moon, sun, and morning star, as well as their cult symbols, the jaguars "sun" -vulture, moon-rabbit, and deer, were intimately connected with the Late Classic period ballgame is amply witnessed by their frequent representations on stone hachas and ballgame stone reliefs." (1980:25)
 
   
Photographs © Justin Kerr
Maya vase K8936, shown above, also depicts scenes associated with the Maya creation story.
According to the Popol Vuh, after the Xibalbans(the Lords of the Underworld) defeated Hun Hunahpu and Vucub Hunahpu in a ballgame, they sacrificed them and hung the severed head of Hun Hunahpu in a calabash tree. The head of Hun Hunahpu  impregnated a daughter of the Xibalbans, named Blood Woman, with the Hero Twins by spitting into her hand.
In the scene above, the jaguar god of the underworld, shown on the far left, holds a decapitated head (likely the head ofHun Hunahpu). Seated below the jaguar is the pregnant daughter of the Xibalbans known as Xquik "Blood Woman". She is painted blood red, and is shown stretching out her palm beneath the decapitated  head. The decapitated head of Hun Hunahpu spits semen onto her hands which fertilizes, giving birth to the legendary Hero Twins.  Her father, one of the Lords of death in the Maya underworld, is the skeletal god to the far right who also holds the bloody head of Hun Hunahpu.  
 In front of Blood Woman sits a character marked with cimi death signs (looks like a % sign) on his legs. He wears on his head what, I believe, is a mushroom-inspired headdress. In his hand he holds a drinking vessel which may contain a mushroom-based beverage which he will use to journey or portal into the underworld. The large jar or olla  that sits on his lap most likely contains cultivated mushrooms. The skeletal death god on the right  also carries a ceramic jar. It likely also contains a mushroom-based beverage to be taken at death for the ritual cross-over, or underworld journey. The large blood-stained  X-icon located on his skull cap represents the portal door to this journey of transformation.  
Directly behind Blood Woman, at the bottom of the scene, is a large transparent view of the inside of her womb. In it we see the unborn Hunahpu,the eldestof the Hero Twins. He is shown on his back with his knees pointed upwards. Hunahpu,  the first born of the Hero Twins,  personifies Venus. His daysign is One Ahau or Hun Ahau, the sacred date of the heliacal rising of Venus as Morning Star in the Venus Almanac of the Dresden Codex. To the left ofthe unborn Hunahpu is a coiled serpent in the shape of a ballgame hoop.The hoop bears symbols of the four cardinal directions. The inner circle denotes the goal of the hoop as well as the central portal of resurrection. It is associated with the color green, which is the green quetzal-feathered serpent aspect of Quetzalcoatl as the planet Venus.
In Mesoamerican mythology Quetzalcoatl represents the Lord of the Ballgame and Lord of decapitation.  It is likely his image that the Maya saw as a decapitated ballplayer in the constellation of Orion. Orion was believed to be the belt or ballgame yoke of Hun Ahau or Quetzalcoatl.  The three stars of his yoke represent the three hearth stones of creation. 
Behind the serpent is a rabbit, a symbol of the moon and fertility, holding a ball between its knees. The ball is marked by the symbol of three, referring again to the three hearth stones that were placed at the time of creation by the pair of twins depicted directly above. These are clearly the Hero Twins from the Popol Vuh. The twin on the left with jaguar features can be identified as Xbalanke. He holds what appears to be the three hearth stones of creation (the three thunderbolts in the Popol Vuh?). Two of the three stones appear under the right arm and he is  placing the third stone in his left hand into the sky at the place of ballgame sacrifice.  Xbalanke's trademark attributes are his jaguar spots, (note his spotted ear), symbolic of the Moon and underworld sun or Sun God.  He most likely represents the Evening Star aspect of the planet Venus. To the right of Xbalanke is his older twin brother Hunahpu. He can be identified by his blowgun, which he holds like a paddle, rerminiscent of the Paddler Twins.  He is likely an aspect of the planet Venus as Evening Star. Both twins wear the scarf of underworld  decapitation, and both are depicted above their unborn bodies. The womb of Hunahpu is directly behind Bloodwoman, while the womb of Xbalanke is in the shape of a curled up jaguar and is depicted directly behind the rabbit holding the ball.
   

   Mesoamerican Scholar Esther Pasztory...
"The essence of the ballgame seems to be a contest between opposing forces, which may be represented by male twins or a couple, a contest which often involves a cyclically recurring pattern of death, rebirth, and revenge, in each case, one contestant is devoured or beheaded (an act ritually recalled by the practice of human sacrifice), as a result of which great benefits inure society, especially in the form of agricultural fertility". (Pasztory 1976:209-210)     

 Many other parallels can be found between the legends of the Hero Twins, as told in the Quiche Maya Popol Vuh, and those of the Ashvin Twins in the Rig Veda. One of the Twins named Yama from the Rig Vida is a primal being who, as the first to die,  becomes the lord of the dead. In a similar story in the Popul Vuh, the HeroTwins, whose father was also a twin, is decapitated in the Underworld where he remains the Lord of the Underworld. Yama's name actually means "twin."  The name "Quetzalcoatl"  can also be translated as "Precious Twin".

Spanish chronicler Jacinto de la Serna, (1892,The Manuscript of Serna)...

 Serna in 1650 pointed out that the Aztec calendar was called the "count of planets". Serna, writes that the people of Mexico "adored and made more sacrifices to the sun and Venus than any other celestial or terrestrial creatures", and that it was believed that twins were associated with the sun and Venus.  
 Serna also described the use of sacred mushrooms for divination:
"These mushrooms were small and yellowish and to collect them the priest and all men appointed as ministers went to the hills and remained almost the whole night in sermonizing and praying".
 
                   SELF DECAPITATION IN HINDU AND MAYA  ART
                     
 
 Pallava, late 7th century AD
Varaha Cave Temple, Mamallapuram

Late 7th century --- Relief Sculpture of a self Decapitation Scene with the Hindu Goddess Durga at Varaha Cave Temple at Mamallapuram, India --- Image by © Michael Freeman/CORBIS
Durga, the first goddess to have tried soma, stands surrounded by attendants, in this photo from the interior of the shrine. Below her and to the photo left, a devotee prepares to cut off his own head as a sacrifice to the goddess. Overhead, a Soma mushroom is sprouting, as a symbol of fertility and good fortune.
Image and caption found at: www.corbisimages.com/stock-photo/rights-managed/MF009778/...

  The above sculpture depicts a scene of self-decapitation with the Hindu goddess Durga at Varaha Cave Temple at Mamallapuram, India. The seated figure at the lower left of the scene holds his hair in his left hand and the sacrificial knife in his right hand.  The scene above also depicts dwarfs, a deer and a feline all of which are associated with sacrifice and the Underworld in Mesoamerica.  Note the sacred mushroom image above the head of the Goddess Durga (central figure).  (compare another very similar scene from Draupadi Ratha)                              

                       

Durga stands surrounded by attendants, in this photo from the interior of the shrine. Below her and to the photo left, a devotee prepares to cut off his own head as a sacrifice to the goddess. It is thought that this horrible rite actually did take place - not too often, one hopes - in Durga temples.  Human sacrifice was regarded in the Veda as the highest form of sacrifice especially to the goddess Durga (Jan N. Bremmer, 2007 p.159) 
Durga's association with decapitation is attested by scenes like this, and also by ritual texts and myth (Mahishasuramardini). (photograph above and caption from http://www.art-and-archaeology.com/india/mamallapuram/vct03.html)
       

 
                                
               Above is an Indian painting showing mystical decapitation of the "I"s by the Divine Mother.
   (Above caption and image from Gnostic Anthropology Teaching Image Pool http://gnosticanthrop.narod.ru/)

   The improbable act of self decapitation is also a common theme depicted on pre-Columbian Maya vase paintings. The practice of decapitation became a widespread phenomenon in Mesoamerica by Classic times becoming increasingly more popular by Late Classic times when the grisly act becomes intimately connected with the pan-Mesoamerican ballgame. According to Borhegyi, a leading researcher of the pre-Columbian ballgame before his untimely death, writes (1980:25),
 Stephan de Borhegyi...
 "While human decapitation was a widespread custom throughout both the Old and New Worlds as early as the Paleolithic period, its association with ancient team games seems to have occurred only in central and eastern Asia, Mesoamerica, and South America (for ballgames in Southeast Asia, see Loffler, 1955).   
       

Photograph © Justin Kerr
  Maya vase K1230  depicts a possible scene from the Popol Vuh. Here Hunahpu, the older HeroTwin, is shown in the act of self-decapitation in the underworld. His younger brother, Xbalanque, represented by the underworld jaguar who appears encircled by a serpent, surrounded by five Venus symbols, one of which is located on the axe suggesting decapitation and Venus resurrection. The story suggests that, after the twins sacrifice themselves in the underworld in front of the Lords of Death, they become immortal and come back to life defying death and resurrect as the Sun and Moon.
                  
             
                                           Maize (Corn)  in India ?
       
      
  The Hindu sculptures above present evidence favoring the belief in pre-Columbian transportation of maize away from the New World.  Note the similarities above in Hindu art and below in Maya art in which corn or maize is held in one hand and the other hand is held palm forward.
 
 
      
Photographs © Justin Kerr     (Photo of Hindu statue from amazingdiscoveries.org)  
   The photo above on the left depicts the deity scholars identify as the Maya Maize God, known as First-Father, Hun-Nal-Ye.  The Maize God  sculpture itself is of the Late Classic period, and is from the Maya ruins of Copan, in Honduras. He makes what appears to be the same hand gesture commonly depicted in Hindu and Buddhist art.The Maya artist encodes what looks to me like three stylized mushrooms, two as ear plugs associating the sacred mushroom with the number three and the mythical three hearth stones (or deities) of Maya creation.  The photo on the right represents the Hindu goddess Lakshmi, who makes a similar hand gesture. The Hindu goddess Lakshmi holds in her hands what appear to be stylized mushrooms and she wears a headdress with a symbol that looks like a stylized Fleur de lis emblem.  
                                         
Photographs © Justin Kerr
    In Mesoamerica, according to a Toltec legend, maize was the sustenance of life, given to mankind by the god Quetzalcoatl.  Above is a ceramic representation of Quetzalcoatl as the maize god, wearing what I would argue are mushroom-inspired ear plugs.  It was from the ancestral bloodline of Quetzalcoatl that man descended into heaven at the moment of death. The royal line of the king was considered to be of divine origin and descendents of Quetzalcoatl were identified with the Sun God Hun Ajaw,  the Maize God of Maya mythology. The king, who was a descendent of Quetzalcoatl and his divine offspring, was known as the aj k’uhunn, “the keeper of the holy books”.                       
                                
        
         SIMILARITIES IN INDUS VALLEY SCRIPT AND EASTER ISLAND SCRIPT


                   
    Above is a comparison of ancient scripts, which clearly shows the similarities between the script of the Indus civilization and Easter Island's Rongorongo script.  
   
         Above in the top row of the Rongorongo script from Easter Island is a glyph which looks a lot like a mushroom.     

                                            
           
Above on the left is a Maya mushroom stone from Highland Guatemala, and on the right is a giant Moai statue from Easter Island. Its important to note the obvious that both sculptures have the same ear design.
                                       
    Above is a bearded Moai statue (Quetzalcoatl?) from Easter Island with the same ear design as the bearded mushroom stone effigy above from the highlands of Guatemala, where the Amanita muscaria mushroom grows.   
  (Above photograph from Alejandro Vega Ossorio http://www.civilizadores.co/civilizators-english.htm)
 
                                                   
    Above is one of the giant Moai statues from Easter Island with what appears to be a mushroom encoded into the head and nose.  If the mushroom Venus cult did reach Easter Island, as I have postulated was it introduced by seafarers from the American mainland or by trans-Pacific contact from India or southeast Asia.  The encoded mushroom in metaphor might also represent a T-shaped symbol (see image below) or cross known in Mesoamerica as the symbol ik, a sacred day in the Mayan calendar meaning wind, breath, and spirit, all attributes connected to the wind god Ehecatl/Quetzalcoatl.So important is this symbol that in the Maya codices this T-shaped symbol is encoded as the eye of Chac, the Maya god associated with rain and lightning (fertility), who is also deeply connected with the underworld, decapitation, and the Evening Star aspect of the planet Venus.  Chac may be equated with Kukulcan,  the Maya/Toltec version of the god Quetzalcoatl. The word k'ul, means "holy spirit" or "god", (Freidel, Schele, Parker, 1993 p. 177) and the wordchan or kan means both serpent and sky.  
 It should be noted that the words "navel of the world" are the words used by both the ancient Olmec/Maya and Easter Islanders to describe their island and their place in the universe.                                            
                                                                                                                                                 
 Above, is an Ik glyph,  a symbol used in Olmec times and a Maya icon often shaped more like amushroom than a cross or what resembles a modern day capital-T. The Ik glyph, which is one of the most sacred symbols among all Mesoamericans signifies wind, breath (breath=Life) and spirit.  Ik also represents a sacred day in the Mayan calendar that is linked to the birth of the Mesoamerican god-king Quetzalcoatl as 9-Wind.The exact symbol can be found in the Old World, called the Tau Cross, representing a symbolof the god Mathras of the Aryans of India. 
 
  Sri. A. Kalyanaraman, an Indian author who has studied the Vedas, argues in his book Aryatarangini: Saga of the Indo-Aryans,  that the Aryans of ancient India were a sun-worshipping sea-people, who sailed around the world, to the New World as well as to many parts of the Old.

                                       
                                  THE SECRET OF THE SACRED MAYA ?
    "Maya according to the Rig-Veda, was the goddess, by whom all things are created by her union with Brahma. She is the cosmic egg, the golden uterus, the Hiramyagarbha." (The Project Gutenberg EBook of Vestiges of the Mayas, by Augustus Le Plongeon)
                    
  In searching for the origin of the name Maya, one should revisit the strange coincidence that the Sanskrit word for the divine power, and enlightenment from Soma was called Maya. We are told that the gods themselves were described as Mayin.Linguists have already identified a number of Sanskrit words in Quechua, the Andean language of the Inca (Fox, 2005, p.118).    
  According to the the New World Encyclopedia;  
   In the  Rigveda, the term Maya, (maya)  is introduced referring to the power that devas (divine beings) possessed which allowed them to assume various material forms and to create natural phenomena.                
    Maya (Sanskritmāyā, from "not" and "this")  In early Vedic mythology, maya was the power with which the gods created and maintained the physical universe.
    Maya is the power that brings all reality into being as it is perceived by human consciousness. Therefore, all the particular things contained within this material world are products of maya.
   Soma (Soma),was considered to be the most precious liquid in the universe, and therefore was an indispensible aspect of all Vedic rituals, used in sacrifices to all gods, particularly Indra, the warrior god. Supposedly, gods consumed the beverage in order to sustain their immortality. In this aspect, Soma is similar to the Greek ambrosia (cognate to amrita) because it was what the gods drank and what helped make them deities. Indra and Agni (the divine representation of fire) are portrayed as consuming Soma in copious quantities. (Excerpt is from New World Encyclopedia)
                                           SUMMARY OF MAYA VASE STUDY 2007
                             
                                 
Photograph  © Justin Kerr  
 Maya vase K1185 from the Justin Kerr Data Base, depicts a Maya scribe with what I believe is a sacred mushroom encoded into his head, representing divine enlightenment.  Painted Maya vessels like the one pictured above were made to contain a ritual drink concocted from the Amanita muscaria mushroom or other hallucinogenic mushrooms in a manner very similar to that described of Soma in the Rig Veda. Soma was prepared by extracting juice from the stalks of a certain plant. That certain plant was likely the Amanita muscaria mushroom, first identified by ethno-mycologist  R. Gordon Wasson. Soma was the divine beverage of immortality, and in the Rig-Veda Soma was referred to as the "God for Gods" seemingly giving him precedence above Indra and all other Gods (RV 9.42).The drinking of Soma by priests at sacrifice produced the effects of god within, and according to Wasson the act of collecting hallucinogenic mushrooms was always accompanied by a variety of religious sanctions. For example, among the present day Mixtecs the sacred mushrooms must be gathered by a virgin. They are then ground on a metate,(Soma stones?) water added, and the beverage drunk by the person consulting the mushroom." (Borhegyi, 1961)
 
 Ethno-mycologist R. Gordon Wasson...
"It {the mushroom} permits you to see, more clearly than our perishing mortal eye can see, vistas beyond the horizons of this life, to travel backwards and forward in time, to enter other planes of existence even as the Indians say, to know God".        
  
 Metaphorically, then, the  mushrooms bestowedto mankind represent the soul and flesh of Quetzalcoatl. If human beings partake of him they acquire some of his divine essence. In the scene below from the Codex Vindobonensis, Quetzalcoatl holds in his left hand the head of the underworld god of death. I interpret this as symbolizing their belief that a ritual decapitation in the underworld would result in the deceased's resurrection and rebirth. I believe that this interpretation is strengthened by the two depictions of the V-shaped cleft symbolizing the portal to the underworld in the left panel of this scene. The upper scene depicts the deceased in the act of plunging through the portal into the underworld. In the lower scene, the portal is shown being opened by the outstretched arms of Quetzalcoatl.  It would not have been difficult for them to conclude that  mushrooms were indeed a gift to mankind from the gods..
 Bernard Lowy, 
"Maya codices has revealed that the Maya and their contemporaries knew and utilized psychotropic mushrooms in the course of their magico-religious ceremonial observances" (Lowy:1981) .
In the Codex Vindobonensis Mexicanus  [below], believed to be a 14th century Mixtec document, the original of which is now held in the National Library of Vienna, Austria, page 24 shows the ceremonial use of mushrooms held in the hands of gods. Attention was first called to these figures by Alfonso Caso, who provisionally identified what he called "T-shaped" objects in the manuscript as mushrooms. Heim later published this page in color and accepted without hesitation its mushroomic interpretation. More recently, Furst has concurred in this opinion in his minute examination and analysis of the codex. Also summarizing the significance of this page, Wasson concludes that it shows "the major place occupied by mushrooms in the culture of the Mixtecs." The additional collateral evidence to be considered further supports the validity of these opinions, and extends the base upon which they rest (Lowy 1980 pp.94-103).


                                Page 24 of the Mixtec Codex Vindobonensis
        
  Above is page 24 of the Mixtec Codex Vindobonensis, also known as the Codex Vienna. The codex is one of the few prehispanic native manuscripts which escaped Spanish destruction. It was produced in the Postclassic period for the priesthood and ruling elite.  A thousand years of history is recorded In the Mixtec Codices, and Quetzalcoatl (9-Wind), who is cited as the great founder of all the royal dynasties, is the pervasive character. 
In 1929 Walter Lehmann noted the resemblance to mushrooms of the objects portrayed in the hands of many of the characters depicted in this Codex.  Alfonso Caso later confirmed, although reluctantly, that they were indeed mushrooms. (Wasson 1980, p. 214).  In the second row from the top, the last figure on the right wearing a bird mask has been identified as the Wind God, Ehecatl. an avatar ofQuetzalcoatl.  He is shown bestowing divine mushrooms to mankind.  
According to Aztec legend,  Ehecatl-Quetzalcoatl created mankind from the bones he stole from the Underworld Death God, whose decapitated head Quetzalcoatl holds in his hand.  Note the tears of gratitude on the individual sitting immediately opposite Quetzalcoatl.  This individual, and those who sit behind Quetzalcoatl on the left also hold sacred mushrooms and all appear to have fangs.  Fangs suggest that, under the magical influence of the mushroom, they have been transformed in the Underworld into the underworld jaguar. 
In the middle of the page on the right side Quetzalcoatl is depicted  gesturing to the god Tlaloc directly in front of him to open the portal to the underworld.  According to Peter Furst, who describes this  iconography, the scene depicts the divine establishment of the ritual consumption of sacred mushrooms" (1981, p.151).  He identifies the triangular or V-shaped cleft in the basin of water on the left as a cosmic passage through which deities, people, animals and plants pass from one cosmic plane to another. 
On the bottom left,  two figures stand beside another V--shape portal of Underworld resurrection. The figure on the left who points to the sky, also has fangs. He appears to be a human transformed at death into the Underworld Sun god, or mythical "were jaguar".  This gesture probably signifies resurrection from the Underworld. The two-faced deity in front of him holds what appear to be sacred psilocybin mushrooms similar in shape to the ones in the photograph below.
 This two-faced deity is,  in all likelihood,  the dualistic planet Venus and the god of Underworld sacrifice and resurrection. Note that the two-faced deity is painted black (signifying the Underworld) and wears a double-beaked harpy eagle headdress (signifying the sun's resurrection). The five plumes in the harpy eagle's headdress refer to the five synodic cycles of Venus. The three mushrooms in his hand refer to the Mesoamerican trinity:  the three hearthstones of creation. ie., the sun, the morning star and the evening star.
The circle below the feet of the figure on the left is divided into four parts, two of them dark and two light, each with a footprint.  The Fursts, Peter and Jill, have identified this symbol as representing the north-south axis or sacred center as the place of entry into the Underworld. (Furst, 1981: 155).  This symbol also appears in the scene above in association with a figure plunging through the V-shaped cleft into the Underworld. 
    Of all the Mesoamerican gods Quetzalcoatl-Tlaloc is most connected with sacrifice and like the Vedic God Soma, Quetzalcoatl is credited with bestowing divine mushrooms to mankind through which he could achieve divine immortality. Quetzalcoatl's mythological avatar as a resurrection god is the harpy eagle,who carries the new born Sun God up and across the sky.
 Bicephalic or two-headed birds are a common theme in Hindu mythology as they are in Pre-Columbian art.  In Mesoamerica two-headed birds and/or two-headed serpents are linked to both accession and rulership, as well as to the dualistic nature of the planet Venus (see Codex Vindobonensis page 24). Two-headed birds and two headed feline-looking serpents commonly represent Quetzalcoatl as both the Morning Star and Evening Star.
The first depictions of double-headed birds and serpents in Mesoamerica goes back to Olmec times, with both deriving from the Olmec Dragon.  This mythical creature represents the principal sky god who may derive zoomorphically from the harpy eagle (Miller and Taube, 1993 p.126).  Images of two-headed birds and serpents are found throughout Mesoamerica and South America, and are also commonly found in rock art on remote Easter Island.  The two headed mythological bird of Hindu mythology called the Gandaberunda is depicted often as an intricately sculptured motif in Hindu temples. The antiquity of the double headed bird in Hindu mythology may date back as far as 2000 BC.  Many years ago Eduard Seler linked  the jaguar-bird-serpent god associated with Venus and warfare to the god Quetzalcoatl as the Morning Star  (Miller and Taube, 1993 p.104).
                                            
  Mexican archaeologist Alfonso Caso...
“It has been said with great truth that fear and hope are the parents of the gods”.
“Man confronting nature, which frightens and overwhelms him, sensing his own inadequacy before forces that he neither understands nor is able to control, but whose evil or propitious effects he suffers, projects his wonder, his fright, and his fear beyond himself, and since he can neither understand nor command, he fears, and he loves; in short, he worships”.   (Alfonso Caso: 1958, p.3)

Mushroom Mythology 4

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http://www.mushroomstone.com/fleurdelisorigin.htm

DECODING THE FLEUR DE LIS




                              
                         THE ORIGIN AND MEANING OF THE FLEUR-DE-LIS
                                  ENCODED IN PRE-COLUMBIAN ART                                                    
                                                   By Carl de Borhegyi  copyright 2012 
               
 No publication, to my knowledge, either online or in print has ever presented visual evidence of the Old World Fleur-de-lis symbol encoded in pre-Columbian art as a symbol of divinity and rulership; a Tree of Life; a divine mushroom (Soma); and a symbol of the planet Venus as a resurrection star linked to a trinity of creator gods.The primary purpose of this study is to explore and illuminate  previously unrecognized aspects of Mesoamerican iconography. That stated, while the similarities in appearance and meaning of these esoteric symbols may be entirely coincidental, logic would argue for consideration of the possibility of ancient transoceanic contact--a subject rife with contention. 
                
                                  File:Louis-Félix Amiel-Philippe II dit Philippe-Auguste Roi de France (1165-1223).jpg
                          Philip II, King of France, in a 19th-century portrait by Louis-Félix Amiel
 
 The Fleur-de-lis emblem (“flower of the lily”) has long been a symbol of European monarchy and the sacred symbol of the Holy Trinity. Above, a painting of King Philippe II Augustus (1165-1223 C.E.), last King of the Franks and first King of France crowned with the Fleur de lis.
 Although the symbol known as the Fleur-de-Lis is perhaps best known through its association with French royalty, its origin in the New World, as I discovered is of far greater antiquity.
  The prevailing anthropological view of ancient New World history is that its indigenous peoples developed their own complex cultures independent of outside influence or inspiration. Suggestions that there may have been contacts between the  continents prior to the age of European expansion have been generally dismissed as either fanciful, racist, or demeaning.  While I in no way dispute the capabilities of New World peoples to develop their own brilliant civilizations independently of the Old, I do suggest that it may be equally demeaning to dismiss their  ability to develop the technology necessary to convert their oceans into highways far earlier than has been generally accepted. We know that early humans reached Australia by boat as early as 50,000 years ago. Every year brings a greater awareness and understanding of the sea faring abilities of the ancient Indians, Chinese, Polynesians, and other seafaring peoples. After viewing the visual evidence presented below, readers of this study may wish to challenge the prevailing view of New World history with a more open-minded acknowledgement of the ability of our ancestors to explore their world and disperse their intellectual baggage to its far corners.                                                        
 
                                            
 Above is a Zapotec urn from (Tomb 7) at Monte Alban, in Oaxaca Mexico, that depicts a ruler crowned with the Fleur de lis emblem. (photograph from http://roadslesstraveled.us/monte-alban/)
   
     
 Above is a close up view of a Classic Period (200-650 C.E.) Maya ceramic incense burner from the ancient city of Palenque, in Chiapas Mexico. The incense burner is crowned with two Fleur de lis emblems, a symbol in Mesoamerica, I will demonstrate is linked to a Tree of Life, and a sacred mushroom (the forbidden fruit) that grows below, and a trinity of creator gods linked to the planet Venus as a divine resurrection star
                                       
                                                                             
The pre-Columbian incense burner pictured above crowned with three Fleur de lis symbols representing a divine trinity is from the Tarascan culture, 1350 - 1521 C:E: now in the Snite Museum of Art. The incense burner depicts a fanged deity (underworld jaguar transformation) wearing what has been described as an elaborate Tlaloc headdress. Note that the deity's headdress is crowned with a symbol I believe is a pre-Columbian version of the Old World Fleur de lis emblem, symbolizing lordship, resurrection (Venus) and a divine Trinity.  
    (photo from http://commons.wikimedia.org/wiki/File:Tarascan_incense_burner_w_Tlaloc_headdress.jpg)
  
                        
 Above is a list of Zapotec day signs from Javier Urcid (2000). Zapotec civilization had its beginnings in the late 6th Century BC. The glyph on the bottom right, encodes a symbol into the headdress which I will demonstrate throughout as representing a pre-Conquest version of the Old World Fleur de lis symbol, both of which are symbols of rulership, resurrection, and a trinity of creator gods.
                    
  Above on the left is a drawing of an Olmec stone celt (900-500 B.C) portraying a winged deity crowned with a Fleur de lis symbol.The drawing above is of Stela 20, at the archaeological site of Coba in Quintana Roo, Mexico, that portrays the accession of a Maya ruler crowned with a symbol similar in shape to the Fleur de lis. The Maya ruler is depicted impersonating the Maya god Chac-Xib-Chac.  He holds a "Double-headed-serpent-bar," also known as the Bicephalic ceremonial bar,representing the"World Tree", known as the Wakah Chan, or Raised-Up-Sky, a sacred portal that leads to the supernatural world of immortality. 
 

Above on the right an Assyrian king (722 BC-705 BC) wears a helmet crowned with the Fleur-de-lis, symbolizing divinity and rulership and a trinity of gods. Note the symbolism of the number 3, encoded in the Tree of Life. The ruler is portrayed standing in front of the Tree of Life, with the Fleur-de-lis encoded at the base, symbolizing wisdom, immortality, and divine resurrection. Above on the right is a Babylonian stone slab (650 B.C.?) depicting a winged deity wearing a helmet crowned with the same Fleur de lis emblem.         
  In the Mayan languages the word chan means both sky and snake, and is code for the vision-serpent-sky portal and alludes to the path the gods and ancestral dead travel in their journey in and out of the Underworld during bloodletting ceremonies, and at death and resurrection. The ancient Maya believed that the gods who created the present world raised the sky by placing a vertical axis signifying up and down at the center of the cosmos.
                     
 Above on the left is a closeup scene taken from the pre-Conquest manuscript known as the Codex Laud. The scene, I believe, portrays a serpent deity (Quetzalcoatl) as the Tree of Life or World Tree, encoded with three Fleur de lis symbols. These, I believe, allude to a trinity of creator gods in Mesoamerica.                                   
  
                            
    
  Above is a closeup from the Codex Borgia, one of the few remaining pre-Conquest codices. Here, the Aztec Toltec god Quetzalcoatl, depicted here as the Wind God Ehecatl-Quetzalcoatl, wears the mask of the Wind God. A closer look at Quetzalcoatl's headdress, depicts a harpy eagle, and disembodied eye, or "single eye" both of which are symbols of a divine resurrection star. Crowned at the top of Quetzalcoatl's headdress is the Fleur-de-lis emblem, along with  another symbol of Venus, the five pointed half-star which scholars have identified as a symbol representing the five synodic cycles of the planet Venus. The harpy eagle has also been identified as a symbol of divine transformation and resurrection as the Morning Star aspect of the planet Venus. The fanged teeth depicted on Quetzalcoatl above refer, I believe, to a concept I call underworld jaguar transformation. I will demonstrate that jaguar transformation is a concept directly linked to the Evening Star aspect of the planet Venus, and a mushroom ritual associated with underworld decapitation.  
   The ancient cultures of the Nahua and Maya developed similar ideologies and mythologies from the same Olmec roots. The sacred mushroom ritual shared by these cultures was intended,  I believe, to establish direct communication between Earth and Heaven (sky) in order to unite man with god. As told in the Popol Vuh, the sacred book of the ancient Quiche Maya, the sun-god of the Maya, Kinich Ajaw, and his Aztec equivalent, Huitzilopochtli, would be extinguished in the underworld if not nourished with the blood of human hearts. Quetzalcoatl's essence in the world as a culture hero was to establish this communication. Quetzalcoatl taught that mankind must eat the sacred mushroom and make blood sacrifices in order to achieve immortality.       
   
The mural above depicts a symbol very reminiscent of the Old World Fleur de lis, in association with an eagle. In Mesoamerican mythology the harpy eagle is associated with the resurrected sun, and is the avatar of the god-king Quetzalcoatl. The mural is from the ancient metropolis of Teotihuacan (150 B.C.E.-750 C.E.) located in central Mexico. Spanish chronicler Fray Bernardino de Sahagun writes that Teotihuacan was called the burial place of kings, where those who died became gods. To speak of a person as a god meant that he had died (de Borhegyi S.F. 1971, p.89).  

                        
                        Modern day image of a phoenix (eagle) crowned with a Fleur de lis emblem. 
 " To the ancient mystics the phoenix [eagle] was a most appropriate symbol of the immortality of the human soul, for just as the phoenix was reborn out of its own dead self seven times seven, so again and again the spiritual nature of man rises triumphant from his dead physical body." (Quote from Manly P. Hall, The Phoenix: The Secret Teachings of all Ages)                                    

                                              
  Above is a closeup view of a carved Maya vessel, portraying a ruler or deity crowned with the Fleur de lis.
                           
                            
Above is an incense burner lid depicting a Maya Deity (or possible ruler impersonating a Maya deity) wearing a headdress scholars call the "Jester God Headdress". The so-called Jester God headdress was regarded as a symbol of royalty among the ancient Maya, and has been linked to the Maya god K'awil. The Maya god K'awil (also spelled K'awiil), has also been linked to a trinity of creator gods known to scholars as the Palenque Triad. The incense burner above with probable Fleur de lis emblem, is from the Petén region ofGuatemala and dates between AD 250-900.
                               
  Above is a cave painting from Baha Mexico, dated as early as 1000 B.C. that portrays an important figure wearing a headdress stylized in the shape of the Fleur de lis.   
               
   The drawing above is from a Classic period (200-650 CE.) Teotihuacan drinking vessel. It depicts a Teotihuacan ruler dressed in the guise of the Mexican god Tlaloc. The figure holds a bloody axe in his left hand and three spears in his right hand.  His elaborate feathered headdress encodes what appears to be a Mexican year sign directly below a Classic period Teotihuacan version of the Fleur de lis emblem. From Kubler 1967, fig. 14.
The Mexican god Tlaloc was clearly connected with a warrior cult associated with the planet Venus as Star of the Evening and the ritual of decapitation. This Tlaloc-Venus warfare cult spread from the great metropolis of Teotihuacan into the Maya area during the Early Classic period when Teotihuacan was at its apex. The Mexican god Tlaloc, who is easily recognizable by his trademark goggled eyes, shared the same temple in the great metropolis of Teotihuacan with the Mexican god Quetzalcoatl. Their duality as the Evening Star and Morning Star aspects of Venus suggests that they were both the patron deities of Teotihuacan connected with the ruling dynasty. Note the esoteric symbolism of footprints used by the artist, a common motif in pre-Columbian art referring, I believe, to the path that leads to immortality in the Underworld at death.          

                            
Above, the Old World Fleur de lis symbol appears in association with the Mexican god Tlaloc as Lord of the Underworld in this scene from the pre-conquest Codex Borgia, also known as the Codex Yoalli Ehecatl. Tlaloc, known as "the provider", is often referred to as a rain god. Also known as "The Master" (Bierhorst, John, 1998 p. 206),  Tlaloc has attributes of the underworld jaguar and I believe he represents the Evening star aspect of Venus as the god of the underworld sacrifice.
      
                        
  Above is a Classic Period  (200-650 C.E.) Teotihuacan drinking vessel, that portrays the goggle eyed Tlaloc in association with a harpy eagle. The vessel more likely portrays a ruler in the guise of Quetzalcoatl-Tlaloc. The five pointed star like symbol that surrounds the bottom of the vessel, have been identified as symbols representing the planet Venus, and the harpy eagle in Teotihuacan mythology represents the avatar of the god Quetzalcoatl as the Morning Star aspect of the planet Venus. Like the phoenix, the harpy eagle, is a symbol of the Sun Gods rebirth and resurrection from the Underworld. (photo from http://www.artvalue.com/auctionresult--teotihuacan-phase-tlamimilolpa-incised-tripod-brownware-vesse-2639006.htm)

                  
 Above is a close up view of a mural painting from Teotihuacan (200-650 C.E) depicting the goggled eyed Tlaloc as a five pointed star, that scholars identify as a symbol of Venus.
 In my examination of pre-Columbian art I have discovered that the gods that appear to be linked to esoteric 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).
  My study of pre-Columbian art was inspired by a theory first proposed over fifty years ago by my father, the late Maya archaeologist Dr. Stephan F. de Borhegyi, (better known as Borhegyi) that hallucinogenic mushroom rituals were a central aspect of Maya religion. He based this theory on his identification of a mushroom stone cult that came into existence in the Guatemala Highlands and Pacific coastal area around 1000 B.C. along with a trophy head cult associated with human sacrifice and the Mesoamerican ballgame. 
 My research (Breaking the Mushroom Code: and Soma in the Americas) presents visual evidence that both the hallucinogenic Amanita muscaria mushroom and the Psilocybin mushroom were worshiped and venerated as gods in ancient Mesoamerica. These sacred mushrooms were so cleverly encoded in the religious art of the New World,Hidden In Plain Sight that prior to my study they virtually escaped detection.
 
 
 
 
 The drawing above is of a Classic period Teotihuacan III fresco from Teopanzalco, Mexico entitled "el altar del sol."  Encoded in the frieze on both the right and left are mushrooms, to symbolize the sacred journey of Venus into the underworld as the sacrificial were-jaguar. The two deities or priests dressed like deities in the scene above represent the twin aspects of the planet Venus as both a Morning Star and Evening Star (note cheek mark). They appear to be offering their blood in sacrifice at an altar that symbolizes the underworld Sun God of the present world (note twisted olin symbol in center of sun) . The two priestly characters are dressed as were-jaguars, their outfits decorated with numerous five-pointed stars which have been identified as Nahuat Venus symbols from highland Mexico. Teotihuacan's influence over all of Mesoamerica  between A.D. 300-700, can be identified archaeologically by the widespread distribution of Teotihuacan ceramics, which depict Teotihuacan's patron gods Quetzalcoatl and Tlaloc. 
          
  In Nahua (Mexican) religion Tlaloc, reigns as G-9, the highest of the Nine Lords of the Night, and as such represents the completion of time, period endings and ritual decapitation. By representing life from death, in that split moment in time, G-1, the First Lord of the Night, identified as a Monkey God, represents rebirth.     
Although the Rain God Tlaloc, as far as I know has never been called a mushroom god, I believe that his trademark goggled eyes were intended to reflect a vision of paradise called Tlalocan. This fourth level of heaven, which I believe was conjured up by the ceremonial consumption of sacred mushrooms, was a place of endless spring. Those who died and went to Tlaloc's paradise were blessed with immortality.  
 Mexican archaeologist Alfonso Caso believed that the cult of Tlaloc was so popular that it influenced all the cultures of Mesoamerica. 
 Spanish chronicler Jacinto de la Serna, 1892 (The Manuscript of Serna) described the use of sacred mushrooms for divination:
"These mushrooms were small and yellowish and to collect them the priest and all men appointed as ministers went to the hills and remained almost the whole night in sermonizing and praying" (Quest for the Sacred Mushroom, Stephan F. de Borhegyi 1957).Serna in 1650 pointed out that the Aztec calendar was called the "count of planets".
Serna (1892) (The Manuscript of Serna), also writes that the people of Mexico "adored and made more sacrifices to the sun and Venus than any other celestial or terrestrial creatures", and that it was believed that twins were associated with the sun and Venus.  
The planet Venus is perhaps best known in Mesoamerican studies through its connection with the special kind of warfare called Venus-Tlaloc warfare.  Beginning in about A.D. 378,  these wars were timed to occur during aspects of the Venus astronomical cycle and were conducted I believe, on mushrooms, primarily to capture prisoners from neighboring cities for ceremonial sacrifice. (Schele & Freidel, 1990:130-31, 194). Those who died in battle went directly to Tlaloc's paradise called Tlalocan, and were blessed with immortality.   
Spanish chronicler Fray Sahagun, who was the first to report mushroom rituals among the Aztecs, also suggested that the Chichimecs and Toltecs consumed the hallucinogen peyote before battle to enhance bravery and strength(Furst 1972, p.12)Hallucinogens taken before battle likely eliminated all sense of fear, hunger, and thirst, and gave the combatant a sense of invincibility and courage to fight at the wildest levels. "This drunkenness lasted two or three days, then vanished"  (Thomas, 1993, p.508).

    Quoting Ethno-mycologist Bernard Lowy.....  
"During a visit to Guatemala in the summer of 1978, I stayed in the village of Santiago de Atitlan, a community where Tzutuhil [Mayan] is spoken and where ancient traditions and folkways are still maintained. There I learned that in Tzutuhil legend mushrooms are intimately associated with the creation myth.   In the Quiche pantheon the god Kakulja, he of the lightning bolt, one of a trilogy of supreme gods, is revered above all others, and in the Popol Vuh, the sacred book in which the traditions of the Quiche people are recorded (Edmunson, 7), his position of ascendency is made clear".    (from Lowy,Revista/Review Interamericana, vol. 11(1), pp. 94-103, 1980)   
 
 Lowy reported in 1974, "Amanita mucaria and the Thunderbolt Legend in Guatemala and Mexico" page 189, that cakulha wasnot only is the Quiche term for thunderbolt but is also the Quiche name for Amanita mucaria mushroom. In the Popol Vuh, the mushroom gods of the Quiche Maya were named Thunderbolt Hurricane, Newborn Thunderbolt, and Raw Thunderbolt, alluding to a trinity of gods also named in the Popol Vuh as Tohil, Auilix, and Hacauitz.

              Quetzalcoatl bestows sacred mushrooms to mankind                              

 
 Above is a page from the Codex Vindobonensis, also known as theCodex Vienna., believed to be a 14th century Mixtec document, the original of which is now held in the National Library of Vienna, Austria. The codex is one of the few Prehispanic native manuscripts which escaped Spanish destruction. It was produced in the Post Classic period for the priesthood and ruling elite.  A thousand years of history is recorded in the Mixtec Codices, and Quetzalcoatl is cited as the great founder of all the royal dynasties.
  It has long been known that page 24 of this Codex concerns the ceremonial role of mushrooms among the Mixtecs. In 1929 Walter Lehmann noted the resemblance to mushrooms of the objects portrayed in the hands of many of the characters depicted in this Codex.  Alfonso Caso later provisionally identified what he called "T-shaped" objects in the manuscript as mushrooms (Wasson 1980, p. 214). Heim later published this page in color and accepted without hesitation its mushroomic interpretation. In summarizing the significance of this page, Wasson concluded that it showed "the major place occupied by mushrooms in the culture of the Mixtecs."  Lowy (1980, pp.94-103) added collateral evidence supporting the validity of these opinions, and extended the base upon which they rest. More recently,  Furst concurred in this opinion after a minute examination and analysis of the codex. 
In the second row from the top, the last figure on the right wearing a bird mask has been identified as the Wind God, Ehecatl. an avatar ofQuetzalcoatl.  He is shown bestowing divine mushrooms to mankind.  According to Aztec legend,  Ehecatl-Quetzalcoatl created mankind from the bones he stole from the Underworld Death God, whose decapitated head Quetzalcoatl holds in his hand.  Note the tears of gratitude on the individual sitting immediately opposite Quetzalcoatl.  This individual, and those who sit behind Quetzalcoatl on the left also hold sacred mushrooms and all appear to have fangs.  Fangs suggest that, under the magical influence of the mushroom, they have been transformed in the Underworld into the underworld jaguar. 
In the middle of the page on the right side Quetzalcoatl is depicted gesturing to the god Tlaloc, (or incense burner venerating the god Tlaloc), directly in front of him, to open the portal to the underworld.  According to  Furst who describes this  iconography, the scene depicts the divine establishment of the ritual consumption of sacred mushrooms"(1981, pp.151-155).  He identifies the triangular or V-shaped cleft in the basin of water on the left as a cosmic passage through which deities, people, animals and plants pass from one cosmic plane to another. 
On the bottom left,  two figures stand beside another V--shape portal of Underworld resurrection. The figure on the left who points to the sky, also has fangs. He appears to be a human transformed at death into the Underworld Sun god, or mythical "were jaguar".  This gesture probably signifies resurrection from the Underworld. The two-faced deity in front of him holds what appear to be sacred psilocybin mushrooms similar in shape to the Fleur-de-lis symbol of the Old World.
 This two-faced deity is,  in all likelihood,  the dualistic planet Venus and the god of Underworld sacrifice and resurrection. Note that the two-faced deity is painted black (signifying the Underworld) and wears a double-beaked harpy eagle headdress (signifying the sun's resurrection). The five plumes in the harpy eagle's headdress refer to the five synodic cycles of Venus. The three mushrooms in his hand refer to the Mesoamerican trinity:  the three hearthstones of creation. ie., the sun, the morning star and the evening star.
The circle below the feet of the figure on the left is divided into four parts, two of them dark and two light, each with a footprint.  The Fursts, Peter and Jill, have identified this symbol as representing the north-south axis or sacred center as the place of entry into the Underworld.  This symbol also appears in the scene above in association with a figure plunging through the V-shaped cleft into the Underworld.  

                  
 The photograph above is of a Maya mushroom stone on exhibit at the highland Maya site of Iximche, the ancient capital of the Cakchiquel Maya. This mushroom stone, and the images below wear the trademark goggles of the Mexican God Tlaloc,  which allow the "bemushroomed" a peak into the paradise of Tlalocan.
 
  Quoting Dead Sea Scroll scholar John Marco Allegro......
   "The dream of man is to become God. Then he would be omnipotent; no longer fearful of the snows in winter or the sun in summer, or the drought that killed his cattle and made his children’s bellies swell grotesquely. The penis in the skies would rise and spurt its vital juice when man commanded, and the earth below would open its vulva and gestate its young as man required. Above all, man would learn the secrets of the universe not piecemeal, painfully by trial and fatal error, but by a sudden, wonderful illumination from within. But God is jealous of his power and his knowledge. He brooks no rivals in heavenly places. If, in his mercy, he will allow just a very few of his chosen mortals to share his divinity, it is but for a fleeting moment. Under very special circumstances he will permit men to rise to the throne of heaven and glimpse the beauty and the glory of omniscience and omnipotence. For those who are so privileged there has seemed no greater or more worthwhile experience. The colours are brighter, the sounds more penetrating, every sensation is magnified, every natural force exaggerated."
 "For such a glimpse of heaven men have died. In the pursuit of this goal great religions have been born, shone as a beacon to men struggling still in their unequal battle with nature, and then too have died, stifled by their own attempts to perpetuate, codify, and evangelize the mystic vision."
         
  Aztec legends relate that the sun, as a jaguar, descends each night into the underworld to battle the forces of death in order to return, triumphant, each morning to the sky on the wings of an eagle.
  I believe that mushrooms were so closely associated with death and jaguar transformation, and Venus resurrection, that I conclude that they must have been believed to be the vehicle through which both occurred. Mushrooms are also so closely associated with ritual decapitation, that their ingestion may have been considered essential to the ritual itself, whether in real life or symbolically in the underworld where the ritual ballgame was played.
                    
  
  
  Quoting Ethno-mycologist  R. Gordon Wasson….
 The bemushroomed person is poised in space, a disembodied eye, invisible, incorporeal, seeing but not being seen….In truth, he is the five senses disembodied, all of them keyed to the height of sensitivity and awareness, all of them blending into one another most strangely, until, utterly passive, he becomes a pure receptor, infinitely delicate, of sensations”. (Wasson, 1972a:198;  Borhegyi, 1962)     
“There is nothing incompatible between the mushroom stones and the ball game. Those who have mastered the mushrooms arrive at an extraordinary command of their faculties and muscular movements: their sense of timing is heightened. I have already suggested that the players had ingested the mushrooms before they entered upon the game. If the mushroom stones were related to the ball game, it remains to be discovered what role they played”. (Wasson, from Mushrooms Russia & History, p. 178)
 
 There is plenty of evidence in Mesoamerican mythology linking the many avatars of Quetzalcoatl-Tlaloc, Jaguar-Bird-Serpent,to the duality of the planet Venus. Both Tlaloc and the Feathered Serpent Quetzalcoatl,  shared the same temple at Teotihuacan, and Eduard Seler was the first to link feathered serpent imagery to the planet Venus and Quetzalcoatl. Seler also believed that jaguar-bird-serpent imagery was associated with war and the Morning Star ( Milbrath ). Mexican art historian, Miguel Covarrubias, demonstrated that later images of Quetzalcoatl, feathered serpents, and rain gods like the Mexican god Tlaloc were all derived from the Olmec were-jaguar associated with sacrifice and the underworld (Miller and Taube, 1993:185)
  In Aztec mythology the cosmos was intimately linked to the planet Venus as well as to the skeletal god Xolotl, the twin of Quetzalcoatl. Venus, in its form as the Evening Star, was believed to guide the sun through the Underworld at night.   As the Morning Star, Quetzalcoatl's avatar was the harpy eagle.  Among the Quiche Maya,  Venus in its form as the  Morning Star, was called iqok'ij,  meaningthe "sunbringer" or "carrier of the sun or day." (Tedlock, 1993:236).        
     .
       
 
                                          The Birth of the Quetzalcoatl ?
                
Various scholars, primary among them Mexican art historian Miguel Covarrubias, have interpreted the above image as depicting the birth of the Mexican god Quetzalcoatl. Beautifully carved on a jaguar bone, it was found in Tomb 7 at the site of Monte Alban near Oaxaca,Mexico. Here Quetzalcoatl, the central figure, wears what looks like the goggles of Tlaloc. He is still attached by his umbilical cord to what I believe is a mushroom-inspired World Tree. The head on the left wearing goggles and depicted as emerging from the jaws of a serpent, represents Quetzalcoatl’s rebirth and resurrection from the underworld. The tree, which bears mushroom-like blossoms is, in essence, a divine portal and metaphor for the spiritual journey of deified resurrection. This Mesoamerican metaphor links the place of creation at the center of the universe (place of ballgame sacrifice)  with the resurrection star that is the planet Venus. I believe the artist has encoded the mushroom-inspired World Tree as it would have been seen through the goggled eyes of the Mexican god Tlaloc, a god associated with the Evening Star, underworld jaguar transformation, and decapitation. According to Mexican archaeologist Alfonso Caso, a sculpture in the Berlin Museum of Ethnography depicts Tlaloc’s goggled eyes as being made up of two serpents intertwined to form a circle around his eyes. The serpent imagery, and its connection with the vision serpent or bearded dragon,  identifies Tlaloc’s link to Quetzalcoatl and K’awil, his Maya counterpart.(Drawing of the birth of Quetzalcoatl taken from Covarrubias, 1957:.266)
   
   
       Photograph © Justin Kerr
  Above, K6777, are a pair of Tlaloc's magic goggles carved from shell and shaped to form a  plumed serpent, thereby linking Tlaloc with Quetzalcoatl and the duality of the planet Venus.  The goggles I believe represent a metaphor in which the goggles worn by the  "bemushroomed"  can see beyond death into the paradise of Tlaloc called Tlalocan.  
  Miguel Covarrubias, demonstrated that later images of Quetzalcoatl, feathered serpents, and rain gods like the Mexican god Tlaloc were all derived from the Olmec "were-jaguar" associated with sacrifice and the underworld (Miller and Taube, 1993:185)
  

   
 The mural above mentioned eariler, is from the ancient metropolis of Teotihuacan (150 B.C.E.-750 C.E.). The origins of Teotihuacan are lost in myth, but it followed in the footsteps of the earlier Olmec civilization. The mural depicts what appears to be a Fleur de lis symbol in association with a harpy eagle. In Nahua (Mexican) mythology the harpy eagle represents the avatar of the god Quetzalcoatl, who resurrects the Sun God from the Underworld, as the Morning Star.     
      
   The Fleur de lis motif appears again at Teotihuacan in this mural scene from the Temple of Feathered Conches. The green quetzal-macaw is another bird avatar of the god Quetzalcoatl, alluding to the green bird, (the color yax), that sits atop the World Tree, the so-called axis mundi or world pillarthat connects the lower world with the upper world.  (photo from Gary Todd's gallery; https://picasaweb.google.com/lh/photo/MvO7-60nLe5KZ8rpzsaeTg)
    
  Mesoamerican scholars are now beginning to recognize that Venus was the centerpiece of Maya  mythology and cosmology. Priests in charge of the calendar plotted the stations of Venus over periods of 52 and 104 year cycles, and measured lunar phases, eclipses, solstices, equinoxes and other celestial movements, by which the Maya regulated their lives. Fortunately for scholars, the Maya recorded this information in the Dresden Codex (Milbrath 1999:51).      
            
 Above are Maya glyphs, E representing the planet Venus known as Nohoch Ek. (From Michael Coe's "The Maya", fifth edition p. 187) 
    
                                                                             
 The symbol shown above has been identified by archaeologists as a Venus glyph from the Maya area (Gates, 1978, p.149) (Coe, 2001 p.163 Reading the Maya Glyphs) (Morley/Sharer, 1983, p.479). This glyph, which is linked to the color green (Yax), symbolizes the planet Venus as the divine underworld resurrection star. The ancient Maya associated the color green with the quetzal bird who sits atop the World Tree. The avatar of the serpent god Quetzal-coatl, is the quetzal bird, and the color green, yax,designates the central portal, the so-called Axis Mundi, located at the center of the universe, a divine portal of  up and down (Venus), where the Sun God and deified kings enter and resurrect from the Underworld.
       Above are images portraying the Mexican god Tlaloc. On the left is an image taken from a mural at Teotihuacan that cleverly encodes a Venus symbol in Tlaloc's headdress. On the right is a large vessel or olla that depicts a fanged Tlaloc with Venus symbol encoded around his goggled eyes.  
     
   
 Above on the left is a carved image of Tlaloc with what I would argue is a Venus symbol surrounding the upper half of Tlaloc's goggled eyes that appear to me to end in serpent heads. Above on the right is a carving that depicts the duality of Quetzalcoatl-Tlaloc as a symbol of Venus. The three dots and three monkeys may allude to the three hearth stones of creation.  
            
 Above on the left is a carved image of the Mesoamerican god Tlaloc, his goggled eyes encoded as a symbol of  Venus as both a Morning Star and Evening Star.  The symbol which extends down between Tlaloc’s eyes creating Tlaloc’s twisted nose, may be a reference to the Aztec symbol Ollin, which means movement, or motion and likely alludes to Venus’s movement in and out of the Underworld as both a Morning Star and Evening Star. On the right is a Classic period Maya bowl, (from the collection of the Milwaukee Public Museum) which I believe attempts to depict both Tlaloc and Quetzalcoatl merged into an image of the Fleur de lis. It should be first noted that both Tlaloc and Quetzalcoatl shared the same temple at Teotihuacan. I believe that the artist who painted the bowl purposely designed the abstract image of a bird to encode an equally abstract image of the Mesoamerican gods Quetzalcoatl-Tlaloc merged together to represent the dualistic planet Venus, signifying divine Venus resurrection from the Underworld. 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).
The Venus symbol as I see it, is esoterically formed by the wings of the bird which partly surround two hook-shaped symbols creating the overall appearance of Tlaloc, only with Quetzalcoatl’s serpentine eyes, a clever artistic substitute for Tlaloc’s trademark goggle eyes. I interpret the tail of the bird to esoterically represent Tlaloc’s trademark handlebar mustache, and fangs which link Tlaloc to the Underworld and the Evening Star aspect of the planet Venus (compare with image of Tlaloc on the left).
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.  

  It must have been a natural step for the ancients to associate this dualistic Venus God, Quetzalcoatl/Tlaloc, with both life in the upper world and death in the underworld. In his guise as the Evening Star, Quetzalcoatl/Tlaloc presided over the nightly death of the Sun God  as he sank beneath the horizon into the underworld. (Sharer, 1994:120)  Judging by an abundance of images painted on Maya funerary vases, I believe they thought he was then ritually decapitated and transformed into a baby jaguar or "were-jaguar."  According to Aztec legend, he was resurrected each morning by Quetzalcoatl/Tlaloc as the Morning Star, and ascended into the heavens on the wings of a harpy eagle. The harpy eagle was thought of as the jaguar of the day sky being the greatest avian predator of Mesoamerica. The harpy eagle was most likely the personified form of the katun period (a period of almost 20 years) among the Classic Maya becoming a symbol of the morning sky associated with human sacrifice and divine resurrection in nourishing the new born sun (Miller and Taube, 1993:82-83).                   
  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)
 Venus, the brightest star (actually a planet) in the sky, was visible to early sky watchers even, at times, during the day. What must have seemed truly fascinating about Venus is that it appears as both a Morning Star and an Evening Star. As the Morning Star, rising before dawn, it may have seemed to "resurrect" the Sun from its nightly sojourn through the Underworld. At night, as the Evening Star, it appears after the Sun's daily "death" and descent into the underworld. For this reason it became closely associated with death and resurrection in the Underworld.
Venus also appears to die and rise again from the underworld with great regularity. Every eight years it can be predicted to return to the same location in the sky. The "fiveness" of Venus, 5 synodic cycles, comes from the fact that five Venus cycles of 584 days each equal eight solar years to the day, and that 584 days is the time it takes for Earth and Venus to line up with respect to the Sun. This day was a period ending day in the sacred 260 day calendar (almanac) and always ended on the day Ahau or Ajaw. Ahau means Lord. Ballplayers wore knee pads with the symbol of Ahau, theorizing I guess that the game was played at the completion of a time period in the sacred calendar, like a katun ending (20 yr. period) for example which ended on the day Ahau. 
The Maya believed that this knowledge was bestowed upon them by the same god who gave them mushrooms and fire. This god, identified as a feathered serpent and an avatar of the planet Venus, was believed to have created both the universe and humankind. He also gave to man the sciences, the calendar and writing, and the knowledge to fix certain days for feasts and blood sacrifice. Rulers bestowed with this divine knowledge were believed to be incarnates of this god.
  
                        
 The late Maya archaeologist J. Eric S. Thompson identified the Maya quincunx glyph (shown above, top row,  L-R, nos. 1, 3, 4, and 5; and in the head of the jaguar glyph (middle figure in second row) as a variant of the Central Mexican Venus sign. Both are of great antiquity, having been found at the Olmec site of San Lorenzo on Monument 43 dated at 900 B.C. The quincunx design also appears in Maya Venus Platforms. The design of these low altars symbolized the four cardinal directions and a central entrance to the underworld. The Maya believed that It was through this portal that souls passed on their journey to deification, rebirth and resurrection by the planet Venus in its guise as the Morning Star. According to Maya archaeologist David Freidel, the Maya called this sacred center, mixik' balamil,  meaning "the navel of the world".  (Thompson,1960:170-172, fig. 31 nos.33-40; Freidel & Schele, 1993:124)

                               
 Above are symbols identified as Venus glyphs, the symbol on the left most likely representing the Evening Star and the symbol on the right most likely representing the Morning Star..
 Below are drawings of petroglyphs (rock art) found on Easter Island that look very much like Mesoamerican Venus symbols.
                 
  Above are drawings of petroglyphs (rock art) found on Easter Island which I believe represent Venus symbols.The petroglyph drawing above on the right by Lorenzo Dominguez (1901-1963) is from Easter Island, and when asked what the symbol meant, the Easter Islanders said that it represented "Make Make" their creator god. The drawing of a petroglyph on the left from Easter Island is of a dual Venus symbol found by the expedition led by Thor Heyerdahl.  (cumulus.planetess.com/.../ch18.htg/make.jpg)  Both representations bear a strong resemblance to the Maya Venus glyphs.
 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.               
  If, there had been very early pre-Columbian contact with Easter Island it would help to explain the presence of such Olmec-like traits as monumental stone sculpture as well as monument mutilation. I also found plenty of evidence of a were-jaguar cult, a trophy head cult, and a Venus cult on an island. It should also be noted that the inhabitants of Easter Island like the Olmecs of Middle America called their island "the navel of the world".

                                                   
   Above is a close up view of one of the giant Easter Island statues, one of many, called Moai, that have a mushroom shaped symbol encoded in their head and nose.  If the Venus/mushroom cult of Quetzalcoatl-Tlaloc did reach Easter Island, by seafarers from the American mainland,  then the encoded mushroom might also represent the T-shaped Maya symbol ik, a sacred day in the Mayan calendar meaning wind, breath, and spirit, all attributes connected to the wind god Ehecatl/Quetzalcoatl as 9-Wind.  In the Maya codices this T-shaped symbol is encoded as the eye of Chac, the Maya Rain God, who is also deeply connected with the underworld, and the ritual act of decapitation, as the Evening Star aspect of the planet Venus. The Maya god Chac may be equated with the Maya god Kukulcan, who was the Maya/Toltec version of the god Quetzalcoatl. The word k'ul, means "holy spirit" or "god", (Freidel, Schele, Parker, 1993 p. 177) and the word chan or kan means both serpent and sky. Arguing for trans-pacific contact, the exact T-shaped symbol can be found in the Old World, called the Tau Cross, representing a symbol of the god Mathras of the Persians, and the Aryans of India.  

     
 
 Above left,"hidden In plain sight,"  the ceramic Precolumbian mask depicts the transformation of a human into a "were-jaguar,"a half-human, half-jaguar deity first described and named in 1955 by archaeologist Matthew W. Stirling. The were-jaguar appears in the art of the ancient Olmecs as early as 1200 B.C.  I believe this mask symbolizes the soul's journey into the underworld where it will undergo ritual decapitation, jaguar transformation, and spiritual resurrection.  An Amanita muscaria mushroom (actual specimen shown in the photo on the right) is encoded into the head and nose of the human side, while the left half of the mask depicts the effect of the Amanita mushroom as resulting in were-jaguar transformation.The were-jaguar eventually came to be worshiped and venerated throughout Central and South America.  Mexican art historian, Miguel Covarrubias, demonstrated that later images of Quetzalcoatl, feathered serpents, and rain gods like the Mexican god Tlaloc were all derived from the Olmec were-jaguar associated with sacrifice and the underworld (Miller and Taube, 1993:185)
(photo below by Prof. Gian Carlo Bojani Director of the International Museum of Ceramics in Faenza, Italy) (Photo of Amanita muscaria by Richard Fortey)  
   
                    
 Above is an incense burner that portrays a ruler or a young Maya deity most likely that of a newborn Sun God emerging from the jaws of the Underworld Jaguar God, crowned with what looks like a flaming Fleur de lis symbol. 
             
 Above is a Late Classic (600-850 C.E) Maya drinking vessel that depicts a similar flaming Fleur de lis symbol above an Ajaw glyph which was a symbol of ruler or lord.
 
                            
            
 Above is a ceramic Jaguar God, (Teotihuacan 450 AD - 650 C.E. ), a symbol of the Underworld Sun God, wearing an icon around his neck (decapitation) in the shape of an upside down Fleur de lis emblem symbolic of Underworld and Venus resurrection.
  All Mesoamericans believed that the greatest gift one could offer the gods was one's own life; in return for immortality, a concept of eternal life from death.It is likely that in Mesoamerica the notion of divine immortality via Underworld decapitation was inspired by the mushroom ritual itself.

 In the religion of the Maya, various twins or brothers represent the dualistic planet Venus. Maya creation stories record that twins were responsible for placing the three stones of  creation into the night sky at the beginning of this world age. These three stones, which represent the three original hearthstones, may also refer to a trinity of gods responsible for creating life from death. One of these gods, known as the Maize God, ruled as the Sun God in the previous world age. He was decapitated by the Lords of Death after being defeated in a ballgame. His twin sons, after finding his bones buried under the floor of the ballcourt, resurrected him from the underworld and placed him into the night sky as a deified ballplayer. I believe that the Maya could see this resurrected decapitated ballplayer, still wearing his ballgame belt, in the constellation Orion. The resurrected Maize God, known as First Father, has been identified as Quetzalcoatl and the planet Venus.  As the planet Venus, Quetzalcoatl rules the underworld, and was responsible for creating life from death, including that of the underworld sun or Sun God. The Toltecs, Aztecs and Maya all believed that Quetzalcoatl would return to his thrown at the end of days. 
       
      Photograph © Justin Kerr
  Maya vase K1250, in roll out form, depicts the so-called PalenqueTriad in what may be a Late Classic (600-850 C.E) Maya version of a creation scene taking place in the Maya Underworld.  First and foremost, the jaguar deity on the leftwears a scarf around his neck adorned with an upside-down Fleur de lis, identifying him as the Jaguar God of the Underworld.  The figure in the middle wielding an axe is ether an impersonator or represents the artist's conception of the Maya God of Underworld decapitation, Chac-Xib-Chac, or GI of the Palenque Triad. Note that the Spondylus shell earflare and shell diadem in Chac's headdress are attributes of Chac and GI. It is likely that this scene is an early interpretation of the "Resurrection of Xbalanque" (Yax Balam?) from the Post Classic Popol Vuh, in which the Hero Twin Xbalanque's avatar is the underworld jaguar.  The mythical Hero Twins often appear on ceramic plates and vase paintings, Hunahpu marked by black death spots and Xbalanque  marked by patches of jaguar skin over the face and body (Coe, 1993 fifth edition of  The Maya).  The Jaguar God on the left, who would represent GIII of the Palenque Triad, is about to be decapitated in the Underworld, by GI of the Palenque Triad, or by his Classic period counterpart Chac-Xib-Chac. Once decapitated in the Underworld the sacrificial jaguar, who represents the Sun God in the Underworld, becomes deified and reborn, a daily cycle in which the Sun is resurrected from the Underworld as the newly reborn Sun God.
The Chac-Xib-Chac impersonator holding the axe is likely a Classic period Maya version of the Hero Twin Hunahpu, Xbalanque's twin brother from the Popol Vuh. He likely represents G I of the Palenque Triad. As mentioned earlier, Maya archaeologists have determined from inscriptions at Palenque that the king was considered the incarnation of GI, of the Palenque Triad (Editors, Archaeology Magazine,Secrets of the Maya, 2004:109) thus infering that the king was the incarnation of Xbalanque's twin brother, Hunahpu. Xbalanque, the Underworld Jaguar God, is related to G III of the Palenque Triad (Schele and Freidel, A Forest of Kings, 1990, p.416). The serpent deity depicted on the far right would then represent G II of the Palenque Triad or K'awil, as the divine portal of Underworld Venus resurrection.                               
    
                             

 Thescene above is from the pre-Conquest manuscript known as the Codex Laud (Plate 24) that depicts the improbable act of self-decapitation. Note that the blood that flows from the severed head encodes an upside down Fleur de lis, symbol referring to the sacred act of decapitation and Underworld resurrection.      
  Rituals of self-sacrifice and decapitation in the Underworld, most likely allude to the sun's nightly death and subsequent resurrection from the Underworld by a pair of deities (twins) associated with the planet Venus as both the Morning Star and Evening star. This dualistic aspect of Venus is why Venus was venerated as both a God of Life and Death.  It was said that (The Title of the Lords of Totonicapan, 1953 third printing 1974, p.184), they [the Quiche Maya] gave thanks to the sun and moon and stars, but particularly to the star that proclaims the day, the day-bringer, referring to Venus as the Morning star.  
 
                                                                                       
  Scholars have identified the sculpture above from the Maya ruins of Dos Pilas, in Guatemala as the Maya Sun god K’inich Ajaw.  The Maya deity has an encoded Venus glyph surrounding his eyes, and wears a pectoral with Fleur-de-lis emblem encoded as a symbol of the Sun God's resurrection from the Underworld and a trinity of Maya creator gods. The Maya deity GIII of the Palenque Triad, has more or less the same facial features as Kinich Ajaw, but he has jaguar attributes, a symbol of the Underworld, and Kin glyphs encoded on his head and body symbolizing the Underworld Sun God.  
  
  Above is a sculpture from the Maya ruins of Copan in Honduras, overlooking a large plaza that archaeologists call the "false ballcourt", an area that represents the Maya underworld. The sculpture portrays the God of the Underworld, or Underworld Sun God, who is linked directly to the Evening Star aspect of the planet Venus as the Underworld Sun God's executioner. Note the two Venus symbols above (shown sideways) on either side of the bearded deity's head. 

           
   Photograph © Justin Kerr
  Maya vase K1230  depicts what might be a possible scene from the Quiche Maya Popol Vuh. Here Hunahpu, the older Hero Twin, is shown in the act of self-decapitation in the underworld. His twin brother, Xbalanque, is likely represented as the underworld jaguar, who appears encircled by a serpent, surrounded by five Venus symbols (5 synodic cycles?), one of which is located on the axe suggesting decapitation in the Underworld and Venus resurrection. The story suggests that, after the twins sacrifice themselves in the underworld in front of the Lords of Death, they become immortal and come back to life defying death as the resurrected Sun and Moon.
       
Photographs © Justin Kerr
 Maya vase K2284 in roll out form that depicts another possible scene from the Maya Popol Vuh, of the Hero Twins, in a scene of jaguar transformation and divine Venus resurrection. The character on the right, shown emptying the contents of an olla, has been identified as the young God A Prime. I propose that the jar is marked with a symbol of death, a glyph known as Ak'ab, or Ak'bal, which means darkness, and that the olla likely contains a mushroom beverage, that was mixed with honey, as suggested by the bees in the scene. The scene indicates that the contents from the olla  manifests the Maya god K'awil (God K or GII of the Palenque Triad) in the form of the vision serpent surrounded by Venus signs.  Ethno-archaeologist Peter Furst (1976:80) mentions that in the Coto dictionary, there is name of a sacred mushroom called "jaguar ear". Note that the artist may have actually encoded a mushroom in the jaguar's ear above.
  
 
Photograph © Justin Kerr
  Maya vase K1652, shown above,depicts the underworld Sun God as an underworld jaguar surrounded by Venus symbols on his shoulder, back, knee, and under the tail of the serpent he carries in his arms.  The serpent represents the portal of Venus resurrection that is manifested by the Maya the god K'awil, (the Maya counterpart of Quetzalcoatl). The head of the god Kawi'l emerges from the serpent's tail, in a hook symbol, which can be identified throughout Maya religious iconography, and that I believe is code symbolizing the mushroom-jaguar transformation-Venus resurrection religion. Note that the three legs supporting the vessel are shaped to represent the Maya word Ik, a glyph which means wind or breath and thus life and spirit. This T-shaped Ik symbol is associated with the Maya god Chac, and Quetzalcoatl as 9-Wind.

The upended toad at the far right represents a Maya metaphor for birth or rebirth. The skeletal god (known as God A) shown between the jaguar and the toad holds the sacrificial axe, with three blades, as a reference to death and rebirth in the underworld. The three blades on the axe represent the sacred number three, and allude to a trinity of creator gods known as the three hearthstones of Maya creation. 
   

  
     Photograph © Justin Kerr
  Maya vase K2797, photographed in roll out form by Justin Kerr, depicts an Underworld mushroom resurrection ritual involving the Underworld Sun God, GIII of the Palenque Triad, and the Maya god K'awil (God K) identified as GII of the Palenque Triad.
 


                
 The ceramic three faced incense burner above comes from the ancient Maya site of Comalcalco, located in Tabasco, Mexico near the mouth of the Usumacinta River. The three faces with tongue sticking out (Kali?)  mayrepresent the artist's conception of the Maya trinity, known to scholars as GI, GII, and GIII. Note that two deities appear to have a stylized Fleur de lis emblem encoded in their headdress as a likely symbol of divinity, lordship, and Venus resurrection. (Photograph © Rob Mohr, 2010)

  I believe the ancient Mesoamericans believed that the consumption of hallucinogenic mushrooms, whether orally, anally through enemas, or by smoking, transformed the individual into a were-jaguar and opened a sacred portal into the underworld. I believe that the mushroom was linked to jaguar transformation, and that the image of the were-jaguar was a metaphor for the daily death, sacrifice, and rebirth of the Sun, and the journey each individual takes from death to rebirth. Passage through the sacred portal, linked esoterically to mushrooms, assured the decapitated of divine resurrection. 

    
 
 Painted or carved Maya vessels like the ones pictured above (note encoded Fleur de lis symbol on the left and encoded mushroom in scribes headdress on the right) may have contained a ritual drink concocted from the Amanita muscaria mushroom or other hallucinogenic mushrooms in a manner very similar to that described for the legendary Soma of the Rig Veda. Soma was prepared by extracting juice from the stalks of a certain plant. That certain plant was likely the Amanita muscaria mushroom, first identified by ethno-mycologist  R. Gordon Wasson. Soma was the divine beverage of immortality, and in the Rig-Veda Soma was referred to as the "God for Gods" seemingly giving him precedence above Indra and all other Vedic-Hindu Gods (RV 9.42). 
In the Rig Veda, there are recurring themes that allude to decapitation and the spiritual potency of the head. In the ancient Hindu texts known as the Brahmanas, that follows the Vedas, one of the cups of Soma is referred to as the head of Gayatri, the eagle who bore Indra down from the heavens after beheading the dragon Vrtra, and obtaining Soma, only after Vrtra's beheading, known in the Vedas as Ahi meaning "snake" (Rush 2013, p. 296).
 The drinking of Soma by priests at sacrifice produced the effects of god within, and according to Wasson the act of collecting hallucinogenic mushrooms was always accompanied by a variety of religious sanctions. For example, among the present day Mixtecs the sacred mushrooms must be gathered by a virgin. They are then ground on a metate, water added, and the beverage drunk by the person consulting the mushroom.                  
                          
                              

   The image above depicts the god Quetzalcoatl wearing a feathered serpent headdress with the Fleur-de-lis symbol of Lordship encoded at the top.  Among the ancient Maya the Wind God personified the number three, and presided over the month Mahk (Stone and Zender, Reading Maya Art, 2011, p. 175). Quetzalcoatl is depicted on a throne wearing his trademark "Wind-Jewel"breast plate, a sacred symbol identified with the Wind God. The"Wind-Jewel," a half-sliced conch shell worn by High Priests or rulers, resembles the five pointed Mexican half-star that scholars have identified as a symbol for Venus.  I believe that this image depicts  Quetzalcoatl as a Venus God. The harpy eagle staff at his side is a symbol of Venus as the Morning Star. Quetzalcoatl´s hand gesture signifies an opening or creation, thus identiying him asthe God of Underworld Venus resurrection and as both the Evening Star and Morning Star aspects of the planet Venus.
    
                     Quoting Maya Archaeologist Stephan F. de Borhegyi....
 " I think that the story is as follows: the priest king Quetzalcoatl /Kukulcan, (Gucumatz) was expelled by his enemies from Tula (Tollan), sometime around 960A.D (Quetzalcoatl was accused with sodomy and incest.).  He left with a small group of his followers and went to Tlapallan, that is, the Laguna de Terminos region.  Here he apparently settled down.  It would seem that some of the Chontal tribes accepted the mushroom cult introduced by him and after a few years, the pressure of enemy tribes forced them to move on, led by descendants of Quetzalcoatl and his followers.  Some went northeast to Chichen Itza; others moved southward following the Usamacinta toward Guatemala" (Letter, Borhegyi to Wasson, April 1954).
  
             
   Above, left, is a closeup image of a two-handled vase filled with psilocybin mushrooms. On the right, a page from  the Codex Mendoza, an Aztec codex created just after the Spanish Conquest, shows tribute collected by Aztec civil servants from the province of Tochtepec.  Included in the tribute were the aforementioned psilocybin mushrooms (second image from left on next to bottom row). The enlarged image shows the mushrooms emerging from  a Fleur-de-lis emblem. The Aztecs called these mushrooms Teonanacatl, meaning "flesh of the Gods."
                                  
 Above is a silk textile from Iran, the Sasanian Dynasty, 224 CE to 651 CE. which I believe depicts a similar looking Fleur de lis emblem with encoded mushrooms emerging from both sides, representing a symbol of the World Tree or Tree of Life.  I would speculate also that the stars in the scene as well as the two birds represent the duality of the planet Venus as a resurrection star and that the stylized pillar with Fleur de lis emblem encoded with nine hearts, alludes to the World Tree, or Tree of Life, and possibly to the nine levels of the Underworld.    
          
  Above is a Late Classic (600-850 C.E)  Maya plate, and drinking vessel both of which encode a similar Fleur de lis like symbol with mushroom like glyphs.         
    

   
                                                                               
                            

 The Late Classic Maya Vase painting shown above in roll-out form, Kerr No. 5390, depicts, I believe, an instance of deity impersonation taking place in the Maya Underworld.  The figure on the far left holding a spear and shield wears the headdress of the Maya God L, who in Late Classic times (600-850 C.E)  symbolized the Maya Lord of the Underworld.  In Maya cosmology the planet Venus was believed to be the sun from the previous world age. Before this world was destroyed it was ruled by God L.  A ballplayer, or ruler wearing jaguar attire, kneels in the posture of someone about to be sacrificed.  He holds a royal staff and with his right hand makes a  gesture which I interpret as code for the divine mushroom ritual. The dark-skinned figure standing directly in front of him wears the headdress of an underworld deity.  That he is associated with the grisly ritual of decapitation is clear from the trophy head he has tied upside-down to his staff.  In his left hand he offers an Amanita muscaria mushroom, symbol of divinity and immortality,  to the individual to be sacrificed.  The Maya artist has stylized the mushroom in the shape of the Fleur-de-lis.                              

                                                         
  Above, an image from the Codex Ríos shows a deity who, although apparently bearded,  has been identified as the Aztec goddess Mayahuel, goddess of the maguey plant. The codex, a Spanish colonial-era manuscript now in the Vatican library (also called Codex Telleriano-Remensis), is attributed to Pedro de los Ríos, a Dominican friar who worked in Oaxaca and Puebla between 1547 and 1562. The codex itself was likely written and drawn in Italy after 1566. Based on the beard and mushroom headdress, the deity probably also represents an aspect of Quetzalcoatl, the god who bestowed sacred mushrooms to mankind and instructed humans on how to perform sacrifices in exchange for the gift of fire and immortality. Note that his crown consists of a stylized fleur-de-lis from which emerge three sacred psilocybin mushrooms.  Note also that two probable psilocybin mushrooms emerge from the fleur-de-lis emblem within the drinking vessel held in his right hand. The implication is that the vessel contains a psilocybin-based Soma beverage .

  In Mesoamerica, as in the Old World, the royal line of the king was considered to be of divine origin.  Descendents of the god-king Quetzalcoatl, and thus all kings or rulers, were identified with the resurrected Sun God, and the Maize God of Mesoamerican mythology.    
   
       Photograph © Justin Kerr   
  The carved Maya vessel K5420 shown above depicts an esoteric scene of creation taking place in the Maya  Underworld.  I propose that the bearded deity on the far right represents the god Quetzalcoatl. He is depicted with the fleur-de-lis emblem above his forehead symbolizing lordship and divinity,   I also propose that the symbolism and iconography on the far left depicts a stylized mushroom emerging from the anus of an upside-down turtle (note carapace). The animal inside the carapace, however, may represent a sacrificed dog or deer or even a feline. In both Nahua and Maya mythology a dog or a dwarf often accompanies the deceased into the Underworld. A dwarf may be depicted on the right sitting in front of the bearded deity just below what appears to be a monkey.  In the event the animal inside the turtle carapace is a sacrificed deer, it should be noted that many hallucinogenic mushrooms, among them Psilocybe and Panaeolus genera mushrooms, grow in the dung of herbaceous quadrupeds such as deer, making the deer extremely sacred in mushroom rituals. Mushrooms found growing in the dung of deer were easy to find and safe to consume. They were also very easy to cultivate for the purpose of trade.
 Theturtlecarapace in the creation scene is somewhat reminiscent of Hindu mythology, in which a turtle acts as the central pivot point in the Vedic-Hindu myth of the Churning of the Milk Ocean.  The Churning of the Milk Ocean myth is told in several ancient Hindu texts. The  Vedic god Vishnu, depicted as a sea tortoise, is the pivot point or churning stick for Mt. Mantara.. At the suggestion of Vishnu, the gods and demons churn the primeval ocean with the help of a serpent, in order to obtain Amrita, which will guarantee them immortality.  I would argue that Amrita is the Amanita muscaria mushroom. 
The Turtle has been identified with rebirth among the ancient Maya, and the carapace of the turtle with divinity. In the creation mythology of the ancient Maya the first created image was the turtle constellation Ac, identified as the three stars (hearthstones of creation) of the belt of Orion (Brennan,1998 p.93).  I would also propose that the turtle is an esoteric reference to the planet Venus as a divine resurrection star. In the vase carving above, I believe the symbolism of a deer sacrifice and the  ritual of decapitation can be inferred by the trident axe the artist has located on the stem of what appears to be a mushroom, alluding I believe to the creative powers of the turtle. The carapace is a divine portal to rebirth and, through the mediation of the mushroom, to underworld jaguar transformation. The trident blades used in ritual decapitation and the mushroom journey are both symbolic of divine portals of ancestor deification. I propose that in Mesoamerica there was a belief that the stars in the night sky represented the decapitated heads of deified ancestors. The Fleur-de-lis symbol in Maya, Olmec and Aztec art is likely an esoteric reference to the trinity of gods, identified in Maya hieroglyphs as the Three Hearth Stones of creation.These hearth stones separated the sky from the earth when the gods created the world at "Three Stone Place" (Orion). In the Quiche Maya Popol Vuh, these gods were named, Thunderbolt Hurricane,  Newborn Thunderbolt, and Raw Thunderbolt (see also Palenque Triad).
The skeletal demon in this scene represents the Evening Star aspect of Venus and presides over the death of the sacrificial animal (note symbolic turtle shell). The hands of death and creation are evident on the skeletal demon and the artist has also esoterically incorporated the creator serpent above the skeletal demon's elongated skull. The skull is tied to his head in a rulers' knot, reminiscent of the so-called "Toothache Glyph," which refers to the supreme act of tying the royal headband or bundle, the divine symbol of completion associated with period endings and the ritual act of decapitation. 
On the far right we see a scene in which a tiny human and monkey are created from the divine serpent hands (note hands) of Quetzalcoatl who represents the Morning Star of Venus in this scene. The monkey he creates represents the divine symbol of rebirth. Maya scholars point out that when the image of the monkey, known as God C, and meaning "divinity," is merged with another object it marks the image as "holy." In this case the holy image is the act of creation.
In Maya religion the monkey represents the first of the Nine Lords of the Night or Underworld. Called the Bolon Ti Ku, these gods were responsible for guiding the Sun (identified as an underworld jaguar), into the underworld to be sacrificed by underworld decapitation and reborn and deified as the new Sun.  The first god associated with re-birth was the Monkey (GI) and Quetzalcoatl (G9) was the last,  associated with death and completion. The word K'uh in Classic Maya glyphs was assigned to the monkey god and in glyphs his monkey profile was used to describe "holy" or "sacred," referring to "divinity" or "god" (M.D. Coe 2001, p.109).
The monkey imagery in this creation scene may also allude to the Five Suns cosmogonic accounts (Mary Miller and Karl Taube 1993; p.118), in which Quetzalcoatl in his guise as Ehecatl the Wind God presided over the second sun, ehecatonatiuh, the sun of wind, until it was destroyed by great winds. The survivors of that era were turned into monkeys and Quetzalcoatl was their ruler.  Archaeo-astronomer Susan Milbrath writes that (Star Gods of the Maya, 1999,p. 256 ), that an analysis of the Dresden Codex identifies the monkey as also related to Venus as the Morning Star. 

              
    Photograph © Justin Kerr  
 Above, a close up of a Late Classic (600-850 C.E) Maya vase painting depicts sacred mushrooms in association with the sacrificial deer.

According to ethno-archaeologist Peter Furst....  
"The discovery, by early migrants into Mexico, of a functional deer-mushroom relationship could, conceivably, have served to reinforce whatever ancient Asian traditions might then still have remained alive concerning the deer as source of supernatural power, and especially the visionary gifts of shamans."

  
 Above on the left is a ballgame hacha carved to fit into a ballplayers belt (yoke) representing a deer wearing the goggled eyes of Tlaloc. The goggled eyes of Tlaloc in this case symbolizes the sacrifice and resurrection of the deer on the ball court. Ballplayers are commonly depicted wearing the headdress of a deer,  and ballplayers are often depicted wearing the goggled eyes of Tlaloc. Tlaloc's goggled eyes are a symbol of sacrifice, and they represent a paradise of life after death. Note that Tlaloc's goggled eyes resemble the rings or hoops that we see mounted into the walls of Postclassic formal ballcourts.  Above on the right is a Late Classic (600-850 C.E ?) polychrome plate from Cholula, Mexico (on exhibit at the British Museum) which depicts a deer wearing Tlaloc's trademark goggled eyes and feline fangs.
                                 
   Late Classic Maya vessel that encodes a psilocybe mushroom as the portal to Underworld transformation.
              
                 The Fleur de lis Symbol Encoded in Ancient Indian Coins ?
  I found very early representations of the Fleur de lis encoded in ancient Indian coins, believed to represent a symbol of divinity and resurrection. 
              
                                   
                              Nahapana's coin (119–124 CE) with possible Fleur de lis symbol ?     
           

 
                                         

   Note the Fleur de lis symbol on the coin above right from the Kshaharata dynasty 1st century C.E.

                                                      
  INDIAN COINS. Ancient, Satakarni I, Lead Karshapana from the Nasik region, bull and swastika, rev tree; Nahapana, Lead Karshapana, lion to right, rev vajra or thunderbolt. Note the symbol of the Fleur de lis on the coin above in the upper right hand corner. The  Satavahana Empire covered much of India from 230 BCE onward. (From http://en.wikipedia.org/wiki/Satavahana)  (photograph of coins from Baldwin's Auctions Ltd, Auction 71, 1322 ) 
                  
                             
                     MUSHROOMS ENCODED IN ANCIENT INDIAN COINS ?
              
            Magadha Janapada silver coin,(c.600-500 BC) depicting mushroom-like symbols.                        
        
  INDIAN COINS. With astronomical signs and probable mushroom and Tree of Life symbolism. Magadha Janapada (c.600-500 BC), Silver Vimshatika, from the earliest series, approx 5.5g, (cf Rajgor series 10, 45-46) Baldwin's Auctions Ltd, Auction 71, 1247 and 1248
          
                                            
    
        
       
            The Fleur de lis Symbol in Mesopotamian Art        

           
 There is an ancient belief that the Sun God was born from the sea and soared into the sky like an eagle. For this reason, ancient solar deities were often depicted as half-man/half-fish, or half-man and half-bird.  Above on the left is the Fish God Dagon, of Assyro-Babylonian mythology wearing a helmet crowned with the Fleur de lis emblem symbolizing divinity and Lordship. Above on the right is a Babylonian stone slab (650 B.C.?) depicting a winged deity wearing a helmet crowned with the same Fleur de lis emblem.
        

                        
  Above, an Assyrian king (722 BC-705 BC) wears a helmet crowned with the Fleur-de-lis, symbolizing divinity and rulership and a trinity of gods. Note the symbolism of the number 3, encoded in the Tree of Life. The ruler is portrayed standing in front of the Tree of Life, with the Fleur-de-lis encoded at the base, symbolizing immortality and divine resurrection.   

                                                  
 Above a carved Neo-Assyrian panel, 8th century B.C. Nimrud (ancient Kalhu), with winged sun disc, depicts a bearded figure grasping a tree encoded with a probable Fleur-de-lis emblem.     
                
  Hittite relief ? 9th-8th century B.C.depicting the Tree of Life in the shape of the Fleur de lis between two winged sphinxes, that I speculate represents the dual nature of the planet Venus as a divine resurrection star. The Hittites, an Indo-European peoples were contemporaries of the early Assyrians and Babylonians, and were known to have possessed stone idols that had the appearance of anthropomorphized mushrooms.   
      
                              
 In Mesopotamia the Fleur de lis symbol appears as early as the 8th century B.C. in Assyro-Babylonian art.  Above, is a Sumerian clay tablet that portrays two winged deities crowned with the fleur de lis symbol. The deities hold what appear to be ritual buckets. Neo-Assyrian period 934 BC–609 BC .The scene portrays the goddess Ishtar, middle left, asthe personification of the planet Venus as divine resurrection star. Note the possible connection between the names Ishtar and Easter (Venus resurrection?) and the resurrection connection with Jesus and Easter.
      
    

                 THE FLEUR-DE-LIS EMBLEM ENCODED IN OLMEC ART ?
     In the late 1940s ethno-archaeologist Gordon F. Ekholm proposed that visitors from the Shang Dynasty crossed the Pacific and taught the Olmec how to write, build monuments, and worship a feline god. Ekholm proposed multiple transpacific contacts with the New World beginning as early as 3000 B.C. He believed that this influence on New World civilization came from China, India or Southeast Asia, and argued that the Chinese, during the Chou and Han dynasties undertook planned voyages to and from the western hemisphere as early as 700 B.C.
 Surprisingly, the ancient emblem that we have come to recognize as the Fleur de lis appears in the art of Mesoamerica at approximately the same time in history. Its appearance dates to the beginnings of the region's first complex civilization, that of the Olmecs.  Perhaps not so surprisingly, the emblem carries the same significance as a symbol of divinity and rulership a Tree of Life (Venus resurrection), and a trinity of creator gods.  Like the Old World Fleur de lis it also appears in relation to a world tree, a divine mushroom, and a trinity of gods.
  
  Quoting the late ethno-archaeologist Gordon F Ekholm...
"There are, of course, many problems concerning the kinds of evidence that have been presented in the area of transpacific contacts, but the principal difficulty appears to be a kind of theoretical roadblock that stops short our thinking about questions of diffusion or culture contact. This is true in anthropological thought generally, but the obstruction seems to be particularly solid and resistant among American archaeologists."(From Man Across the Sea; Problems of Pre-Columbian Contacts, 1971, third printing 1976, Chapter 2, Diffusion and Archaeological Evidence, by Gordon Ekholm page 54)

                                                                         
 The drawings of two stone celts represent an Olmec deity or ruler crowned with what looks like an Olmec version of the Fleur de lis symbol. Drawing on the right is from Linda Schele (1995b:106)
 
                                                
 The Olmec jade carving of a ruler or deity with feline fangs suggests the concept of underworld jaguar transformation. The ruler or deity portrayed is crowned with a stylized Fleur de lis symbol resembling ether an ear of corn, or a pine cone, both representing symbolic metaphors of the Tree of Life. (from, http://www.antiques.com/categories/380/Ancient-Unknown-)
      
                
      Olmec jadeite figurines crowned with fleur-de-lis emblem of divine rulership, 900 - 300 B.C.E.                                        
                          
  Above is Monument 1, from  San Martin Pajapan, Veracruz, which depicts a kneeling Olmec ruler wearing an elaborate headdress with V-shaped cleft, crowned with the fleur-de-lis emblem.  The figure appears to be grasping the trunk of the World Tree, ready to lift it into an upright position, an act alluding to Olmec/Maya cosmological mythology, in which a creator god separated the earth from the sky by setting the World Tree upright between the two (Freidel, Schele, and Parker 1993, p.132). Drawing by Linda Schele of Pre-Classic (Olmec?) iconography. 
 
                               
  Above, a Late Olmec (800-500 B.C) relief panel from the south coast of Guatemala, depicts a ruler or god-king with a stylized fleur-de-lis in the headdress. Note that the feline figure also wears a T-shaped medallion around his neck a symbol (Ik) of Quetzalcoatl as the Wind God, which is similar in shape to the Aryan Tau cross. The footprints are reminiscent of those of the Buddha found on ancient Buddhist sculpture.   
                            
 Above is another Late Olmec (800-500 B.C) carving, that depicts a deity undergoing jaguar transformation and crowned with a symbol similar in shape to the Old World Fleur de lis emblem.

     Quoting ethno-archaeologist Peter T. Furst:
"It is tempting to suggest that the Olmecs might have been instrumental in the spread  of mushroom cults throughout Mesoamerica, as they seem to have been of other significant aspects of early Mexican civilization......" It is in fact a common phenomenon of South American shamanism  (reflected also in Mesoamerica) that shamans are closely identified with the jaguar, to the point where the jaguar is almost nowhere regarded as simply an animal, albeit an especially powerful one, but as supernatural, frequently as the avatar of living or deceased shamans, containing their souls and doing good or evil in accordance with the disposition of their human form" (Furst 1976, pp. 48,79)."
     
The mushroom-Venus/Quetzalcoatl-Tlaloc religion, as I see it, was spawned by early man's fear of death and his hopes for resurrection, if not in this life, then in another reality. Through shamanic rituals, very possibly springing from the discovery of the mind-altering effects of hallucinogenic mushrooms, he hoped to transcend the former and assure himself of the latter. (Wasson,1980). The shamans, in turn, looked to the most powerful forces in the natural world—the sun, the moon, and the stars, wind, lightning and rain, and such fearsome creatures in their environment as the jaguar, eagle, serpent, and shark—as a means of understanding the place and fate of human beings within this divine framework. In time the shamans unraveled the mysterious but ultimately knowable and predictable movements of the stars and planets, and interpreted these movements as an avenue for understanding man’s relation to time, space, and immortality.
 
These beliefs, over time, spawned a great variety of gods bearing different names in different culture areas but with numerous identifiable similarities linked to divine rulership associated with lineage and descent. Westernized efforts by archaeologists and art historians to sort out and catalog the many overlapping names and identities have been frustrated by the fact that ordered and demarcated categories run counter to the fluidity that characterizes native American belief systems. A multiplicity of identities is a basic feature of the Mesoamerican supernatural realm.
 
    In Mesoamerica the first powerful unitary religion emerged, along with the first complex cultures, in the Early to Middle Preclassic. This religion, that we now call "Olmec,"spread with great rapidity throughout the area, with certain elements of the belief system reaching as far as the Andean area of South America.  We know it by its powerful art style featuring adult and baby "were-jaguars;" an art style so pervasive that it led archaeologist Matthew Stirling in 1955 to christcall the Olmec the "people of the jaguar." He speculated that  the Olmecs believed that at some time in their mythical past a jaguar had copulated with, and impregnated, a human female.  In Mesoamerica the first powerful unitary religion emerged, along with the first complex cultures, in the Early to Middle Preclassic. This religion, that we now call "Olmec,"spread with great rapidity throughout the area, with certain elements of the belief system reaching as far as the Andean area of South America. We know it by its powerful art style featuring adult and baby "were-jaguars;" an art style so pervasive It led archaeologist Matthew Stirling in 1955 to call the  the Olmed the "people of the jaguar." He speculated that  the Olmecs believed that at some time in their mythical past a jaguar had copulated with, and impregnated, a human female.
Evidence of early Olmec culture in the Maya area has been established at numerous archaeological sites  along the Pacific coast on the same fertile cacao-growing plain where archaeologists have found a number of mushroom stones.  These and other archaeologists  suggest that the Olmec were the first to set up cacao plantations in this fertile region later called the Soconusco by the Aztecs. I believe that the Olmec exploited the local resources, including both cacao and narcotic mushrooms, and eventually established the "south-coast trade routes that became part of an even larger economic network connecting Mexico with southeastern Central America, and beyond. This north-south Olmec trade network was later controlled by the ruling elites of the ancient Maya. Sharer considered it  no accident that the earliest examples of Maya hieroglyphic writing and sculptural style have been found at Late Preclassic southern Maya centers.  These southern Maya centers displayed the first flowerings of Maya civilization centuries before the rise of the Classic lowland sites.(Sharer, 1983, 63-66)
              
 Above is a  piece of pottery from Peru, South America, Chavin Culture, with the image of what I believe is the Mexican god Tlaloc with his trademark goggled eyes. It has been dated at approximately 800 B.C. The five fangs jutting from the mouth of the jaguar or puma may be esoteric references to the five synodic cycles of the planet Venus.
 
                                        
Above is a Peruvian figurine from the Denver Museum, holding what appears to be an Amanita muscaria mushroom in his left hand. Note the figurine's goggle shaped eyes, and the three esoteric symbols (probable trinity?), one on each leg and one at his waist. 
  In the northern Peruvian highlands the Chavín civilization flourished that in many ways paralleled the contemporary Olmec civilization of Mesoamerica. Both were major early civilizations and both used feline images in their sacred iconography.  Pioneer archaeologist Marshall H. Saville was the first to call attention to certain Mesoamerican influences he called "Mayoid" in archaeological material from the Ecuadorian and Peruvian highlands and Pacific coastal areas of South America (Saville, 1907, 1909, 1910). Since Saville's first observation numerous archaeologists have reported other apparent artistic and ideological similarities between the two areas dating from as early as the Preclassic and continuing through the Postclassic, a time span from 1500 B.C. to A.D.1400. There is now a consensus that this exchange likely occurred by sea. As mentioned earlier, Peter Furst has demonstrated conceptual religious similarities between the Olmecs and Maya and South America, and has identified mushrooms and mushroom headdresses on Moche ceramic vase paintings (200-700 A.D.).
 
        
  Above is the Epi-Olmec carved monument from Veracruz, Mexico, known as the La Mojarra Stela. It dates to the 2nd century CE. making it one of Mesoamerica's earliest known written records. A ruler is depicted with the Fleur de lis emblem of divine rulership encoded into his elaborate headdress. The headdress takes the form of a supernatural bird known as the Principal Bird deity, which sits atop the Tree of Life at the center of the world.    
      
                     
  Above is a Late-Preclassic (100 B.C.) mural painting from the ruins of San Bartolo in present day Guatemala, which depicts the Principal Bird Deity atop the Tree of Life, crowned with a symbol similar in shape symbolizing resurrection and rebirth, arguably the same meaning as the Old World Fleur de lis emblem.
   
 Here, again, the mural shown above from the ancient city of Teotihuacan in the Central Valley of Mexico. The scene alludes to divinity and immortality and the dual aspects of the planet Venus as a resurrection star. In Mesoamerica the harpy eagle is a symbol of the Mexican god Quetzalcoatl who represents the Morning Star aspect of the planet Venus. I believe the harpy eagle above is depicted with the goggled eye of the Mexican god Tlaloc who, I believe, represents the Evening Star aspect of the planet Venus.   
         
           
  

   Above is a drawing, in roll-out form of a ceremonial drinking vessel painted in a classic Teotihuacan style (from Alarcón 1992:XV) depicting a harpy eagle, and the bearded god Quetzalcoatl-Tlaloc (note goggled eye). In Mexican mythology the harpy eagle is a symbol of the upper world, and is the avatar of Quetzalcoatl as the Morning Star aspect of Venus. The harpy eagle represents the symbol of Venus and the resurrected Sun God. The three abstract five-pointed half-stars depicted on the upper left, are symbols of Venus, identifing Quetzalcoatl-Tlaloc as one and the same, the dualistic god of Venus, and the dualistic God of the Underworld resurrection. The stylized Fleur-de-lis emblem, which believe is encoded directly above Quetzalcoatl's speech scroll, is an esoteric reference to the creator gods Quetzalcoatl-Tlaloc's and their divine role as twin deities, representing both the Morning Star and Evening Star, two of  the three triad gods who are responsible for the sacrifice and resurrection of the Underworld Sun God. Researchers studying the Mayan inscriptions at Yaxchilan Lintel 25, have decoded a glyph they believe represents "The Founder Glyph", depicting a double-headed serpent, bearing a ruler wearing a Tlaloc mask, and that this ruler seems to be a lineage founder connected with Venus and a goggle-eyed deity. There is also plenty of evidence at the ancient Maya city of Copan that the goggle-eyed Tlaloc is closely connected with the founder of the Copan lineages named Yax K'uk Mo,who is depicted on Altar Q,wearing the goggled-eyes of Tlaloc (Milbrath p.196-197).  
  Quetzalcoatl's other avatar the Feathered Serpent, is one of the oldest and the most important deities of Mesoamerica. In Aztec accounts Quetzalcoatl turns himself into a serpent and then back again into a god with human attributes and form. Quetzalcoatl’s name represents a blending of serpent and bird; the quetzal, a blue-green bird belonging to the trogon family that inhabits the cloud forests of Mesoamerica, and coatl, the Nahua word describing both sky and serpent. Among the Mixtecs of Oaxaca, Quetzalcoatl was known by his calendrical name "9 Wind."  The Maya of Yucatan called him Kukulcan.  The Venus-mushroom religion connected with Quetzalcoatl goes back as far as Olmec times. We know from early chronicles that in the Postclassic, Quetzalcoatl was revered both as a god and as a Toltec ruler. We are told by the Aztecs that the human culture hero Quetzalcoatl died in the year 1-Reed, one 52 year cycle from his birth.  It is further recorded in 1570 in the Nahua manuscript known as the Annals of Cuauhtitllan, that he was apotheosized as Venus and transformed into the Morning star in the “land of writing,” which has been interpreted by scholars as being the Maya area  (Milbrath 1999:177). 
 
                                               
   Above, Quetzalcoatl is depicted in the Codex Borbonicus with a stylized looking fleur-de-lis emblem emerging from his serpent staff.   
    The ancient myth of Quetzalcoatl’s creation was preserved for us by a Franciscan friar named Jeronimo de Mendieta in 1596. In his manuscript, Historia Eclesiastica Indiana, Mendieta writes that it was “Quetzalcoatl, the Mexican Prometheus, the beneficent god of all mankind, descended to the world of the dead to gather up the bones of past generations, and, sprinkling them with his own blood, created a new humanity”. (Alfonso Caso, 1958; THE AZTECS, PEOPLE OF THE SUN) 
   Spanish chronicler Fray Toribio de Benavente ( Motolinia) recorded in chapter 24 of the Memoriales,  that the principal gods of Tlaxcala, known as Cholula and Huexotzinco, were known by three names and that Huexotzinco was also called Quetzalcoatl and Camaxtli. Motolinía writes that the Holy city of Cholula, where human sacrifices were offered in honor of Quetzalcoatl, calls into question the legends that describe Quetzalcoatl as opposing human sacrifice. According to Motolinía the Indians of New Spain regarded Quetzalcoatl as one of their principal gods. They called him the God of air and wind, and built temples to him. Motolinia goes on to say that "Quetzalcoatl initiated the scarifying of ears and tongue, not, as was claimed, to serve the Demon, but to perform penance for the sins of evil speech and hearing.  In his Memoriales, (chapter 29), Motolinia describes the great ceremony to Quetzalcoatl which lasted eight days. Coincidentally, this is the same number of days that , according to legend, Quetzalcoatl was in the underworld creating humanity by bloodletting on the bones of his father and the bones of past generations. He then emerged from the underworld as the Morning star.       
                     
                THE RETURN OF QUETZALCOATL AS HERNANDO CORTES
   Above, the Aztec conqueror Hernando Cortes is depicted with what I would argue is a stylized Fleur-de-lis emblem encoded into his helmet. The Aztec artist who painted the image of the bearded Cortes encodes the Fleur de lis as a symbol of lordship. The Aztecs believed that Cortes was the incarnate of the god Quetzalcoatl, who the Aztecs believed would return one day as prophesied, to reclaim his rightful throne.  
  My studies have led me to conclude that all variants of the Toltec/Aztec gods Quetzalcoatl and Tlaloc, and their Classic Maya counterparts, Kukulcan, Gucumatz, Tohil, K´awil and Chac, though they may have different names and be associated with somewhat different attributes in different culture areas, are linked to the planet Venus through divine rulership, lineage and descent.

                                    
   Above, an Aztec incense burner depicts a bearded deity, wearing ear flares encoded with an upside down Fleur-de-lis.The deity may represent the Maya counterpart of the Mexican god Tlaloc, the Maya god Chac-Xib-Chac, or GI of the Palenque Triad, identified by the trademarkIk symbol encoded as the deity's tooth. The Ik, which looks like a capital T,was one of the most sacred symbols among the ancient Maya. The symbol signifies wind, breath (breath=Life) and spirit, and represents a sacred day in the Mayan calendar  linked to the birth of GI of the Palenque Triad, and to the god-king Quetzalcoatl as 9-Wind. In the Old World the same symbol, known as the Tau Cross, was sacred to the ancient Aryans of India.  (photo from  http://www.milenio.com/cdb/doc/impreso/8121027)         
                     Above are glyphs which depict the Maya god Chac, with the Ik glyph encoded as his eye.  

                                                  
  The Ik glyph, above, which is shaped like a capital T, is an encoded symbol of resurrection linked to the Amanita muscaria mushroom and the planet Venus as the Morning Star.
I found the Ik glyph in Mesoamerica to be intimately connected with the Fleur-de-lis, and tied to the births of the Maya god GI, (Chac)  and the Mesoamerican god-king Quetzalcoatl as 9-Wind.
                      
 Above is a Maya incense burner depicting an Ik glyph emerging from the center of a Fleur de lis symbol.                                      

                                                    
  Above, a Maya glyph from the Dresden Codex (possibly an eclipse glyph) depicts the Fleur-de-lis symbol of divinity linked  with the Ik glyph (shaped like a white capital T) in connection with the four cardinal directions.
                

            
  In the drawing above of a Late Classic (600-850 C.E) Maya stucco relief (Maya ruins of Palenque, House B), the Maya artist has encoded the T-shaped Ik glyph as a symbol of the gods Chac and Quetzalcoatl. It appears in context with the Fleur-de-lis depicting the four cardinal directions. They appear in conjunction with a step motif, a Mesoamerican symbol referring to the descent and deification in the Underworld through which one is  resurrected from the Underworld.
                                   (drawing from A.Stone,Reading Maya Art, 2011; p.174)
        
                                          
  Above is a drawing of Stela 11, from the Maya ruins of Yaxchilan, that portrays a powerful ruler wearing an elaborate headdress and a jade pectoralwhich encodes the Fleur-de-lis as an emblem of divine rulership.  In this scene the ruler has been identified as Bird Jaguar the Great, the renowned king of Yaxchilan. Wearing a mask of the Maya god Chac-Xib-Chac, he holds the God K Manikin Scepter, depicting the serpent-footed Maya god K'awil, over the heads of three sacrificial victims. Designated by Schellhas as "God B," Chac, like his Aztec-Toltec counterpart Tlaloc,represents the embodiment of lightning, rain and thunder.  According to Maya researchers, when Maya rulers dressed in the guise of Chac-Xib-Chac, their actions as executioner or sacrificer were divinely sanctioned.The king's conjuring up of the god K'awil manifested the spiritual world within the material world.
  From the inscriptions at Palenque, archaeologists have determined that the king was considered the incarnation of GI, of the Palenque Triad (Editors, Archaeology Magazine, Secrets of the Maya, 2004:109). GI was the first born of the Palenque Triad. He was born on 9 Ik, meaning"9 Wind," which is the same birthday as the Wind God Ehecatl-Quetzalcoatl, also born on 9 Wind. In the Dresden and Madrid codices the T-shaped Ik glyph is used to portray Chac's eye. Both GI and Quetzalcoatl are associated with the planet Venus and the ritual of Underworld decapitation (Schele and Freidel, A Forest of Kings, 1990 p.245). G I, of the Palenque Triad has been identified as a shark-toothed anthropomorphic god whose attributes include a Spondylus shell ear-flare and shell diadem in his headdress encoded with an X-symbol, which may represent the word Jal, a verb meaning to create.

                                      
  The drawing above of Stela 20, a monument in the Grupo Nohoch Mul at the archaeological site of Coba in Quintana Roo, Mexico, portrays the accession of a Maya ruler. He wears an elaborate feathered headdress crowned with a Maya version of the Fleur-de-lis emblem symbolizing  lordship, divinity, and a trinity of creator gods.The ruler also wears clothing encoded with three dots, a sacred symbol of the three hearth stones of creation linked as well to a trinity of creator gods. Although somewhat indistinct, the ruler wears a loin cloth encoded with the Ik glyph
The Coba ruler portrayed on Stela 20 is known only as Ruler C because  his name glyphs are too eroded to be read. Research of the monument´s inscriptions reveals that the ruler's name likely began with the title kaloomte’ (see E1 of stela text, Gronemeyer 2004),  a title comparable to the supreme rank of  “emperor” (Harrison, 1999 p. 92). The ruler is portrayed in the guise of the Maya god Chac-Xib-Chac (also known as Chac from the later codices) at his accession from the Underworld, suggesting that this ruler entered the afterlife impersonating this deity.  Chac-Xib-Chac (believed to be G I of the Palenque Triad) is a  long-lipped god with both reptilian and fish-like features. He wields an axe and is commonly depicted in Maya art associated with the ritual of Underworld decapitation. Commonly mistaken for the serpent-footed Maya god K'awil, the other  long-lipped Maya god, Chac-Xib-Chac, has more fish-like features, and can easily be identified by the trademark shark tooth projecting from his mouth, and his bulbous nose. He is frequently depicted wearing a shell earflare and a shell diadem in his headdress depicting an X-shaped icon identified by archaeologist Michael Coe  as the verb jal, meaning "to create.."
   Quoting,  Oxford Encyclopedia of Mesoamerican Cultures: 
 " Mayanists Stephen Houston and David Stuart note that living Classic Maya rulers who impersonated deities likewise are never said to be or become those gods, although they appear to have been associated with one or more deities after death. Carved stone portraits of Maya dynasts dressed as a god are identified in accompanying inscriptions as u bah, the “likeness, image, person, self” of the god.
This would imply that Maya rulers who impersonated the god Chac-Xib-Chac at death, resurrected from the Underworld not as Chac-Xib-Chac, but as the Sun God in the likeness of the god K'awil. Maya researchers inform us that, when we see K'awil's burning torch piercing the king's forehead or cranium, the king is being reborn at the precise moment of his resurrection and apotheosis, is rebornas the deity Unen K'awiil or Baby K'awiil" (Stone and Zender 2011, p. 31) .An excellent example of the king's underworld transformation can be found in the inscriptions at Tikal in which the name of the king is Sihyaj Chan K'awiil, which means "heavenly K'awiil is born" (Stone and Zender, Reading Maya Art,  2011, p. 149).
 The iconography of deity impersonation tells us that the king or ruler was believed to be the incarnation of Chac-Xib-Chac (GI of the Palenque Traid). Mayan inscriptions also tell us that the king often added the name K'awil (also spelled K'awiil) to his own, because K'awil was the patron deity of Maya lineages, and as god of divine transformation, K'awil opened the door to the spirit world. Maya kings may have believed they were actually communicating with K'awil when they performed sacred bloodletting rituals after consuming an intoxicating beverage (Soma) that opened the door to the spirit world. 
 The same can be said of Classic period Teotihuacan rulers who likely impersonated the god Tlaloc, the counterpart of the Maya god Chac-Xib-Chac, before entering the Underworld Because of Tlaloc's association with Underworld decapitation as the Evening Star aspect of Venus,  Teotihuacan rulers likely portrayed themselves impersonating Tlaloc,  just as their Maya counterparts impersonated  Chac-Xib-Chac, or GI of the Palenque Triad.
The ruler portrayed above on Stela 20 impersonating the Maya god Chac-Xib-Chac holds a "Double-headed-serpent-bar," also known as the Bicephalic ceremonial bar. This bar represents the"World Tree", a sacred portal  known as the Wakah Chan, or Raised-Up-Sky, the path that leads to the supernatural world of immortality.  In the Mayan languages the word chan means both sky and snake, and is code for the vision-serpent-sky portal and alludes to the path the gods and ancestral dead travel in their journey in and out of the Underworld during bloodletting ceremonies, and at death and resurrection.The ancient Maya believed that the gods who created the present world raised the sky by placing a vertical axis signifying up and down at the center of the cosmos. Archaeologist Sylvanus G. Morley believed the Maya bicephalic serpent bar symbolized the highest religious rank during Classic times.K'awil (God K or G II of the Palenque Triad),  the god most frequently depicted emerging from the Bicephalic or Double-headed-Serpent Bar during the Classic period, summoned the deified ancestors and was associated with immortality through the bloodletting ritual.I propose that the ceremonial bar likely represents a cosmological icon of the "World Tree", the axis mundi, an up and down portal linked to the dualistic nature of the planet Venus.

                                                       
    Lintel 9 Yaxchilan, drawing by Ian Graham of the ruler Bird Jaguar wearing an elaborate Chac-Xib-Chac headdress crowned with the Fleur-de-lis emblem of a Maya trinity.   
  
   Quoting Maya archaeologist David Freidel...
  "as the most ancient and sacred of all Maya deities, these three gods played a crucial role in the earliest symbolism of kingship that we saw at Cerros, Tikal, and Uaxactun."  
                    
                             
    
    
  Above is a Late Classic period (600-850 C.E) Maya incense burner portraying two images of the Maya god K'awil, also known as God K. The above image of K'awil appears to have mushroom inspired ear-plugs, and is crowned with the Fleur de lis emblem, symbolizing his "lordship" in a divine trinity, as god of lineages, divine sacrament (Soma) and blood sacrifices. As mentioned earlier, K'awil is the Maya god most frequently depicted on the Double-headed Serpent Bar.  Held by Maya rulers as a symbol of supreme rulership, it was an esoteric reference to the sacred portal associated with mushrooms, the World Tree, and the planet Venus as both Morning Star and Evening Star. K'awil frequently appearsas the Manikin Scepter held by rulers as a symbol of divine power. K'awil's serpent leg symbolizesdivine immortality which, as a bolt of lightning,   penetrated the ground and entered the underworld, thereby creating new life in a place of death and decay. One-legged gods like K'awil and his Aztec counterpart Tezcatlipoca may, in fact, be an esoteric metaphor for the divine mushroom--a one-legged god manifested from the power of lightning. The words "serpent" and "sky" are homonyms in the Mayan language. According to David Freidel "the axe through the forehead, an attribute associated with K'awil, signaled that the person was in a state of transformation embodied by the power of lightning"(Freidel, 1993:194,199). Dennis Tedlock's analysis of the Popol Vuh reveals that "the three q'abawil were wooden and stone deities called Cacula Huracan, Lightning One-leg"; Chipa Cacula, "Youngest or Smallest Lightning"; and "Sudden or Violent Lightning" and suggests that spirit is manifested within material objects (Tedlock,1985, 249-251). Since it was believed that both stones and mushrooms were created from lightning, the spirit of K'awil entered into material objects through lightning. I propose that stones may have been carved to look like mushrooms in order to worship K'awil as a one-legged god of divine transformation.
By the Classic period the Maya's powerful gods had taken on the multiple aspects so basic to their concept of the supernatural, and yet so confusing to the Western mind. K'awil, and Chac (to whom Schellhas assigned the letters God K and God B), had become sources of dynastic rule. K'awil's image, depicted as a serpent-footed figurine called the manikin scepter,was held by rulers as a symbol of divine power. Additionally, the Maya god K’awil has been identified by scholars as the Quiche Maya counterpart of the god Tohil.
 
     Quoting Andrea Stone, and Marc Zender....
  "the most ubiquitous god in Classic Maya art, K'awiil (God K), is also the most enigmatic, because of his proclivity to blend with other gods and his multifarious associations, among them transformation rites, agricultural fertility and royal rituals in general"(Reading Maya Art, 2011, p.49)
 
In his earliest image at the Maya kingdom of Tikal, the serpent footed K'awil appears to be related to the Maya rain god Chac and to the Mexican rain god Tlaloc. Since Chac, the most frequently depicted Maya god in the three surviving pre-Hispanic codices, has also been identified as the Feathered Serpent Gods Kukulcan and Quetzalcoatl, and Itzamna (God D) because of their reptilian or snake-like appearance, it is likely that all are but different manifestations of the same god.       
         
                                   
  Stela 21 from the archaeological site ofNimLiPunit in Belize portrays a Maya ruler wearing a Chac-Xib Chac headdress (GI of the Palenque Triad) and holding the God K Manikin Scepter (GII of the Palenque Triad) depicting the serpent-footed god K'awil. The ruler portrayed on the monument wears a pectoral with a double trefoil design similar in shape and meaning to the Old World Fleur-de-lis emblem of  divine trinity.
      The carved block from the Maya ruins of La Corona, portrays a seated Maya ruler wearing a Chac-Xib-Chac headdress and a royal chest pectoral depicting two Fleur-de-lis emblems. According to Maya scholar David Stuart, the glyphs on the above monument reveal the “end date” for the Mayan calendar, becoming only the second known document to do so. 
                      (Above photo from http://www.chromographicsinstitute.com/tag/mayans/)   

                                        
 Above is an incense burner from the ruins of Mayapan in Yucatan Mexico, representing the Maya Rain God Chac (God B.), crowned with the Fleur de lis emblem of divine rulership.               
                     
  

               
 Tikal Stela 9, Early Classic Period, 475 AD (stone), Mayan / Tikal, Peten, Guatemala / Jean-Pierre Courau / The Bridgeman Art Library    
  Stela 9,  portrays the 12th ruler of the powerful ruling dynasty at the great Maya kingdom of Tikal. The Maya ruler most likely held the supreme rank of Kaloomte, a title comparable to the European understanding of “emperor” (Harrison,1999 p. 92).  The ruler holds a staff in one hand, and makes a hand gesture with the other. He wears an elaborate headdress crowned with three Fleur-de-lis insigniasrepresenting divinity, rulership and a trinity of creator gods (note the three jaguars on ruler's cape). This Tikal ruler’s name glyph depicts the head variant of a peccary with a kan-cross symbol, with trefoil, or what I propose is a Fleur-de-lis emblem, encoded above the peccary’s eye. We know this powerful ruler today as K’an Chitan, or K’an Ak, or by his nickname, Yellow Peccary.                             
             
                     
 The god identified with decapitation was particularly important to the highland Maya at the site of Kaminaljuyu. This drawing from Stela 10, a carved monument at Kaminaljuyu, depicts the trefoil-eyed god (upper left) wielding a sacrificial axe in a scene of ritual ballgame sacrifice. The two floating or suspended gods above may represent a Preclassic version of the Hero Twins from the Quiche Maya Popol Vuh.  The figure in the scene below wearing a ballplayer's yoke may represent Hun Hunapu, the Hero Twins father who is decapitated in the Underworld by the Lords of Death.  The three figures may also represent  the Palenque Triad (GI, GII, GIII).  Freidel and Schele (1998) have identified two of the Palenque Triad with the Hero Twins of the Popol Vuh. From inscriptions at Palenque, archaeologists have identified that the king was considered the incarnation of GI, (Editors, Archaeology Magazine, Secrets of the Maya, 2004:109) who began his mythical reign before the creation of the world on March 10, 3309 B.C.E. (GMT correlation) or 3569 B.C E.. using the Herbert Spinden correlation of the Mayan calendar. The figure at the bottom, representing a ballplayer (possibly First Father) is about to be decapitated by the deity above sporting a trefoil eye, who most likely represents GI of the Palenque Triad. The figure below wears a ballgame belt or yoke incorporating the three circles which I believe signify the three hearth stones of creation, the trinity of creator gods (Palenque Triad above), and the "place of ballgame sacrifice" which, in the Popol Vuh, is the Underworld. The scene suggests that, just as the Underworld Sun God is decapitated in the Underworld by a pair of  twins, the ritual act of decapitation assures divine resurrection. Inscriptions at Palenque and at Quirigua, tell us that twin deities are associated with the "three stones of creation" as the "three stone place", calling to mind Orion's belt and the constellation of Orion as a ballplayer.  We know thatQuetzalcoatl and his twin brother Xolotl were known as both the Lords of the Ballgame, and Lords of the Underworld.  It is tempting to think that, in ancient times, the Maya believed that the stars in the night sky were the heads of the deified dead, and that the constellation of Orion actually represented a resurrected ballplayer.  

 

            THE FLEUR-DE-LIS ENCODED IN BUDDHIST AND HINDU ART      
 
                           
            Buddha meditating below the fleur-de-lis emblem. Nalanda Site Museum, Bihar, India.                              
           
                                     
                               Hindu-Buddhist deity crowned with the Fleur de lis symbol?
 
                         
    The Awakened One, Buddhist mural depicting Tree of Life in association with the Fleur de lis symbol, from Po Win Daung, Myanmar.
               
   Above on the left are Buddhist symbols for a Triad, identical to symbols I found in Olmec- Maya and Aztec art.  (from http://karenswhimsy.com/buddhist-symbols.shtm). The symbol like in Mesoamerica going back to Olmec times, refers to divine rulership and is linked I believe with a trinity of creator gods going all the way back to Vedic times.  Above on the right is the Hindu symbol AUM, a symbo in Hinduism meaning divinity, stylized in a shape reminiscent to the Old World fleur-de-lis emblem.   
(image above from  http://myads.org/hindu_gods/AUM175.shtml)    
           [Triratna+symbols+BUDDHIST+page+125+fergusson+1910.jpg]     
    Ancient Buddhist symbols from India with Fleur de lis emblem representing two versions of Triratna or Buddhist Trinity.
       (drawings of Buddhist Trinity from  http://oldgoths.blogspot.com/2011_09_01_archive.html)
                                  (Photo from http://oldgoths.blogspot.com/2011_09_01_archive.html) 
                                                                   
 China: Han Dynasty, 206 BCE – 220 CE Lady Dai Funeral Banner, 170 BCE. Silk and Natural Pigments, H: 205 cm. Hunan Provincial Museum.  Note Fleur de lis symbol.
                              (Source  http://laurashefler.net/arthistory2010/?cat=1&paged=3)
                                   
                                  

  Manjushri, an Emanation of Amitabha Buddha, wearing an upside down Fleur de lis around his neck.  Nepal 11th-12th century (Kathmandu Valley)

     
                                      
  Above is a statue of the Hindu goddess Lakshmi, who make a similar hand gesture as the Maya Maize God depicted below. The goddess Lakshmi also holds in her hands what appear to be stylized mushrooms, and wears a headdress that depicts an emblem that looks very much like a stylized Fleur de lis symbol .  
                       
                                                                        
 An article in the July, 1901 issue of American Harper's Magazine, mentions evidence that five Buddhist monks had reached Mexico in ancient times.
Was Guatemalaone of the many lands visited in pre-Columbian times by Buddhist monks ? Can we find the origin of the name Guatemala connected with the Buddhist prophet Gautama?
                   
 Above on the left is a drawing of an Olmec monument, dated between 500-400 B.C.E. It shows an elite figure wearing a bird mask, and a headdress similar to the wood sculpture on the right of a Buddhist monk (Drawing of Olmec sculpture by Linda Schele).
 It should be noted that the majority of mushroom stones were found in the highlands of Guatemala and along the pacific slopewhere the Amanita muscaria mushroom grows in abundance. It should also be taken into consideration that the Vedic (Sanskrit) word used to describethedivine enlightenment of Soma was called Maya.

    Quoting ethno-archaeologist Robert Heine Geldern:
"The influences of the Hindu-Buddhist culture of southeast Asia in Mexico and particularly, among the Maya, are incredibly strong, and they have already disturbed some Americanists who don't like to see them but cannot deny them....Ships that could cross the Indian Ocean were able to cross the Pacific too. Moreover, these ships were really larger and probably more sea-worthy than those of Columbus and Magellan."     
 
 


                                FOOTPRINTS OF THE BUDDHA 

  Buddhism is named for its reputed founder Gautama who came to be known as the Buddha, an Indian prince of the 6th century B.C.  Buddhist legend holds that during Gautama's lifetime he left footprints in all the lands where his teachings would be acknowledged.
  So as the story reads Buddha becomes enlightened under the Bodhi tree. The word bodhi which means enlightenment, is likely a metaphorical reference to the Amrita or Soma mushroom used in communion to attain divine enlightenment. It should also be noted that Buddha eventually dies and reaches Nurvana from eating a poisonous mushroom.  
   
 Early Chinese texts use the language of “searching for” (chhiu), the herb or plant of immortality, often described as a fungus (source: Frederick R. Dannaway, Entheogenic Traces in Islamic Mysiticism).
       
                                  
    Footprints of Gautama Buddha 1st century with upside down cap of probable Amanita muscaria mushroom and what may be a Venus symbol similar in shape to the Venus symbols of the ancient Maya. 
           
    Above, is a photo that depicts the under-side and gills of an Amanita muscaria mushroom.                                         (http://www.flickriver.com/photos/mark_leppin/5919105321/) 

    Quoting Scott Hajicek-Dobberstein......
"In the legendary biographies of some Buddhist adepts from the 2nd- and 9th-centuries there are some clues which can be interpreted to reveal that the adepts were consuming psychedelic Amanita muscaria, 'fly agaric', mushrooms to achieve enlightenment."
    (from Hajicek-Dobberstein 1995, Soma siddhas and alchemical enlightenment: psychedelic
mushrooms in Buddhist tradition) 
                            
           
 The ballgame yoke fragment above with divine footprint on the left was excavated along with a tripod (trinity?) mushroom stone from a pit in front of Monument 3 at the Pacific coastal site of El Baul in Guatemala  (Thompson, 1948: 24, fig.20b) 

In Chinese religion, the word "tao" means road or path.The Aztecs called their divine mushroom, teonanacatl, "teo" meaning God, teonanacatl, meaning"God's flesh"Encoded abovein the Buddha's footprints is awheel-shaped symbol that I would argue represents the under side of the Amanita muscaria mushroom cap depicted below, which (http://en.wikipedia.org/wiki/Buddha_footprint ). 

 
 

          
   Above is a carved image of a footprint of the Buddha, with a swastika on each toe (5 synodic cycles of Venus?). The footprint also encodes a circular icon in the middle of the foot, reminiscent to an upside down Amanita muscaria mushroom cap. Below the probable mushroom cap is another symbol tipped at each end with the Fleur de lis symbol. Note that the symbol tipped with the Fleur de lis is also similar in shape to an ancient Maya symbol meaning  Venus symbol depicted below. 
                                               
 The upper half of the symbol shown above has been identified by Mesoamerican scholars as a Venus glyph from the Maya area (Morley/Sharer, 1983, p.479). This glyph, which is linked to the color green (Yax), symbolizes underworld resurrection. Green is the color of the quetzal bird also associated with Quetzalcoatl, and designates the divine portal of  up and down located at the center of the universe. (glyph from Coe 1993:183)

                                              
   Above is a photograph of a carved panel from a Hindu-Buddhist temple in India, depicting the "Tree of Life" with probable encoded mushrooms, and a symbol very similar in shape to a the Maya glyph for Venus.
                   
              
  Above is a limestone carving 1st century B.C. depicting the enlightenment of the Buddha. Note the possibility of what looks like Amanita mushrooms underneath the sacred bodhi-tree. Also note that at the base of the empty throne are the Buddha's footprints. .British Museum, London, Great Britain (from http://www.lessing-photo.com/dispimg.asp?i=03060124+&cr=714&cl=1

           
 The head of Buddha shown above depicts what looks to me like five Buddhas (5 synodic cycles of Venus?) sitting on sacred mushrooms.  The head is in the collection of the British Museum and dates from A.D. 960-1279.
    

     Quoting Robert Gordon Wasson...
"the use of mushrooms, if I am right, spread over most of Eurasia and the Americas, and as Stone Age Man has emerged into the light of proto-history these strange fungi may well have been the primary secret of his sacred Mysteries". 

                               
 SOUTH ARABIAN BRONZE VOTIVE PLAQUE
CIRCA 5TH CENTURY B.C.
  Above are bearded figures carrying ritual buckets in their left hand, which I believe contains the sacred  beverage of the Rig Veda known as Soma. This conclusion is based on the circular symbol in the middle of the scene that looks to me like an upside down Amanita muscaria mushroom cap which would be a clue to the contents of the ritual buckets.

   Quoting Robert Gordon Wasson....
 "What was this plant that was called "Soma" ? No one knows. Apparently its identity was lost some 3,000 years ago, when its use was abandoned by the priests. The earliest liturgical compositions of the Indo-Aryans, called the Brahmanas and put together after the hymns had been assembled, discuss the surrogates to be used for Soma in the ritual but fail to describe the original plant."
 " I believe that Soma was a mushroom, Amanita muscaria (Fries ex L.) Quel, the fly-agaric, the Fliegenpilz of the Germans, the fausse oronge or tue-mouche or crapaudin of the French, the mukhomor of the Russians. This flaming red mushroom with white spots flecking its cap is familiar throughout northern Europe and Siberia. It is often put down in mushroom manuals as deadly poisonous but this is false, as I myself can testify.[3] Until lately it has been a central feature of the worship of numerous tribes in northern Siberia, where it has been consumed in the course of their shamanic sessions. Its reputation as a lethal plant in the West is, I contend, a splendid example of a tabu long outliving the religion that gave rise to it. Among the most conservative users of the fly-agaric in Siberia the belief prevailed until recent times that only the shaman and his apprentice could consume the fly-agaric with impunity: all others would surely die. This is, I am sure, the origin of the tabu that has survived among us down to our own day."
  (from Wasson's, Soma of the Aryans: ttp://www.iamshaman.com/amanita/soma-aryans.htm)

    
  It may be that the origin of Soma and its rituals, as proposed by R. Gordon Wasson, is rooted in the shamanism of the Siberian forest people and came to the New World as early as the Paleolithic. However according to researcher Jason Fitgerald...
" Gordon Wasson noted ancient Hindu scriptures depicting urine drinking as bestowing spirituality, just as Siberian shamans drink the urine of Amanita muscaria-fed reindeer which exhibit appropriate signs of mushroom intoxication in order to gain insight and wisdom".
 
    Quoting Ethno-Mycologist R. Gordon Wasson...
    "People generally claim that the effects of the mushroom poison becomes more intense and more beautiful when it has already passed through another organism. Thus an intoxicated man will often be followed by someone else who wants to collect his urine, which is supposed to posses this effect to a particularly high degree (Wasson 1968: 257, reprinting Dittmar  1900). "

                                                    "passing the pot."
                             
     Literary accounts of Amanita muscaria mushroom rituals in northeastern Asia.                  
  "The most famous literary account of mushroom hallucinations was presented by Oliver Goldsmith (1762) about the use of Amanita muscaria in northeastern Asia with the Tungus, Yakuts, Chukchies, Koryaks, and Kamchadales. One mushroom was a prize that was traded for with as many as four reindeer. A rich owner of mushrooms would have a woman chew a couple of the mushrooms into a sausage, which the male would ingest. Then when he walked outside to relieve himself later, the urine was saved by the poor in a wooden pot and reused. Apparently the active substances are even more potent in the urine than in the original material. The tradition was called "passing the pot." An entire village could remain high for a week on one to several mushrooms."  (from Goldsmith from http://wikicompany.org/wiki/911:Entheogens)

                        
   Above are joined figurines from Western Mexico, Nayarit culture 300 BC. that depict a seated man and woman, the man holding a cup in one hand and a probable mushroom in the other.  The bowl that sits between them may contain a ritual beverage like the Soma beverage of Vedic rituals. (19.7cm high 26cm wide. Gift of August L. Selig. photo image from http://biodiversity.ku.edu/galleries/west-mexico University of Kansas, Natural History Museum)    
  For reasons that may never be known, the ceremonial use of Amanita muscaria mushrooms and the drinking of Soma urine, was later replaced in Vedic and Hindu rituals, and Soma's true identity became a mystery. 

                             
   Above is a female fertility figurine from Western Mexico Zacatecas culture 2nd century CE with what I believe are encoded Amanita muscaria mushroom breasts "Hidden In Plain Sight". (Flicker, photographed at the de Young Museum of Fine Arts, San Francisco, California.
   
                                        
  Zapotec urn of a deity or ruler holding a jar containing a ritual beverage in one hand and a ritual bundle in the other. Note that the ruler or deity impersonator wears a headdress and holds a bundle encoding  the symbol of " The Triad"  reminiscent in shape and meaning to the Old World Fleur-de-lis emblem. It should be noted that the Maya "Founder Glyph" (T600) is composed of a logograph referring to lineage depicting "bound bundles like those used in the Aztec New Fire Ceremony, performed every 52 years at the end of a Calendar Round.
The Zapotecs were a pre-Columbian civilization that flourished in the Valley of Oaxaca of southern Mesoamerica.
 
    According to Gordon Wasson, the term shaman is not native to Mesoamerica or even to the New World but derives from the languages of Siberia.  Siberian shamanism incorporates ecstatic trances brought on by a ritual of dance and the inducement of hallucinations, most commonly through the consumption of some hallucinogenic substance. The intention was to open communication directly with the spirit world, often through a form of animal transformation. The worship of animal spirit companions and the concept of human-animal transformation is so ancient, that the origins of these beliefs appear to predate the development of agriculture. Since these beliefs are also present throughout North and South America that they may very well have been brought there by the first hunters and gatherers to reach the New World. We find the first evidences of these shamanistic rituals in Mesoamerica in the art of the ancient Olmecs along with the development of agriculture, food production, and settled village life. 

                                                                 
    Above carved from basalt, is an Aztec ruler or deity 15th–16th century Mexico, holding apine treein his right hand, and pine cones in the other. 
                                              
                 THE AMANITA MUSCARIA MUSHROOM AND THE TREE OF LIFE
              
   The photographs above depict the Amanita muscaria mushroom living in symbiotic relationship with pine trees and birch trees.   (the photo on the left is by Adrian Davies)        
                       
                      
In both Iranian and Vedic-Hindu mythology the haoma and soma plant grow by sacred "World Tree"   (Photograph from, Soma Haoma:  Identification of Soma and notes on lexeme corpora of ancient Indian languages.
(http://bharatkalyan97.blogspot.com/2011/09/decipherment-of-soma-and-ancient-indo.html)
 
       
               
                            
   Above is a photograph of a Babylonion stone slab (650 B.C.?), that depicts the use of the Fleur-de-lis emblem in the head like a crown, as a symbol of Lordship and divinity and represents an esoteric symbol of a Babylonian trinity. Note the winged god-king carries a ritual bucket in one hand, containing what I would argue is the ritual Soma beverage, and in his other hand the winged god-king holds a pine cone, which I would argue may be a symbolic reference to the "Tree of Life", and "Tree of Knowledge".

              
  Above is Monument 19 from the Olmec site of La Venta. The monument depicts a ruler or ballplayer holding a ritual bucket, beneath a plumed serpent, and two quetzal birds, an esoteric reference I believe to the creator god Quetzalcoatl who was said to have invented the ballgame. The ruler or ballplayer or both, wears a three teared ballgame belt, which is a common motif depicted in Maya art alluding to a trinity of Maya gods, known to scholars GI, GII, and GIII, the so-called three hearth stones of Maya creation. The ruler or ballplayer also wears a feline-serpent inspired helmet representing I believe a divine portal of Underworld Venus resurrection. The ritual bucket he holds in his right hand contains the divine beverage I believe is Soma, the ritual mushroom beverage of Underworld jaguar transformation and Venus resurrection. The site of La Venta was one of the largest Olmec ceremonial centers that flourished in the hot tropical jungles of Mexico's Gulf Coast, between 1500 BC and 900 BC. before it was abandoned around the beginning of the 4th century BC.
                    
                                
  Above is an ancient Assyrian stone slab (650 B.C.) depicting a deity on the left with wings who is crowned with an emblem of divinity in his helmet similar in shape to the Old World Fleur-de-lis emblem. The winged deity holds in his left hand a handled pot, filled with a sacred beverage for the gods, (Soma?). The winged deity above also holds in his hand what appears to be a pine cone, which likely alludes to the contents in the jar being none other than the Soma beverage.          
                                  
   Above is the possible image of the Sumerian trinity with the Sumerian god Anu as the central figure holding what I would argue are symbolic references to the "World Tree" encoded with the number three, for trinity.  Anu (Anu= sky, and heaven) is flanked on either side by two other deities both crowned with the Fleur-de-lis symbol. Anu was one of the oldest gods in the Sumerian pantheon, and part of a triad of gods which include,Enlil god of the air, and Enki god of water.  (from http://en.wikipedia.org/wiki/Anu).   

                   Please note the similarity above and below in "World Tree" imagery                                              
  
 
Above is page 24 of the Mixtec Codex Vindobonensis. Note that the scene depicted on the bottom left of the pre-Columbian codex, looks somewhat similar to the Sumerian triad image directly above and below of the Sumerian god Anu. The V-shaped cleft depicted below left, in the pre-Columbian codex represents I believe a portal (mushroom portal) that leads to the Underworld for rebirth. The footprints just to the left of the V-shaped cleft in a circle marked esoterically as day and night, represents the journey the Sun God makes each day as he travels into the Underworld to be sacrificed by decapitation, as the Underworld Jaguar God. Note that the Sumerian god Anu, depicted as the central figure (above and depicted below) holds a sacred plant in both hands, a divine plant similar in shape and meaning to the sacred plant or mushrooms that the twin-faced Venus deity depicted above in the pre-Columbian codex above, which I would argue than is a reference to a trinity of gods (mushroom symbol of triad and rebirth?). Also note (see Fig. 58 above) that the Sumerian god Anu who is flanked on both sides by two other deities with the Fleur-de-lis emblem in helmet, is depicted with a circle around the waist, which I believe, like the V-shape cleft in the codex above is an esoteric reference to a portal of resurrection and immortality. I would propose, based on the notion of similar imagery, that the disc above Anu's head is a reference to the sun, or reborn Sun God. And that the two deities that stand on either side of Anu with the Fleur-de-lis emblem encoded in their helmets, represent dualistic deities associated with death and rebirth, and more than likely represent the twin aspects of Venus as a divine resurrection star.  Note that the twin-faced deity depicted above in the Codex Vindobonensis wears a dual-headded harpy eagle headdress, and he holds in his right hand a sacred plant associated with Underworld jaguar transformation, and what I would argue is an esoteric reference to divine mushrooms and a trinity of creator gods, stylized to resemble the Fleur-de-lis emblem.    
        
 Above are the Sumerian gods Enki and Enlil, sons of the god Anu that came down to Earth according to Sumerian mythology. Enki's attributes as seen above is a double-headed snake, often shown with the horned crown of divinity and dressed in the skin of a fish. Enki played the pivotal role in saving humanity from the global Deluge, and just like the Mesoamerican god Quetzalcoatl, who's previous world was also destroyed by flood, Enki is also credited with the creation of mankind and bestowing the secrets of life and death.  Like Quetzalcoatl whose avatar is the Feathered Serpent, Enki's emblem was also the serpent or two serpents entwined on a staff—the basis for the winged caduceus a symbol used by modern Western medicine. Note in the drawing above the offering of a sacred beverage, to a female (fertility, or mother goddess?) with encoded Fleur-de-lis emblem. I conclude that the Fleur-de-lis emblem is an esoteric symbol of the Soma beverage and of divine immortality (http://www.alchemylife.org/Pages/bltav1_wpf/bltav1_wpf.html#_edn36)

    Quoting the author,Walter Reinhold Warttig Mattfeld y d la Torre, M.A. Ed.
   " In Sumerian myths Enki of Eridu bears the Sumerian epithet ushumgal, meaning "great-serpent-dragon" and it is he who plants a great fruit tree in his garden at Eridu called the Mes-tree and another wonderous tree called the Kiskanu. He is described in Sumerian hymns "as the great dragon" (ushumgal) who STANDS in Eridu." His double-meaning words that confound and ensnare an unwary mankind (Adapa) are likened in hymns to the "poisonous venom of a great viper." He is portrayed as the creator of mankind and the god of wisdom, who bestows knowledge on mankind at Eridu (and at Nippur) and he allows man (in the form of Adapa) to obtain forbidden knowledge reserved for the gods but denies him and mankind immortality (cf. the Adapa and the Southwind myth). That is to say, Enki (Ea) is not only one of several prototypes that was later transformed into Eden's serpent, he is also one of several prototypes that was transformed into Eden's God, Yahweh-Elohim.
   
   The Mesoamerican god Quetzalcoatl and the Sumerian god Enki, both have the attributes of a double-headed serpent.  In Mesoamerica, dual-headded serpents I believe are associated with the twin aspects of the planet Venus as a divine portal of up and down. Both Quetzalcoatl and Enki are responsible for creating mankind and bestowing the secret to immortality the secret of life from death, through a ritual beverage (Soma?) and self sacrifice.     
      According to Vedic literature, the Gods got together at the beginning of time and churned
the ocean to extract a substance which would offer them immortality. According to Richard J. Williams author of "Soma in Indian Religion" Etheogens as Religious Sacrament (2009 p.2 Introduction), The Gods agreed to share this mighty elixir, calling it  Amrita, or Amrit which is a Sanskrit word for "nectar", a sacred drink, or Holy Ambrosia, that grants their gods immortality. 
   
 
                             
  In  Mesoamerica the greatest gift one could offer to the gods was one's own life, or self sacrifice, emulating the death and resurrection of Quetzalcoatl who took his own life at Teotihuacan. In the Popol Vuh the sacred book of the Quiche Maya, the Hero Twins after drinking a sacred beverage new the secret to life and death through the act of self decapitation in the Underworld.  Blood was the sacred substance of life that gave strength each morning to the new born sun as it journeyed across the sky.   A passage from the Popol Vuh, describes how the first humans received instructions on how to perform sacrifices in exchange for the gift of fire. The passage reads...

"They should cut themselves open, that from under their ribs up under their armpits their hearts should be torn out. Before everything, sacrifice. By this you will obtain grace. Next, make holes in your ears, and likewise prick your elbows and knees. Offer as sacrifice the blood that flows from them. In these ways, your gratitude will be shown." 
                  
 The scene above from the Codex Laud depicts the Aztec goddess Mayahuel, goddess of the maguey plant, in a scene depicting the divine act of self sacrific. In her right hand she appears to hold a ritual beverage ( Soma beverage stylized with the Mesoamerican version of the fleur-de-lis emblem?) as a gateway or portal to immortality. Note the serpent and turtle below the so-called "World Tree" or "Tree of Life". Both the turtle and serpent act as a sacrificial altar, and both are avatars of the god Quetzalcoatl and the planet Venus as the Morning Star. 
                   
  Above is a sixteenth-century drawing from the Florentine Codex, Book 11, by Frey Bernadino de Sahagun. The image as described by Sahagun depicts the sacred mushroom of Mexico, called teonanacatl  by the Aztecs, which means "Gods Flesh". The image of a bird perched on top of the mushrooms is a possible metaphor that alludes to the bird deity (Quetzalcoatl) that sits atop the world tree in Mesoamerican mythology.

         
  The carved relief panel above is one of a series of six carvings in the vertical side walls of the South Ball Court at El Tajin, in Veracruz, Mexico (drawing from Coe, 1994, p.117). The carved panel depicts an individual, a ruler or Underworld god, with were-jaguar fangs, in the sacred act of drawing blood from his penis. Note just to the right of the World Tree sprouting divine mushrooms, that the figure in the water below receiving the blood offering, wears a fish headdress (Vishnu?), which may be a symbolic reference to a mythological ancestor from a previous world age, who survived a world ending flood by being changed into a fish. The bearded god above him, with two bodies, likely represents Quetzalcoatl in his twin aspects of the planet Venus representing both the Evening Star and Morning Star. Most importantly, note that there are tiny mushrooms depicted on the limb of a tree just left of center. This tree, I believe, represents the world tree as the portal leading up and down at the center of the universe.  The bottom of the panel has an intricate scroll design which I  believe is more than mere decoration and likely represents a stylized cross-section of a mushroom. Stylized Venus symbols are also depicted on the panel at both of the sides. Each Venus symbol is associated with three circles, maybe representing the three hearth stones of creation.
    

               
                                    
   The Illustration of the Fish God Dagon, with Fleur-de-lis emblem encoded in helmet is from With the World's People, by John Clark Ridpath (Clark E Ridpath, 1912).  As already mentioned, there is an ancient belief that the Sun or Sun God is born from the sea. This is because the Sun appears to rise out of the sea from the eastern horizon. For this reason, solar deities are often depicted as half-man/half-fish, the very first one being Vishnu of Vedic Hindu mythology. 


  QUOTING RESEARCHER RICHARD MERRICK...
 "In the Hari Purana, the god Vishnu is shown as having assumed the form of a fish, with a human head, in order to reclaim the Vedas lost during the deluge. Having enabled Visamitra to escape with all his tribe in the ark, Vishnu remains with them for some time and gave them instruction".
  "This narrative is probably the original story behind the Babylonian god Oannes, described by Berossus in the 3rd century BC as the man-fish who arrived from the sea and taught the Babylonians agriculture, writing, geometry and mathematics. This in turn is cognate with the Biblical story of Jonah being swallowed by a whale and Noah returning from the sea in his ark".
  (From Richard Merrick, Venus blueprint ?)


        The Fleur de lis as a symbol of the "Tree of Life", the Holy Trinity, and the
                    Amanita muscaria mushroom encoded in Christian Art

     Quoting Dr. John A. Rush author of, The Mushroom in Christian Art (2010: 138-139).
 "Most people read Christian art as pictures, as snap shots representing historical events, but that is not what Christian art is about.  An icon is a representation of something that cannot be represented; icons are spiritual renderings of another world, a spiritual geography; what you see is not what you get.  A cross is not a cross, a book is not a book, an angel is not an angel, and a mushroom is not a mushroom.  This being the case the Apostle’s Creed is likewise an icon, a mega-icon because it encapsulates all others. Again, this is not history; it is an elaborate, artistic, spiritual attempt to explain and pay homage to the mushroom experience."
    
 Dead Sea Scroll scholar, John Marco Allegro, has written a controversial but thought-provoking study of psychotropic rituals in early Judeo-Christianity (1971).
 Quoting John Marco Allegro....
 "Thousands of years before Christianity, secret cults arose which worshiped the sacred mushroom — the Amanita Muscaria — which, for various reasons (including its shape and power as a drug) came to be regarded as a symbol of God on earth. When the secrets of the cult had to be written down, it was done in the form of codes hidden in folktales. This is the basic origin of the stories in the New Testament."  
             
                                      
  Above is a painting of Adam and Eve and the serpent at the Tree of Knowledge, superimposed over an encoded Amanita muscaria mushroom cap.  The painting is from St. Michael's Church, Hildesheim Germany 1192 AD. (photo from Allegro, 1971)                         
                         
              
  R. Gordon Wasson...
"the Soma of the Rig-Veda becomes incorporated into the religious history and prehistory of Eurasia, its parentage well established, its siblings numerous. Its role in human culture may go back far, to the time when our ancestors first lived with the birch and the fly-agaric, back perhaps through the Mesolithic and into the Paleolithic" (from Furst, 1976 p. 103).
  "In brief, I submit that the legends of the Tree of Life and of the Marvelous Herb had their genesis in the Forest Belt of Eurasia". "The Tree of Life, is it not the legendary Birch Tree, and the forbidden fruit of the Tree of Life, what else is it but the Soma, the fly-agaric, [the Amanita muscaria] the pongo of the Ugrian tribesmen?"(from Furst,1972, p.212)
  "In Genesis, is not the serpent the self-same chthonic spirit that we know from Siberia?"

                            
 According to Genesis, God told Adam that he was forbidden to eat from the tree of knowledge. God told Adam that if he ate the fruit he would die.  Later, Eve who was deceived by a serpent, ate the fruit which she then took to Adam and he ate it, knowing he had disobeyed what God had explicitly told him. God expelled them from the garden, and through this act, sin entered the world. We don't know what kind of  fruit this tree had, that would cause Adam and Eve to die, (some Amanitas are poisonous) but the idea that the deadly fruit was an apple was introduced by John Milton in his epic poem  Paradise Lost.
  Ethno-mycologist Robert. Gordon Wasson, and other notable scholars have written that the mythological apple is a symbolic substitution for the Amanita muscaria mushroom.  Note below the obvious encoded mushroom imagery in association with the Holy Trinity, and  World Tree, and  "Tree of Knowledge".
   
   Photograph of Amanita muscaria mushrooms under a pine tree, courtesy of sagaciousmama.com.
                                                            
                       The Forbidden Fruit, Amanita muscaria
                  
    The Canturbury Psalter, 1147 AD, depicting Adam and Eve and the World Tree, the Tree of Knowledge, the forbidden fruit encoded as sacred mushrooms "Hidden in Plain Sight". 
                                  
 Mural painting of Adam and Eve eating the forbidden fruit from the “Tree of Knowledge”. Mural from the apse of Sant Sadurní in Osormort Spain, 12th century (Image from April Deconick http://forbiddengospels.blogspot.com/2012/04/sabbatical-post-3-why-mushrooms.html) 
             
  Above is an 11th century work of art made of bronze, on the door of St. Michael’s Cathedral in Hildesheim, Germany. The bronze artwork depicts the scene of "original sin", the so-called "Fall of Man", in which God banishes Adam and Eve from Eden for eating the forbidden fruit of the tree of knowledge.
      

Amanita Muscaria imagery encoded in stained glass ?
                                St-Martin-Chartres-Cathedral, France 12th century A.D. 
                                  
                                             
   Above are more 12th century stained glass windows that may depict encoded esoteric Amanita muscaria mushroom imagery.                               
                                          
 Above, is a humeral veil used by the 17th century Dominican Cardinal, Thomas Howard, which encodes the Fleur de lis symbol below, circled in yellow, in association with an upended toad, a symbol of transformation and rebirth in both the Old World and New World. Note that the cross beneath the crown,  appears to look very much like the Amanita muscaria mushroom, that I would argue was encoded as a metaphor for Soma "Mushroom of Immortality" and the tree of life. The Cardinal's veil now belongs to the Dominican Priory in Oxford. (Photo from http://www.naturephoto-cz.com/muhara-picture_ba-3573.html)           
                   
  Christ and the Twelve Apostles, Museu Nacional d'Art de Catalunya, Barcelona, 12th century, note the Amanita muscaria mushrooms " Hidden In Plain Sight".   (http://christchurchmontrealmusic.blogspot.com/2009_07_01_archive.html)    
    
          
 Christ's Entry into Jerusalem (fresco), French School, (12th century) / Church of St. Martin, Vic, Berry, France. Note the mushrooms in the upper right of the fresco emerging from a Fleur de lis.  (http://bridgemanart.com/asset/95749/French-School-12th-century/Christ's-Entry-into-Jerusalem-fresco)                            
       
                                                                 

 Illuminated Manuscript, late twelfth or early thirteenth century, Claricia Psalter, Walters Art Museum Ms. W.26, fol.8v. Note the Fleur de lis symbol encoded with what looks to me like two stylized Amanita muscaria mushrooms.


                                    
 
                                                          Russian Trinity icon, 1811 AD  
   Amanita muscaria imagery encoded in the offering of the sacred sacrament (Soma ?)     
                                          http://www.cote-bleue.eu/web5/champignon.html
        
   Above is an image of the Holy Trinity, encoded I believe, with the colors of the Amanita muscaria mushroom.
     
                  Fleur de lis emblem as a symbol of the Holy Roman Emperor  
      
         
    Above on the right is a sculpture of the Holy Roman Emperor Otto I crowned with the fleur de lis          emblem of divine rulership (Holy Roman Empire) and Holy Trinity and holding an object resembling the cap of the Amanita muscaria mushroom.                       
                
                     
                  
      Portraits of the Holy Roman Emperor, King Charlemagne  A.D. 742 - 814, holding a royal staff, with (left) the Fleur de lis, and (right) the Holy Cross, both symbolic references to the World Tree, or Tree of Life In both portraits the red robe with embossed decoration is an encoded reference to the Amanita muscaria mushroom.      
                                                         

  Holy Roman Emperor King Karel II der Franken 823-877: ("Charles the Bald (823-877)") Note the red robe, Holy orb, and Fleur de lis staff, and what looks like three little mushrooms emerging from the king's crown stylized with the Fleur de lis emblem, as a symbol of divinity and the Tree of Life.  

                       
                         File:Jan Thomas 002.jpg
                                                 Amanita muscaria mushroom crown ?
Margaret Theresa of Spain was Holy Roman Empress, German Queen, Archduchess consort of Austria, Queen consort of Hungary and Bohemia. She was the daughter of King Philip IV of Spain and his second wife Mariana of Austria. Wikipedia 
            
                              "V. Alfonz aragóniai király with Amanita muscaria mushroom crown ?                                        
                              
    Holy Roman Emperor, King Charlemagne, symbolically portrayed as the tree of life, wearing a robe decorated with the Fleur de lis emblem.  
                                   
  Above is a mosaic of Justinian the Great, with encoded Amanita muscaria inspired halo.  Justinian I, was the Byzantine Emperor from 527 to 565.
    Justinian I; mosaic in Basilica of Sant'Apollinare Nuovo              
 
       

                HINDU BUDDHIST MYTHOLOGY IN PRE-COLUMBIAN ART
                             THE CHURNING OF THE MILK OCEAN            
     
The Churning of the Milk Ocean, is told in several ancient Hindu texts, the avatar of the Vedic god Vishnu is the sea tortoise depicted below as the pivot for Mt. Mantara acting as the churning stick. At the suggestion of Vishnu, the gods, and demons churn the primeval ocean in order to obtain Amrita, which will guarantee them immortality. For more on the  CHURNING OF THE MILK OCEAN, IN MESOAMERICA ?, in pre-Columbian art see, Soma in the Americas page II,  http://www.mushroomstone.com/somaintheamericasii.htm 
 
                  
  I found a drawing by Daniela Epstein-Koontz, of a ball court relief panel from the archaeological site of El Tajin, in Veracruz Mexico.  As far as I know I am the first to connect this ballcourt scene with Hindu mythology, and the Churning of the Milk's Ocean, often depicted in Hindu art. Note the dual headed serpent at the bottom of the scene on the right and left, emerging from the ocean's depth. The turtle at the bottom of the scene, an avatar of the Hindu god Vishnu acts as the central pivot point, below the churning mechanism which is composed of an intertwined serpent being pulled at both ends by sky deities (four cardinal directions) who create the new born Sun (Vishnu ?). Note that the tail of the serpent end directly above the symbol of the new born Sun just above the turtle in a three-lobed stylized design of the Fleur-de-lis emblem, esoterically alluding I believe to the trinity of creator gods. The three arrows penetrating the Sun in the scene alludes to the triad and the Sun's life giving rays of light. If this ballcourt scene does represent Hindu mythology, and I feel certain that it does, than the two deities behind the central characters hold containers or ritual buckets in their hands filled with the Soma beverage. 
    For documentation of motif of ritual bucket (bag?) held by figures in hieratic scenes in Mesoamerica see Drucker, Hiezer, & Squier, 1955: 198. For documentation of motif of ritual bucket (bag?) held by figures in hieratic scenes in the Old World see H. Frankfort, 1955: pl.83.      
                   
                  
  The photograph above K4880, from the Justin Kerr Data Base, is of a turtle depicting an incised  Venus glyph. The turtle carved from shell, was excavated from a burial in the Mundo Perdido of Tikal, Guatemala.  In Maya creation myths the first manifestation of creation is a Cosmic Turtle from which First Father is reborn.  The turtle artifact above is in the National Musuem of Guatemala. Museum no. 1875. length 4.5 cm.  In Mesoamerican mythology  the planet Venus, (aka Quetzalcoatl) is clearly linked with the creation of the universe, and an analysis of the Paris Codex (Milbrath, 1999; p.176) Zodiac pages 23-24, suggests that the turtle is closely linked with the constellation of Orion (see cosmic turtle, Bonampac murals room II) just like the turtle is in Hindu mythology. According to Mesoamerican scholars Mary Miller and Karl Taube, (1993:175) there are a number of Late Classic altars carved in the form of a turtle. One such turtle altar (Itzimte Altar 1), depicts Maya Kaban curls.  Legendary Maya scholar Linda Schele has deciphered that the Hero Twins father, Hun Hunahpu, is reborn (as Sun God?) from the Underworld through the back of a cosmic earth turtle. Resurrection myths in Mesoamerica are clearly linked to a cosmic turtle, the ritual ballgame and the belt of Orion. I believe that the turtle is linked to the planet Venus and thus Quetzalcoatl as both a Morning Star, and a feathered serpent. In the Quiche creation myth of the  Popol Vuh, Plumed Serpent swims in the sea before the dawn of creation. 
                                  
  The drawing above by Jenni Bongard is taken from the Madrid Codex, which depicts the three hearth stones of creation, placed on the back of the Cosmic turtle. The X-symbol depicted on each of the three stones likely represents the glyph jal, a verb according to Michael Coe, to create ( see Coe's, Reading the Maya Glyphs: 2001 p.163).  Note as well that the turtle's tail is in the shape of the Maya kaban curl.

         THE CHURNING OF THE MILK OCEAN IN THE MADRID CODEX
                          

Above is page 19, from the Madrid Codex, also known as the Maya Tro-Cortesianus Codex  depicts what I believe are elements of the same Hindu inspired myth The Churning of the Milk Ocean. Note that the deity above the turtle is painted blue, just like the Hindu god Vishnu is in Hindu art, and that the turtle below once again acts as the pivot point for the churning stick. The serpent's intertwined body is the mechanism by which the gods churn the milk's ocean. In the scene above the artist depicts the importances and creative forces of self sacrifice by substituting a rope for the serpents long body, depicting a blood letting ritual in which the rope (the serpents body) is being pulled through the penises of the gods above. The glyphs in the scene marked with the X-symbol, may represent the Maya word jal, a verb meaning to create ( see Reading the Maya Glyphs: 2001 p.163).  

     The Churning of the Milk Ocean myth depicted in a Mural at Tulum?
    
  (drawing by Felipe Davalos G)
  Above is a drawing of a Mural from the Maya site of Tulum, Structure 5, in Yucatan Mexico, which depicts what I believe is a Post Classic Maya version of the Hindu myth, The Churning of the Milk Ocean. Note the intertwined serpents in the main section of the scene as well as a serpent swimming below in the primordial sea along with a fish and a turtle in the lower section. The turtle bears the so-called head of a god scholars call God N. David Stuart has suggested that God N and and the Maya Post Classic god Itzamnah known as God D from the codices, were manifestations of the same deity and that he was involved in the creation of the world.  Inscriptions on Stela C at the Maya archaeological site of Quirigua tell us that Itzamnah is one of three deities, like the Palenque Triad involved with the activities of creation at the beginning of the new era.
Once again the turtle deity acts as the central pivot point, below the churning mechanism, which is composed of intertwined serpents. The characters above likely depict the gods from the four cardinal directions representing both life and death, upper world and underworld.  The four deities use hand gestures to churn the Milk ocean, and together with the serpent and turtle, (both are avatars of the planet Venus), create and resurrect the reborn sun god.  (drawing of Mural 1 from Tulum from Milbrath 1980).

                  The Churning of the Milk Ocean in the Codex Selden                                  
   Depicted above in the Codex Selden, is another scene that I feel quite certain, represents a Mesoamericanized version of the Hindu inspired creation myth known as The Churning of the Milk Ocean. The complex scene on the page is first and foremost divided into three sections, separating the upper world, from the underworld, and the middle world from which the tree emerges.  The upper world is depicted and framed at the corners of the page with a sky band depicting disembodied eyes, which represent the soul of the deified ancestral dead as the stars above.  Framing in the bottom portion of the page is a two-headed feline/serpent, depicted with a stylized design of criss-crossing  bands which can be linked to a Maya verb jal, which means create, (Coe; p.163). The dual headed serpent which frames the bottom of the page also surrounds a body of water that I believe represents the so-called Milk ocean of Hindu mythology. Emerging from this sea of creation (note waves) is a tree depicting a single eye, and intertwined serpents, emerging from a sacred altar platform that depicts a band of stylized step glyphs, symbolizing the descent and emergence from the underworld. Its worth noting that verses in the Rig Veda refer to Soma as the  "single eye", the eye of the sun, symbolism, that can be clearly seen in the iconography above. Coiled around the trunk and branches of this sacred tree is a two-headed serpent, which depicts  feline fangs symbolizing the serpents descent into and out from the underworld. The serpents feline attributes represent the underworld transformation that takes place prior to the Sun God's resurrection from the underworld.  The central portion of the scene likely symbolize middle earth, from which the Tree of Life emerges. The codex scene depicts two main characters or deities sitting on opposite sides of  the tree. I believe they symbolize both the God of Life and the God of death. The God of Life and god of the upper world sits at the left of the tree. He appears to have emerged from the mouth of the serpent below him at left.  Opposite the God of Life, on the other side of the tree is the God of Death, who has emerged from the mouth of the serpent with the feline head. 
Both deities hold in their hands a ritual sacrament, to be eaten or offered as a gift to the Tree of Life, from which the Sun God is reborn and immortality is obtained.
At the top of the page we see the newly born Sun God emerge from a V-shaped cleft depicted in the upper branches of the Tree of Life. To the right of the Sun God in the upper right hand corner of the page is an icon that is shaped like a drinking vessel that bears a symbol of five points beneath the vessel that refers to the so-called  "fiveness" of Venus, referring to the planets five sonodic cycles, noted by scholars in the Dresden Codex. I believe that this symbol is linked to the Soma ritual and the sacred day Ahau, in the Venus calendar,  when Venus is first visible rising from the Underworld as the Morning Star. I would argue that this Venus resurrection ritual is intimately connected with the Soma beverage and Soma sacrifices mentioned in the Rig Veda. The symbol to the left of the Sun God, and opposite the probable Soma vessel located at the left hand corner of the page is the year sign in the Aztec calendar.        
 Moving on to the middle portion of the scene, I believe the sequence of events, reads from right to left, and is as follows. Just to the right of the altar platform from which the Tree of Life emerges, there is a bleeding turtle just above a body of water I believe refers to the "Milk Ocean" in Hindu mythology. The bleeding turtle is located just below the deity identified as the God of Death and the Underworld.  The bleeding turtle in this scene represents the sacrificial victim, whose shell or carapace in this scene will be the sacred portal linked to immortality and divine resurrection. The turtle's bloody heart can be seen sitting on top of the altar platform just to the left of the tree, as a sacrificial gift to the Gods of Life and Death who are responsible at times completion for the death and daily rebirth and resurrection of the Sun God. Note that the three turtle carapaces depicted in the primordial sea moving from right to left, under the Tree of Life, is a reference to the three hearthstones of creation, and that the turtle carapace located on the far left just below Tlaloc's severed head appears to have a star symbol inside the shell, which likely alludes to the planet Venus and that the turtle represents Venus as a divine resurrection star.                                              
Just below the Tree of Life, underneath the altar platform is the carapace of the turtle with the head of a feline emerging, symbolizing the turtle's transformation in the underworld into the Underworld Jaguar. The sequence of events moves to the left, and then up, with the empty turtle carapace still in the sea, but just above and  to the left of the altar platform is a stylized severed head, associated with the ritual act of decapitation. The stylized severed head bears the image of the Mexican Rain and Lightening God Tlaloc, who also represents the God of the Underworld and thus he represents the god of underworld decapitation, as the Evening Star aspect of the planet Venus. Tlaloc's severed head in this scene is stylized to represent a divine star reborn from the Underworld.  Tlaloc can be easily identified in this scene by his trademark goggled eyes, feline fangs, and handlebar mustache. Those who died for Tlaloc or were under his watchful eye, went directly to his divine paradise called Tlalocan.    
     The Soma ritual was an integral part of Vedic-Hindu religion where Soma was drunk by the priesthood during sacrifices. Verses in the Rig Veda refer to Soma as the  "single eye", the eye of the sun, symbolism that can be seen encoded in the trunk of the Tree of Life, above in the Selden Codex, and above along the top border, in which the stars represent the disembodied eyes of deified ancestors who look down upon them from Tlalocan.
  
           
 Above is a scene from the Codex Bodley, a Mixtec codex painted sometime after A.D. 1500.  Note that directly above the two seated figures are the images of the Mexican gods Tlaloc, and Quetzalcoatl (4-Wind) in association with a symbol similar in shape to the Fleur de lis.
                        
  The "single eye" motif is a common icon in the pre-Hispanic codices, and can be found in the iconography at the great city of Teotihuacan in the highlands of Mexico where Tlaloc and Quetzalcoatl the Feathered Serpent shared the same temple.  
     


Thunderbolts And Mushrooms

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The last blog posting about mushrooms and the Fleur-de-Lys did not emphasize what I thought was an obvious point: the Fleur-de-Lys is a form of one design for the thunderbolt (Such as the Thundebolt of Zeus) and the magic mushrooms Amanita muscaria are superstitiously believed to be engendered by lightening striking the ground, a folk belief which continues to this day.
http://en.wikipedia.org/wiki/Thunderbolt


Closer up the design is simpler to make out and this is possibly showing the mushroom as breaking into two halves with the stem in between, which happens at one part of the growth cycle. 


 
Zeus' thndebolt from the back of a Roman coin.
Below the Thunderbolt of a Sumerian deity compare to a Vajra from India.
 
 
The word Vajra means both Thunderbolt and stone and it is a common symbol in the Orient
 

http://www.tonmo.com/science/public/belemnites.php

 The name 'Belemnite' is derived from the Greek word belemnon which means javelin or dart due to the obvious resemblance in the shape of the fossil. It was a common folklore tale that belemnites were formed from the point of strike of lightning bolts into the ground; hence they are frequently referred to as 'thunderbolts'.
 
Belemnite in life, in the dinosaur age. Below, Belemnite fossils


The idea of stone thunderbolts transferred to the regular lead sling bullets of the Classical world. The sling was introduced into the Mediterranean buy the armies of Atlantis: we know this from a pretty definite association archaeologically at the end of the Pleistocens as well as the fact that Plato mentions regular units of slingers in the Atlantean armed forces (However also specifying that they used stones. The idea of stone thunderbolts having a regular bomb-shape probably has to do with the observations of volcanic bombs on Atlantis (The volcanoes continuing in the present-day Azores) and evidently the volcanic bombs or thunderstones were thought to engender magic mushrooms in Atlantean mythology: the idea survived into Classical Greece as well as other cultures

 
 


The other major familiar thunderbolt symbol is Thor's Hammer, and this is a plain T-cross (Tau Cross) commonly found in all megalithic cultures (Photo below is from a Mayan palace, T-shaped windows are common also in the US Southwest and in Peru: and below that is a megalithic Tau-cross from Ireland. Megalithic Tau-cross-stones definitely run all the way back to 10000 BC.)
The T-cross is a clearly recognizable reference to Magic Mushrooms and was mentioned as such in the recent blog series. Mayans also made little T-shaped coins out of copper. Both the T-Cross and Copper are both related to the planet Venus, and Copper is evidently connected to the red colouring of the mushroom Amanita muscaria.

 



The World Tree (Axis Mundi/Sacred Tree/Tree of Life) of Mesoamerica was also in a T-cross form. 

THE STARTING POINT OF THE AZTECS, ACCORDING TO THE GAMELLI CARERI PICTURED MS.(Donnelly)

Otto Muck thought the tree on top of the pyramid represented smoke at the top of an active volcano and interpreted it as one of the Azores as a dry-land volcano when the area was part of Atlantis In other representation of the Mayan World Tree, the fruits look exactly like volcanic bombs and also like the common glyph meaning "Flint stone."The actual tree being referred to is probably the coconut palm and the hard-hulled coconuts are being compared to volcanic bombs. (My guesses) Coconuts are connected to Atlantis also by Muck but also other authors.

It is also notable that several authors (such as Victor Clube) have connected "Thunderstones" to meteorites and hence this involves a cosmic-catastrophic connotation. This idea shall be explored in a subsequent future blog.

http://edition.cnn.com/2011/11/28/business/drc-volcano-tourism
These modern African volcanic vents are erupting in unison. The Atlantean "Gatekeepers" might also be two of
 the Canary Island volcanoes, off the NW coast of Africa, erupting at the end of the Pleistocene

The two Gate Keepers at the entrance to Eden  are described as angels with a firey sword that barred the way back into paradise. They are analogous to (Directly opposite counterparts to) the Pillars of Hercules/Straits of Gibraltar and they might also be represented as a man holding two snakes (Snakes of fire?) At any rate, the way back to Atlantis was supposed to be too dangerous to try.

I have just discovered another most interesting blog spot and I shall quote from some of it here:

http://mushroom-atlantis.blogspot.com/
....
[More Mushroom Symbolism simplified-DD]
The bulb state is when the cap resembles the sphere or sun and the circular vortex.

I pointed out in an earlier blog post (The key to Atlantis, the Magic Mushroom) how it is interesting to realize that Tiamat, the fabled second sun, is similar to the word Amanita.
http://mushroom-atlantis.blogspot.com/2006/09/key-to-atlantis-magic-mushroom.html
Next the mushroom turns into what resembles an umbrella.
Here we see one possible connection to the the red Atlantian C symbol, the outline of the cap forming the arch (perhaps connected to the Royal Arch).

Further on to the flat round table which in profile gives us the T or Tau.
http://www.weirdload.com/tau.html

Possible progenator of the cross and crux ansata. The mushroom resembles the human body with arms outstretched. It is also the King Arthur round table, a celtic messianic myth.

There is a most extraordinary plate, illustrative of the whole subject, which representation I believe to be anterior to Christianity. It is copied from Moor's Hindu Pantheon, not as a curiosity, but as a most singular monument of the crucifixion. I do not venture to give it a name, other than that of a crucifixion in space. Manly P. Hall-"The Secret Teachings of All Ages" http://www.sacred-texts.com/eso/sta/sta45.htm





The final stage is the Holy Grail phase during which the cap has upturned completely and formed the challis.


...
Egyption divine boats used by their gods also have the distinctive C-shape of the magic mushroom and we have already seen how the mushroom can be connected to water.


The Egyption divine boat which looks a lot like the Holy Grail-stage mushroom and King Tut's chalice. It looks like the water pillar is growing out of an egg.

Thank you to the guys at the Gnostic Media forum for pointing me in this direction and for highlighting the above pic. Especially hunchback.http://www.gnosticmedia.com/communion/viewtopic.php?t=1839&start=15&sid=7a384da04184f2717f941a56080ee66f

[This last is commonly taken to be part of an Egyptian representation of Atlantis-DD]

More on the Mushroom-Atlantis connection from this author shall be added on later blogs

Thunderbolts and catastrophe

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« Reply #2 on: December 09, 2007, 03:16:21 pm »



Flying Aircraft & Nuclear War and Other Strange Occurrences of The Past
Edited By James Hartman
The Indian Epics, especially the MAHABHARATA, pick up the thread of the tale of devastation and destruction. Atlantis, rather displeased at its humiliating defeat, deceived that they were no longer interested in subjugating the Rama Empire (An Indian Empire), and decided instead to annihilate the major cities using weapons of mass destruction. Sanskrit scholars could not comprehend what was being described in the Epics until the dropping of the first atomic bombs on Japan. There are AUTHENTIC VERSES from the Indian Epics:


...“Gurkha, flying a swift and powerful vimana (vehicle)
hurled out a single projectile
Charged with all the power of the Universe.
An incandescent column of smoke and flame
As bright as the thousand suns
Rose in all its splendour...

...it was an unknown weapon,
An iron thunderbolt,
A gigantic messenger of death,
Which reduced to ashes
The entire race of the Vrishnis and the Andhakas.

...The corpses were so burned
As to be unrecognisable.
The hair and nails fell out;
Pottery broke without apparent cause,
And the birds turned white.

After a few hours
All foodstuffs were infected...
....to escape from this fire
The soldiers threw themselves in streams
To wash themselves and their equipment.
 


 
 "Dense arrows of flame, like a great shower, issued
           forth upon creation, encompassing the enemy...
           A thick gloom swiftly settled upon the Pandava hosts.
           All points of the compass were lost in darkness.
           Fierce wind began to blow upward, showering dust and gravel.

          Birds croaked madly... the very elements seemed disturbed.
          The earth  shook,  scorched  by the terrible violent heat of this
          weapon.
          Elephants burst into flame and ran to and fro in a frenzy...
          over a vast area, other animals crumpled to the ground and died.
          From all  points  of  the compass  the  arrows  of  flame  rained
          continuously and fiercely.

The Mahabharata
One of the sources of this is at
 http://beforeitsnews.com/alternative/2012/11/krishna-ancient-weapons-of-mass-destruction-and-the-mahabharata-2501582.html

And there are several sites which have a word for word reproduction of the same material.

Since this is often reproduced together with notices of the downfall of the Indus civilization and subsequent warfare dated to 2500-3500 years ago, This vastly destructive War Of The Gods could be related to the timescale of Velikovsky's cosmic catastrophes and their chronology, and indeed Velikovsky has done exactly that.

When the  City of Mohenjodaro was excavated by archeologists in the last century, they found skeletons just lying in the streets, some of them holding hands, as if some great doom had suddenly overtaken them. These skeletons are among the most radioactive ever found, on a par with those found at Hiroshima and Nagasaki.... Futhermore, at Mohenjo-Daro, a well planned city laid on a grid, with a plumbing system superior to those used in Pakistan and India today, the streets were littered with "black lumps of glass." These globs of glass were discovered to be clay pots that had melted under intense heat!
There was some sort of an event which overthrew the Indus civilisations and left highly radioactive
dead bodies lying in heaps. Some sort of a deadly meteorite shower could do that and about in the time zone projected for Velikovsky's events exactly. And the cause is said to be a war in which the gods themselves took part. This is probably a good place to bookmark that idea and come back to it later because this sounds like we are onto something natural and catastrophic, not technological. So what of the supposed Atlantis war, said by its supporters to have been an earlier war recalled and superimposed on the local Indian war in the retelling? Was it in fact a nuclear and technological war?


Actually the earlier period was also a cosmic catastrophe with a large number of myths commemorating the facts (and not only Flood Myths but genuine Cosmic catastrophe stories, some of which were included in Donnelly's RAGNAROK, which also told of great fires upon the earth and rocks falling from heaven. In this case also, some people think a nuclear war was going on

What about physical evidence? In the ancient Euphrates Valley, archaeologists in 1947 on a site were digging in layers dating prior to 8,000 B.C. Below an even older layer dating to the caveman culture times was a layer of fused green glass. An atomic detonation above desert sand will fuse the sand & turn it into a beautiful sheet of green glass. Lightening strikes may sometimes fuse sand to glass but always in a distinctive jagged pattern. Comets or meteors can also fuse sand to glass, but there are to many such occurrences without any other signs, namely impacts for it to be contributed to space. This 'atomic' fused green glass occurs in many different locations of the African continent and in the North American continent. There are also unexplained Vitrified ruins around the world. Stone buildings with the blocks literally melted together by immense heat. At least 60 such ruins are found in Scotland. These are not simple, small one-room buildings. These are entire forts & communities, stone after stone, all liquefied then hardened again, fused together. More such sites are found in France, Turkey, the Middle East and the United States. The only thing we have that resembles these structures in modern times is the building in Nagasaki and Hiroshima. We created similar effects with the detonation of a nuclear warhead.
......The Libyan Desert Glass is clear to light green, smooth gem quality and 98% pure silica with traces of water and melted quartz. Pieces of it weigh up to 16 pounds. It's beauty and quality are so lovely pieces of it were recovered in King Tut's tomb, where they had been used in jewelry. For sand to be melted into such a pure glass, temperatures must reach over 1700C, then it must cool rapidly to prevent contaminants from entering or the formation of inclusions. Is this proof positive of ancient atomic war? No, but at this time, that is the only thing we have seen that would provide us with that type of glass formation 
posted 07-30-2004 12:35    

http://www.seapyramid.net/articles/egyptian-symbols2.htm Beyond Atlantis II
Beyond Atlantis - Egyptian Symbols & Ancient Technology III
A&AC

World Tektite Fields. Libyan Glass (and Mesopotamian glass) not shown but presumed to be same age as US Gulf Coast Tektites. Tektite fields are sometimes known to contain two or more layers of very different dates.

Types of Green Glass Tektites associated with Gulf Coast Tektite field.

OK, I will grant you that there is a possible connection of the Final Pleistocene catastrophe and Tektite fields thought to be the result of meteorite bombardment (Which is what the Libyan glass fields are: furthermore the tektites possibly associated with the Carolina bays are also most often green glass). What of the supposed Atlantean Nuclear war?


mt-fuji-above-the-clouds-blue-mountain-japan
jasoncollinphotography.com


Well it seems to me that the Vimanas in this case are moving mountains, "Homes of the gods" from which they are thought to control human affairs. You can have an illusion where the clouds cut off and obscure the lower parts of the mountains and the tops are floating in air. Furthermore these mountains are volcanic cones from the looks of things. And they fire stony missiles, thunderbolts, that do just so happen to have a high iron content. These are the volcanic bombs. Furthermore, the eruption results in a big mushroom cloud out of the volcano at times, as the sacred tree, and the ash from the volcano can be the "Fallout" which pollutes all the food and causes soldiers to need to wash their clothing, arms and armour. And the fire from the magma can indeed burn elephants and trees, and anything else into blackened stumps. We are talking Mythologically, but from the framework of Atlantean belief and Mushroom symbolism we have been talking about it all hangs together. And there could very well be a sort of reminiscence and recollection of the Atlantean catastrophe in the Mahabhrata war, but it need be nothing more than literary allusion and falling back on the old way of explaining things to make an idea plainer to the listeners.

Volcanic Ash, the other kind of deadly fallout

More on Atlantis as Eden, and Atlantean Cosmology

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Mayan cosmology including the (mushroom-referenced) Tree of Life functioning as the Axis Mundi/Mount Meru/Mount Atlas holding the sky up. This is a variation on the Atlantean world view, which represents a distinctive way of thinking in general according to Mindsteps to the Cosmos (This is the subject of a separate earlier blog but it is A) typical of the ancient empires such as the Ancient Egyptians and Babylonians, and also B ) introduced by the Capsian/Azilians during what Lewis spence called the last invasion of the Atlanteans, the Atlantis War of Plato about 9000 BC (Which can be independently verified as the introduction date for slings, bows and arrows and the whole military technology that went with the package, according to Feril in Origins of War.)
 
http://www.thehiddenrecords.com/galactic-alignment-2012-maya-calender-21-december.php
This is also the Biblical representation, and it happens that other cultures that no longer actually identified with the whole conception continued to place Atlants as Edin as the Omphalos or "Navel of the World"-in other words, they might have gotten away from the Atlantean conception that held Atlantis to be primary over all the rest of the Earth, but they still continued the same representations of it as such, especially on such things as their world maps. This is one of the clues that the Maps of the Ancient Sea Kings, or a significant section of them which is the part that was passed down to us, had an Atlantean origin and reflected the Atlantean point of view during the last days of the Ice Age 
 
 
Antique map of the Garden of Eden, from a website dealing in antique maps. The "Cross of waters" ("Rivers which ran to the four directions") is a part of this. A little reflection should have shown that rivers running from one central mountain and to the four directions is hydrologically very improbable, yet all traditions which preserve the Atlantean point of view insist on it. The most elaborately developed versions of these rivers of Paradise specified that they were made up of water and milk, honey and wine. All of these are vehicles by which the potent and distasteful Amanita muscaria mushrooms may be diluted and washed down more easily. The Bible names the four rivers as the Nile, Ganges, Tigris and Euphrates, which cannot have a single source in the real world as we understand these rivers to be. And Plato's Atlantis dialogues also includes the Cross f Waters to the four directions in a couple of different variations, and including the City of Atlantis and the more elaborated Great Plain of Atlantis which was covered by criss-cross canals. Ironically it is the description of Plato's Atlantis that makes sense of the description and not the others. This is one of the reasons that Plato's description meant a real place whereas most of the other versions remembered it as more of a fairyland or otherworldly location.
 

Aligning the "East" or "Front" direction on the Eden tradition to the true East it immediately becomes obvious that "Eastward in Eden" became the source of settlements "Eastward FROM Eden" on the way to Palestine. Donnelly explains the story of Genesis that way and the Caanaanite traditions od Ras Shamra (Ugarit) also specify it this way. In these traditions, Paradise is at the edge of the Great Abyss (= the open ocean outside the Mediterranean, this can be understood as standing by the Abyssal plain, on the farther or opposing shore) at the place where the sun goes down in the Far West and where "Heaven Meets Earth," Which corresponds to the Egyptian conception of the "Land of the dead" also and means a very specific geographic location as working backward from Egypt, Greece and the Holy Lands. The distance from Palestine to this area in Caananite and Phoenician tradition is given vaguely in an undetermined unit of measure, but it can be read as 2000 to 3000 miles by our terms, meaning the full span of the Mediterranean sea, actually. ((Part of the problem with this is another contentious figure read as 10,000 sometimes and 1,000 at others by different experts- which is exactly the same problem in interpreting the Egyptian texts as meaning 1/10 the given figures according to the "Belittlers" of Plato's Egyptian Atlantis story)
 
At any rate the only possible reading of the clues is that it is in the Atlantic Ocean facing the Pillars of Hercules/Straits of Gibraltar, the KHUT or Mountain of Sunset, with its own corresponding "Gatekeepers" on the other side. (Compare Sumerian Kur, the "land of the living" or mountain, as a feature of the Sumerian Paradise, and the various "Serpent Goddesses which would represent Venus associated with a pair of snakes) And this is also a Venus tradition because the two "Gatekeepers" are also traditionally identified with Venus (Hesperus or The Evening Star, In the Far West, and the land thus known as the Garden of the Hesperides in Greek tradition because of it. This is also very exact)
The Venus Twins in Mexico, one is Quetzalcoatl. Both of these "Gatekeepers of the sun"
are represented as snakes in other areas. In the Orient, one of them would be Ganesha.

a
Sun gate at Tiawanaco, the Gatekeepers are twin snakes that seem like stiff posts. The twin posts station at the doors of temples in many places were identified with the planet Venus.
 
Sumerian Gatekeeper dragons and Cadyseus.
 
maya tree of life, Cadyseus pillar marked with concentric city circles,
 Mayan Land of the Dead (Xibalba)
 
 
http://en.wikipedia.org/wiki/Garden_of_the_gods_(Sumerian_paradise)
http://en.wikipedia.org/wiki/Paradise
http://en.wikipedia.org/wiki/Garden_of_Eden
http://www.sacred-texts.com/atl/ataw/ataw405.htm


Paradise by Jan Bruegel
Atlantis the Antediluvian Empire by Ignatius Donnelly, 1882, THE Classic of the Field:

CHAPTER V.

THE PYRAMID, THE CROSS, AND THE GARDEN OF EDEN.

No fact is better established than the reverence shown to the sign of the Cross in all the ages prior to Christianity. We cannot do better than quote from an able article in the Edinburgh Review of July, 1870, upon this question:
"From the dawn of organized Paganism in the Eastern world to the final establishment of Christianity in the Western, the Cross was undoubtedly one of the commonest and most sacred of symbolical monuments; and, to a remarkable extent, it is so still in almost every land where that of Calvary is unrecognized or unknown. Apart from any distinctions of social or intellectual superiority, of caste, color, nationality, or location in either hemisphere, it appears to have been the aboriginal possession of every people in antiquity--the elastic girdle, so to say, which embraced the most widely separated heathen communities--the most significant token of a universal brotherhood, to which all the families of mankind were severally and irresistibly drawn, and by which their common descent was emphatically expressed, or by means of which each and all preserved, amid every vicissitude of fortune, a knowledge of the primeval happiness and dignity of their species. Where authentic history is silent on the subject, the material relics of past and long since forgotten races are not wanting to confirm and strengthen this supposition. Diversified forms of the symbol are delineated more or less artistically, according to the progress achieved in civilization at the period, on the ruined walls of temples and palaces, on natural rocks and sepulchral galleries, on the hoariest monoliths and the rudest statuary; on coins, medals, and vases of every description; and, in not a few instances, are preserved in the architectural proportions of subterranean
p. 318
as well as superterranean structures, of tumuli as well as fanes. The extraordinary sanctity attaching to the symbol, in every age and under every variety of circumstance, justified any expenditure incurred in its fabrication or embellishment; hence the most persistent labor, the most consummate ingenuity, were lavished upon it. Populations of essentially different culture, tastes, and pursuits--the highly-civilized and the demi-civilized, the settled and nomadic--vied with each other in their efforts to extend the knowledge of its exceptional import and virtue among their latest posterities. The marvellous rock-hewn caves of Elephanta and Ellora, and the stately temples of Mathura and Terputty, in the East, may be cited as characteristic examples of one laborious method of exhibiting it; and the megalithic structures of Callernish and Newgrange, in the West, of another; while a third may be instanced. in the great temple at Mitzla, 'the City of the Moon,' in Ojaaca, Central America. also excavated in the living rock, and manifesting the same stupendous labor and ingenuity as are observable in the cognate caverns of Salsette--of endeavors, we repeat, made by peoples as intellectually as geographically distinct, and followers withal of independent and unassociated deities, to magnify and perpetuate some grand primeval symbol. . . .
"Of the several varieties of the Cross still in vogue, as national or ecclesiastical emblems, in this and other European states, and distinguished by the familiar appellations of St. George, St. Andrew, the Maltese, the Greek, the Latin, etc., etc., there is not one among them the existence of which may not be traced to the remotest antiquity. They were the common property of the Eastern nations. No revolution or other casualty has wrought any perceptible difference in their several forms or delineations; they have passed from one hemisphere to the other intact; have survived dynasties, empires, and races; have been borne on the crest of each successive wave of Aryan population in its course toward the West; and, having been reconsecrated in later times by their lineal descendants, are still recognized as military and national badges of distinction. . . .
"Among the earliest known types is the crux ansata, vulgarly called 'the key of the Nile,' because of its being found sculptured or otherwise represented so frequently upon Egyptian and Coptic monuments. It has, however, a very much older and more sacred signification than this. It was the symbol of
p. 319
symbols, the mystical Tau, 'the bidden wisdom,' not only of the ancient Egyptians but also of the Chaldeans, Phœnicians, Mexicans, Peruvians, and of every other ancient people commemorated in history, in either hemisphere, and is formed very similarly to our letter T, with a roundlet, or oval, placed immediately above it. Thus it was figured
EGYPTIAN TAU.
EGYPTIAN TAU.
on the gigantic emerald or glass statue of Serapis, which was transported (293 B.C.) by order of Ptolemy Soter from Sinope, on the southern shores of the Black Sea, re-erected within that famous labyrinth which encompassed the banks of Lake Mœris, and destroyed by the victorious army of Theodosius (A.D. 389), despite the earnest entreaties of the Egyptian priesthood to spare it, because it was the emblem of their god and of 'the life to come.' Sometimes, as may be seen on the breast of an Egyptian mummy in the museum of the London University, the simple T only is planted on the frustum of a cone; and sometimes it is represented as springing from a heart; in the first instance signifying goodness; in the second, hope or expectation of reward. As in the oldest temples
CROSS ROM THE MONUMENTS OF PALENQUE.
CROSS ROM THE MONUMENTS OF PALENQUE.
and catacombs of Egypt, so this type likewise abounds in the ruined cities of Mexico and Central America, graven as well upon the most ancient cyclopean and polygonal walls as upon the more modern and perfect examples of masonry; and is displayed in an equally conspicuous manner upon the breasts of innumerable bronze statuettes which have been recently disinterred from the cemetery of Juigalpa (of unknown antiquity) in Nicaragua."
When the Spanish missionaries first set foot upon the soil of America, in the fifteenth century, they were amazed to find the Cross was as devoutly worshipped by the red Indians as by themselves, and were in doubt whether to ascribe the fact to the pious labors of St. Thomas or to the cunning device of the Evil One. The hallowed symbol challenged their attention
p. 320

ANCIENT IRISH CROSS.
ANCIENT IRISH CROSS.
on every hand and in almost every variety of form. It appeared on the bass-reliefs of ruined and deserted as well as on those of inhabited palaces, and was the most conspicuous ornament in the great temple of Gozumel, off the coast of Yucatan. According to the particular locality, and the purpose which it served, it was formed of various materials--of marble and gypsum in the open spaces of cities and by the way-side; of wood in the teocallis or chapels on pyramidal summits and in subterranean sanctuaries; and of emerald or jasper in the palaces of kings and nobles.
When we ask the question how it comes that the sign of the Cross has thus been reverenced. from the highest antiquity by the races of the Old and New Worlds, we learn
CENTRAL AMERICAN CROSS
CENTRAL AMERICAN CROSS
that it is a reminiscence of the Garden of Eden, in other words, of Atlantis.
Professor Hardwicke says:
"All these and similar traditions are but mocking satires of the old Hebrew story--jarred and broken notes of the same strain; but with all their exaggerations they intimate how in the background of man's vision lay a paradise of holy joy--a paradise secured from every kind of profanation, and made
COPPER COIN--TEOTIHUACAN.
COPPER COIN--TEOTIHUACAN.
inaccessible to the guilty; a paradise full of objects that were calculated to delight the senses and to elevate the mind a paradise that granted to its tenant rich and rare immunities, and that fed with its perennial streams the tree of life and immortality."
To quote again from the writer in the Edinburgh Review, already cited:
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"Its undoubted antiquity, no less than its extraordinary diffusion, evidences that it must have been, as it may be said to be still in unchristianized lands, emblematical of some fundamental doctrine or mystery. The reader will not have failed to observe that it is most usually associated with water; it was 'the key of the Nile,' that mystical instrument by means of which, in the popular judgment of his Egyptian devotees, Osiris produced the annual revivifying inundations of the sacred stream; it is discernible in that mysterious pitcher or vase portrayed on the brazen table of Bembus, before-mentioned, with its four lips discharging as many streams of water in opposite directions; it was the emblem of the water-deities of the Babylonians in the East and of the Gothic nations in the West, a


ANCIENT IRISH CROSS--PRE-CHRISTIAN--KILNABOY.

well as that of the rain-deities respectively of the mixed population in America. We have seen with what peculiar rites the symbol was honored by those widely separated races in the western hemisphere; and the monumental slabs of Nineveh, now in the museums of London and Paris, show us how it was similarly honored by the successors of the Chaldees in the eastern. . . .
"In Egypt, Assyria, and Britain it was emblematical of creative power and eternity; in India, China, and Scandinavia, of heaven and immortality; in the two Americas, of rejuvenescence and freedom from physical suffering; while in both hemispheres it was the common symbol of the resurrection, or 'the sign of the life to come;' and, finally, in all heathen communities,
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without exception, it was the emphatic type, the sole enduring evidence, of the Divine Unity. This circumstance alone determines its extreme antiquity--an antiquity, in all likelihood, long antecedent to the foundation of either of the three great systems of religion in the East. And, lastly, we have seen how, as a rule, it is found in conjunction with a stream or streams of water, with exuberant vegetation, and with a bill or a mountainous region--in a word, with a land of beauty, fertility, and joy. Thus it was expressed upon those circular and sacred cakes of the Egyptians, composed of the richest materials-of flour, of honey, of milk--and with which the serpent
CROSS FROM EGYPTIAN MONUMENTS.
CROSS FROM EGYPTIAN MONUMENTS.
and bull, as well as other reptiles and beasts consecrated to the service of Isis and their higher divinities, were daily fed; and upon certain festivals were eaten with extraordinary ceremony by the people and their priests. 'The cross-cake,' says Sir Gardner Wilkinson, 'was their hieroglyph for civilized land;' obviously a land superior to their own, as it was, indeed, to all other mundane territories; for it was that distant, traditional country of sempiternal contentment and repose, of exquisite delight and serenity, where Nature, unassisted by man, produces all that is necessary for his sustentation."
And this land was the Garden of Eden of our race. This was the Olympus of the Greeks, where
"This same mild season gives the blooms to blow,
The buds to harden and the fruits to grow."
In the midst of it was a sacred and glorious eminence [or Omphalos]--the umbilicus orbis terrarum--"toward which the heathen in all parts of the world, and in all ages, turned a wistful gaze in every act of devotion, and to which they hoped to be admitted, or, rather, to be restored, at the close of this transitory scene."
In this "glorious eminence" do we not see Plato's mountain in the middle of Atlantis, as he describes it:
"Near the plain and in the centre of the island there was a mountain, not very high on any side. In this mountain there dwelt one of the earth-born primeval men of that country,
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whose name was Evenor, and he had a wife named Leucippe, and they had an only daughter, who was named Cleito. Poseidon married her. He enclosed the hill in which she dwelt all around, making alternate zones of sea and land, larger and smaller, encircling one another; there were two of land and three of water . . . so that no man could get to the island. . . . He brought streams of water under the earth to this mountain-island, and made all manner of food to grow upon it. This island became the seat of Atlas, the over-king of the whole island; upon it they built the great temple of their nation; they continued to ornament it in successive generations, every king surpassing the one who came before him to the utmost of his power, until they made the building a marvel to behold for size and beauty. . . . And they had such an amount of wealth as was never before possessed by kings and potentates--as is not likely ever to be again."
The gardens of Alcinous and Laertes, of which we read in Homeric song, and those of Babylon, were probably transcripts of Atlantis. "The sacred eminence in the midst of a 'superabundant, happy region figures more or less distinctly in a]most every mythology, ancient or modern. It was the Mesomphalos of the earlier Greeks, and the Omphalium of the Cretans, dominating the Elysian fields, upon whose tops, bathed in pure, brilliant, incomparable light, the gods passed their days in ceaseless joys."
"The Buddhists and Brahmans, who together constitute nearly half the population of the world, tell us that the decussated figure (the cross), whether in a simple or a complex form, symbolizes the traditional happy abode of their primeval ancestors--that 'Paradise of Eden toward the East,' as we find expressed in the Hebrew. And, let us ask, what better picture, or more significant characters, in the complicated alphabet of symbolism, could have been selected for the purpose than a circle and a cross: the one to denote a region of absolute purity and perpetual felicity; the other, those four perennial streams that divided and watered the several quarters of it?" (Edinburgh Review, January, 1870.)
And when we turn to the mythology of the Greeks, we find
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that the origin of the world was ascribed to Okeanos, the ocean, The world was at first an island surrounded by the ocean, as by a great stream:
"It was a region of wonders of all kinds; Okeanos lived there with his wife Tethys: these were the Islands of the Blessed, the gardens of the gods, the sources of nectar and ambrosia, on which the gods lived. Within this circle of water the earth lay spread out like a disk, with mountains rising from it, and the vault of heaven appearing to rest upon its outer edge all around." (Murray's "Manual of Mythology," pp. 23, 24, et seq.)
On the mountains dwelt the gods; they had palaces on these mountains, with store-rooms, stabling, etc.
"The Gardens of the Hesperides, with their golden apples, were believed to exist in some island of the ocean, or, as it was sometimes thought, in the islands off the north or west coast of Africa. They were far famed in antiquity; for it was there that springs of nectar flowed by the couch of Zeus, and there that the earth displayed the rarest blessings of the gods; it was another Eden." (Ibid., p. 156.)
Homer described it in these words:
"Stern winter smiles on that auspicious clime,
The fields are florid with unfading prime,
From the bleak pole no winds inclement blow.
Mould the round hail, or flake the fleecy snow;
But from the breezy deep the blessed inhale
The fragrant murmurs of the western gale."
"It was the sacred Asgard of the Scandinavians, springing from the centre of a fruitful land, which was watered by four primeval rivers of milk, severally flowing in the direction of the cardinal points, 'the abode of happiness, and the height of bliss.' It is the Tien-Chan, 'the celestial mountain-land, . . . the enchanted gardens' of the Chinese and Tartars, watered by the four perennial fountains of Tychin, or Immortality; it is the hill-encompassed Ilá of the Singhalese and Thibetians, 'the everlasting dwelling-place of the wise and just.' It is the Sineru of the Buddhist, on the summit of which is Tawrutisa, the habitation of Sekrá, the supreme god, from which proceed the four sacred streams, running in as many contrary directions.
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[paragraph continues] It is the Slávratta, 'the celestial earth,' of the Hindoo, the summit of his golden mountain Meru, the city of Brahma, in the centre of Jambadwípa, and from the four sides of which gush forth the four primeval rivers, reflecting in their passage the colorific glories of their source, and severally flowing northward, southward, eastward, and westward."
It is the Garden of Eden of the Hebrews:
"And the Lord God planted a garden eastward in Eden; and there he put the man whom he had formed. And out of the ground made the Lord God to grow every tree that is pleasant to the sight, and good for food; the tree of life also in the midst of the garden, and the tree of knowledge of good and evil. And a river went out of Eden to water the garden; and from thence it was parted, and became into four heads. The name of the first is Pison; that is it which compasseth the whole land of Havilah, where there is gold; and the gold of that land is good: there is bdellium and the onyx stone. And the name of the second river is Gihon: the same is it that compasseth the whole land of Ethiopia. And the name of the third river is Hiddekel: that is it which goeth toward the east of Assyria. And the fourth river is Euphrates. And the Lord God took the man and put him into the Garden of Eden to dress it and to keep it." (Gen. ii., 8-1-5.)
As the four rivers named in Genesis are not branches of any one stream, and head in very different regions, it is evident that there was an attempt, on the part of the writer of the Book, to adapt an ancient tradition concerning another country to the known features of the region in which be dwelt.
Josephus tells us (chap. i., p. 41), "Now the garden (of Eden) was watered by one river, which ran round about the whole earth, and was parted into four parts." Here in the four parts we see the origin of the Cross, while in the river running around the whole earth we have the wonderful canal of Atlantis, described by Plato, which was "carried around the whole of the plain," and received the streams which came down from the mountains. The streams named by Josephus would seem to represent the migrations of people from Atlantis to its colonies.
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[paragraph continues] "Phison," he tells us, "denotes a multitude; it ran into India; the Euphrates and Tigris go down into the Red Sea while the Geon runs through Egypt."
We are further told (chap. ii., p. 42) that when Cain, after the murder of. Abel, left the land of Adam, "he travelled over many countries" before be reached the land of Nod; and the land of Nod was to the eastward of Adam's home. In other words, the original seat of mankind was in the West, that is to say, in the direction of Atlantis. Wilson tells us that the Aryans of India believed that they originally came "from the West." Thus the nations on the west of the Atlantic look to the east for their place of origin; while on the east of the Atlantic they look to the west: thus all the lines of tradition converge upon Atlantis.
But here is the same testimony that in the Garden of Eden there were four rivers radiating from one parent stream. And these four rivers, as we have seen, we find in the Scandinavian traditions, and in the legends of the Chinese, the Tartars, the Singhalese, the Thibetians, the Buddhists, the Hebrews, and the Brahmans.
And not only do we find this tradition of the Garden of Eden in the Old World, but it meets us also among the civilized races of America. The elder Montezuma said to Cortez, "Our fathers dwelt in that happy and prosperous place which they called Aztlan, which means whiteness. . . . In this place there is a great mountain in the middle of the water which is called Culhuacan, because it has the point somewhat turned over toward the bottom; and for this cause it is called Culhuacan, which means 'crooked mountain.'" He then proceeds to describe the charms of this favored land, abounding in birds, game, fish, trees, "fountains enclosed with elders and junipers, and alder-trees both large and beautiful." The people planted "maize, red peppers, tomatoes, beans, and all kinds of plants, in furrows."
Here we have the same mountain in the midst of the water
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which Plato describes--the same mountain to which all the legends of the most ancient races of Europe refer.
The inhabitants of Aztlan were boatmen. (Bancroft's "Native Races," vol. v., p. 325.) E. G. Squier, in his "Notes on Central America," p. 349, says, "It is a significant fact that in the map of their migrations, presented by Gemelli, the place of the origin of the Aztecs is designated by the sign of water, Atl standing for Atzlan, a pyramidal temple with grades, and near these a palm-tree." This circumstance did not escape the attention of Humboldt, who says, I am astonished at finding a palm-tree near this teocalli. This tree certainly does not indicate a northern origin. . . . The possibility that an unskilful artist should unintentionally represent a tree of which he had no knowledge is so great, that any argument dependent on it hangs upon a slender thread." ("North Americans of Antiquity," p. 266.)
The Miztecs, a tribe dwelling on the outskirts of Mexico, had a tradition that the gods, "in the day of obscurity and darkness," built "a sumptuous palace, a masterpiece of skill, in which they male their abode upon a mountain. The rock was called 'The Place of Heaven;' there the gods first abode on earth, living many years in great rest and content, as in a happy and delicious land, though the world still lay in obscurity and darkness. The children of these gods made to themselves a garden, in which they put many trees, and fruit-trees, and flowers, and roses, and odorous herbs. Subsequently there came a great deluge, in which many of the sons and daughters of the gods perished." (Bancroft's "Native Races," vol. iii., p. 71.) Here we have a distinct reference to Olympus, the Garden of Plato, and the destruction of Atlantis.
And in Plato's account of Atlantis we have another description of the Garden of Eden and the Golden Age of the world:
"Also, whatever fragrant things there are in the earth, whether roots, or herbage, or woods, or distilling drops of flowers and fruits, grew and thrived in that land; and again the cultivated
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fruits of the earth, both the edible fruits and other species of food which we call by the name of legumes, and the fruits having a hard rind, affording drinks and meats and ointments . . . all these that sacred island, lying beneath the sun, brought forth in abundance. . . . For many generations, as long as the divine nature lasted in them, they were obedient to the laws, and well affectioned toward the gods, who were their kinsmen; for they possessed true and in every way great spirits, practising gentleness and wisdom in the various chances of life, and in their intercourse with one another. They despised everything but virtue, not caring for their present state of life, and thinking lightly of the possession of gold and other property, which seemed only a burden to them; neither were they intoxicated by luxury; nor did wealth deprive them of their self-control; but they were sober, and saw clearly that all these goods were increased by virtuous friendship with one another, and that by excessive zeal for them, and honor of them, the good of them is lost, and friendship perishes with them."
All this cannot be a mere coincidence; it points to a common tradition of a veritable land, where four rivers flowed down in opposite directions from a central mountain-peak. And these four rivers, flowing to the north, south, east, and west, constitute the origin of that sign of the Cross which we have seen meeting us at every point among the races who were either descended from the people of Atlantis, or who, by commerce and colonization, received their opinions and civilization from them.
Let us look at the question of the identity of the Garden of Eden with Atlantis from another point of view:
If the alphabet of the Phœnicians is kindred with the Maya alphabet, as I think is clear, then the Phœnicians were of the same race, or of some race with which the Mayas were connected; in other words, they were from Atlantis.
Now we know that the Phœnicians and Hebrews were of the same stock, used the same alphabet, and spoke almost precisely the same language.
The Phœnicians preserved traditions, which have come down
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to us in the writings, of Sanchoniathon, of all the great essential inventions or discoveries which underlie civilization. The first two human beings, they tell us, were Protogonos and Aion (Adam and 'Havath), who produce Genos and Genea (Qên and Qênath), from whom again are descended three brothers, named Phos, Phur, and Phlox (Light, Fire, and Flame), because they "have discovered how to produce fire by the friction of two pieces of wood, and have taught the use of this element." In another fragment, at the origin of the human race we see in succession the fraternal couples of Autochthon and Technites (Adam and Quen--Cain?), inventors of the manufacture of bricks; Agros and Agrotes (Sade and Cêd), fathers of the agriculturists and hunters; then Amynos and Magos, "who taught to dwell in villages and rear flocks."
The connection between these Atlantean traditions and the Bible record is shown in many things. For instance, "the Greek text, in expressing the invention of Amynos, uses the words κώμας καὶ ποίμνας, which are precisely the same as the terms ôhel umiqneh, which the Bible uses in speaking of the dwellings of the descendants of Jabal (Gen., chap. iv., v. 20). In like manner Lamech, both in the signification of his name and also iv the savage character attributed to him by the legend attached to his memory, is a true synonyme of Agrotes."
"And the title of Ἀλῆται, given to Agros and Agrotes in the Greek of the Phœnician history, fits in wonderfully with the physiognomy of the race of the Cainites in the Bible narrative, whether we take Ἀλῆται simply as a Hellenized transcription of the Semitic Elim, 'the strong, the mighty,' or whether we take it in its Greek acceptation, 'the wanderers;' for such is the destiny of Cain and his race according to the very terms of the condemnation which was inflicted upon him after his crime (Gen. iv., 14), and this is what is signified by the name of his grandson 'Yirad. Only, in Sanchoniathon the genealogy does not end with Amynos and Magos, as that of the Cainites in the Bible does with the three sons of Lamech. These two personages are succeeded by Misôr and Sydyk, 'the released and the
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just,' as Sanchoniathon translates them, but rather the 'upright and the just' (Mishôr and Çüdüq), 'who invent the use of salt.' To Misôr is born Taautos (Taût), to whom we owe letters; and to Sydyk the Cabiri or Corybantes, the institutors of navigation." (Lenormant, "Genealogies between Adam and the Deluge." Contemporary Review, April, 1880.)
We have, also, the fact that the Phœnician name for their goddess Astynome (Ashtar No'emâ), whom the Greeks called Nemaun, was the same as the name of the sister of the three sons of Lamech, as given in Genesis--Na'emah, or Na'amah.
If, then, the original seat of the Hebrews and Phœnicians was the Garden of Eden, to the west of Europe, and if the Phœnicians are shown to be connected, through their alphabets, with the Central Americans, who looked to an island in the sea, to the eastward, as their starting-point, the conclusion becomes irresistible that Atlantis and the Garden of Eden were one and the same.
The Pyramid.--Not only are the Cross and the Garden of Eden identified with Atlantis, but in Atlantis, the habitation of the gods, we find the original model of all those pyramids which extend from India to Peru.
This singular architectural construction dates back far beyond the birth of history. In the Purânas of the Hindoos we read of pyramids long anterior in time to any which have survived to our day. Cheops was preceded by a countless host of similar erections which have long since mouldered into ruins.
If the reader will turn to page 104 of this work he will see, in the midst of the picture of Aztlan, the starting-point of the Aztecs, according to the Botturini pictured writing, a pyramid with worshippers kneeling before it.
Fifty years ago Mr. Faber, in his "Origin of Pagan Idolatry," placed artificial tumuli, pyramids, and pagodas in the same category, conceiving that all were transcripts of the holy mountain which was generally supposed to have stood in the centre of Eden; or, rather. as intimated in more than one place by
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the Psalmist, the garden itself was situated on an eminence. (Psalms, chap. iii., v. 4, and chap. lxviii., vs. 15, 16, 18.)
The pyramid is one of the marvellous features of that problem which confronts us everywhere, and which is insoluble without Atlantis.
The Arabian traditions linked the pyramid with the Flood. In a manuscript preserved in the Bodleian Library, and translated by Dr. Sprenger, Abou Balkhi says:
"The wise men, previous to the Flood, foreseeing an impending Judgment from heaven, either by submersion or fire, which would destroy every created thing, built upon the tops of the mountains in Upper Egypt many pyramids of stone, in order to have some refuge against the approaching calamity. Two of these buildings exceeded the rest in height, being four hundred cubits, high and as many broad and as many long. They were built with large blocks of marble, and they were so well put together that the joints were scarcely perceptible. Upon the exterior of the building every charm and wonder of physic was inscribed."
This tradition locates these monster structures upon the mountains of Upper Egypt, but there are no buildings of such dimensions to be found anywhere in Egypt. Is it not probable that we have here another reference to the great record preserved in the land of the Deluge? Were not the pyramids of Egypt and America imitations of similar structures in Atlantis? Might not the building of such a gigantic edifice have given rise to the legends existing on both continents in regard to a Tower of Babel?
How did the human mind hit upon this singular edifice--the pyramid? By what process of development did it reach it? Why should these extraordinary structures crop out on the banks of the Nile, and amid the forests and plains of America? And why, in both countries, should they stand with their sides square to the four cardinal points of the compass? Are they in this, too, a reminiscence of the Cross, and of the four rivers of Atlantis that ran to the north, south, east, and west?
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"There is yet a third combination that demands a specific notice. The decussated symbol is not unfrequently planted upon what Christian archæologists designate 'a calvary,' that is, upon a mount or a cone. Thus it is represented in both hemispheres. The megalithic structure of Callernish, in the island of Lewis before mentioned, is the most perfect example of the practice extant in Europe. The mount is preserved to this day. This, to be brief, was the recognized conventional mode of expressing a particular primitive truth or mystery from the days of the Chaldeans to those of the Gnostics, or from one extremity of the civilized world to the other. It is seen in the treatment of the ash Yggdrasill of the Scandinavians, as well as in that of the Bo-tree of the Buddhists. The prototype was not the Egyptian, but the Babylonian crux ansata, the lower member of which constitutes a conical support for the oval or sphere above it. With the Gnostics, who occupied the debatable ground between primitive Christianity and philosophic paganism, and who inscribed it upon their tombs, the cone symbolized death as well as life. In every heathen mythology it was the universal emblem of the goddess or mother of heaven, by whatsoever name she was addressed--whether as Mylitta, Astarte, Aphrodite, Isis, Mata, or Venus; and the several eminences consecrated to her worship were, like those upon which Jupiter was originally adored, of a conical or pyramidal shape. This, too, is the ordinary form of the altars dedicated to the Assyrian god of fertility. In exceptional instances the cone is introduced upon one or the other of the sides, or is distinguishable in the always accompanying mystical tree." (Edinburgh Review, July, 1870.)
If the reader will again turn to page 104 of this work he will see that the tree appears on the top of the pyramid or mountain in both the Aztec representations of Aztlan, the original island-home of the Central American races.
The writer just quoted believes that Mr. Faber is correct in his opinion that the pyramid is a transcript of the sacred mountain which stood in the midst of Eden, the Olympus of Atlantis. He adds:
"Thomas Maurice, who is no mean authority, held the same view. He conceived the use to which pyramids in particular
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were anciently applied to have been threefold--namely, as tombs, temples, and observatories; and this view he labors to establish in the third volume of his 'Indian Antiquities.' Now, whatever may be their actual date, or with whatsoever people they may have originated, whether in Africa or Asia, in the lower valley of the Nile or in the plains of Chaldea, the pyramids of Egypt were unquestionably destined to very opposite purposes. According, to Herodotus, they were introduced by the Hyksos; and Proclus, the Platonic philosopher, connects them with the science of astronomy--a science which, he adds, the Egyptians derived from the Chaldeans. Hence we may reasonably infer that they served as well for temples for planetary worship as for observatories. Subsequently to the descent of the shepherds, their hallowed precincts were invaded by royalty, from motives of pride and superstition; and the principal chamber in each was used as tombs."
The pyramidal imitations, dear to the hearts of colonists of the sacred mountain upon which their gods dwelt, was devoted, as perhaps the mountain itself was, to sun and fire worship. The same writer says:
"That Sabian worship once extensively prevailed in the New World is a well-authenticated fact; it is yet practised to some extent by the wandering tribes on the Northern continent, and was the national religion of the Peruvians at the time of the Conquest. That it was also the religion of their more highly civilized predecessors on the soil, south of the equator more especially, is evidenced by the remains of fire-altars, both round and square, scattered about the shores of lakes Umayu and Titicaca, and which are the counterparts of the Gueber dokh mehs overhanging the Caspian Sea. Accordingly, we find, among these and other vestiges of antiquity that indissolubly connected those long-since extinct populations in the New with the races of the Old World, the well-defined symbol of the Maltese Cross. On the Mexican feroher before alluded to, and which is most elaborately carved in bass-relief on a massive piece of polygonous granite, constituting a portion of a cyclopean wall, the cross is enclosed within the ring, and accompanying it are four tassel-like ornaments, graved equally well. Those accompaniments, however, are disposed without any particular
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regard to order, but the four arms of the cross, nevertheless, severally and accurately point to the cardinal quarters, The same regularity is observable on a much smaller but not less curious monument, which was discovered some time since in an ancient Peruvian huaca or catacomb--namely, a syrinx or pandean pipe, cut out of a solid mass of lapis ollaris, the sides of which are profusely ornamented, not only with Maltese crosses, but also with other symbols very similar in style to those inscribed on the obelisks of Egypt and on the monoliths of this country. The like figure occurs on the equally ancient Otrusco black pottery. But by far the most remarkable example of this form of the Cross in the New World is that which appears on a second type of the Mexican feroher, engraved on a tablet of gypsum, and which is described at length by its discoverer, Captain du Paix, and depicted by his friend, M. Baradère. Here the accompaniments--a shield, a hamlet, and a couple of bead-annulets or rosaries--are, with a single exception, identical in even the minutest particular with an Assyrian monument emblematical of the Deity. . . .
"No country in the world can compare with India for the exposition of the pyramidal cross. There the stupendous labors of Egypt are rivalled, and sometimes surpassed. Indeed, but for the fact of such monuments of patient industry and unexampled skill being still in existence, the accounts of some others which have long since disappeared, having succumbed to the ravages of time and the fury of the bigoted Mussulman, would sound in our ears as incredible as the story of Porsenna's tomb, which 'o'ertopped old Pelion,' and made 'Ossa like a wart.' Yet something not very dissimilar in character to it was formerly the boast of the ancient city of Benares, on the banks of the Ganges. We allude to the great temple of Bindh Madhu, which was demolished in the seventeenth century by the Emperor Aurungzebe. Tavernier, the French baron, who travelled thither about the year 1680, has preserved a brief description of it. The body of the temple was constructed in the figure of a colossal cross (i. e., a St. Andrew's Cross), with a lofty dome at the centre, above which rose a massive structure of a pyramidal form. At the four extremities of the cross there were four other pyramids of proportionate dimensions, and which were ascended from the outside by steps, with balconies at stated distances for places of rest, reminding us of the temple
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of Belus, as described in the pages of Herodotus. The remains of a similar building are found at Mhuttra, on the banks of the Jumna. This and many others, including the subterranean temple at Elephanta and the caverns of Ellora and Salsette, are described at length in the well-known work by Maurice; who adds that, besides these, there was yet another device in which the Hindoo displayed the all-pervading sign; this was by pyramidal towers placed crosswise. At the famous temple of Chillambrum, on the Coromandel coast, there were seven lofty walls, one within the other, round the central quadrangle, and as many pyramidal gate-ways in the midst of each side which forms the limbs of a vast cross."
In Mexico pyramids were found everywhere. Cortez, in a letter to Charles V., states that he counted four hundred of them at Cholula. Their temples were on those "high-places." The most ancient pyramids in Mexico are at Teotihuacan, eight leagues from the city of Mexico; the two largest were dedicated to the sun and moon respectively, each built of cut stone, with a level area at the summit, and four stages leading up to it. The larger one is 680 feet square at the base, about 200 feet high, and covers an area of eleven acres. The Pyramid of Cholula, measured by Humboldt, is 160 feet high, 1400 feet square at the base, and covers forty five acres! The great pyramid of Egypt, Cheops, is 746 feet square, 450 feet high, and covers between twelve and thirteen acres. So that it appears that the base of the Teotihuacan structure is nearly as large as that of Cheops, while that of Cholula covers nearly four times as much space. The Cheops pyramid, however, exceeds very much in height both the American structures.
Señor Garcia y Cubas thinks the pyramids of Teotihuacan (Mexico) were built for the same purpose as those of Egypt. He considers the analogy established in eleven particulars, as follows: 1, the site chosen is the same; 2, the structures are orientated with slight variation; 3, the line through the centres of the structures is in the astronomical meridian; 4, the
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construction in grades and steps is the same; 5, in both cases the larger pyramids are dedicated to the sun; 6, the Nile has "a valley of the dead," as in Teotihuacan there is "a street of the dead;" 7, some monuments in each class have the nature of fortifications; 8, the smaller mounds are of the same nature and for the same purpose; 9, both pyramids have a small mound joined to one of their faces; 10, the openings discovered in the Pyramid of the Moon are also found in some Egyptian pyramids; 11, the interior arrangements of the pyramids are analogous. ("Ensayo de un Estudio.")
It is objected that the American edifices are different in form from the Egyptian, in that they are truncated, or flattened at the top; but this is not an universal rule.
"In many of the ruined cities of Yucatan one or more pyramids have been found upon the summit of which no traces of any building could be discovered, although upon surrounding pyramids such structures could be found. There is also some reason to believe that perfect pyramids have been found in America. Waldeck found near Palenque two pyramids in a state of perfect preservation, square at the base, pointed at the top, and thirty-one feet high, their sides forming equilateral triangles." (Bancroft's Native Races," vol. v., p. 58.)
Bradford thinks that some of the Egyptian pyramids, and those which with some reason it has been supposed are the most ancient, are precisely similar to the Mexican teocalli." ("North Americans of Antiquity" p. 423.)
And there is in Egypt another form of pyramid called the mastaba, which, like the Mexican, was flattened on the top; while in Assyria structures flattened like the Mexican are found. "In fact," says one writer, "this form of temple (the flat-topped) has been found from Mesopotamia to the Pacific Ocean." The Phœnicians also built pyramids. In the thirteenth century the Dominican Brocard visited the ruins of the Phœnician city of Mrith or Marathos, and speaks in the strongest terms of admiration of those pyramids of surprising grandeur, constructed of blocks of stone from twenty-six to twenty-eight
p. 337
feet long, whose thickness exceeded the stature of a tall man. ("Prehistoric Nations," p. 144.)
"If," says Ferguson, "we still hesitate to pronounce that there was any connection between the builders of the pyramids of Suku and Oajaca, or the temples of Xochialco and Boro Buddor, we must at least allow that the likeness is startling, and difficult to account for on the theory of mere accidental coincidence."
The Egyptian pyramids all stand with their sides to the cardinal


PYRAMIDS OF EGYPT.

points, while many of the Mexican pyramids do likewise. The Egyptian pyramids were penetrated by small passage-ways; so were the Mexican. The Pyramid of Teotihuacan, according to Almarez, has, at a point sixty-nine feet from the base, a gallery large enough to admit a man crawling on hands and knees,
p. 338
which extends, inward, on an incline, a distance of twenty feet, and terminates in two square wells or chambers, each five feet square and one of them fifteen feet deep. Mr. Löwenstern


PYRAMIDS OF TEOTIHUACAN.

states, according to Mr. Bancroft ("Native Races," vol. iv., p. 533), that "the gallery is one hundred and fifty-seven feet long, increasing in height to over six feet and a half as it penetrates the pyramid; that the well is over six feet square, extending (apparently) down to the base and up to the summit; and that other cross-galleries are blocked up by débris." In the Pyramid of Cheops there is a similar opening or passage-way forty-nine feet above the base; it is three feet eleven inches high, and three feet five and a half inches wide; it leads down a slope to a sepulchral chamber or well, and connects with other passage-ways leading up into the body of the pyramid.
p. 339

 

THE GREAT MOUND, NEAR MIAMISBURG, OHIO.


In both the Egyptian the American pyramids the outside of the structures was covered with a thick coating of smooth, shining cement.
Humboldt considered the Pyramid of Cholula of the same type as the Temple of Jupiter Belus, the pyramids of Meidoun Dachhour, and the group of Sakkarah, in Egypt.


GREAT PYRAMID OF XCOCH, MEXICO.

In both America and Egypt the pyramids were used as places of sepulture; and it is a remarkable fact that the system of earthworks and mounds, kindred to the pyramids, is found even in England. Silsbury Hill, at Avebury, is an artificial mound one hundred and seventy feet high. It is connected with ramparts, avenues (fourteen hundred and eighty yards
p. 342
long), circular ditches, and stone circles, almost identical with those found in the valley of the Mississippi. In Ireland the dead were buried in vaults of stone, and the earth raised over them in pyramids flattened on the top. They were called "moats" by the people. We have found the stone vaults at the base of similar truncated pyramids in Ohio. There can be no doubt that the pyramid was a developed and perfected mound, and that the parent form of these curious structures is to be found in Silsbury Hill, and in the mounds of earth of Central America and the Mississippi Valley.
We find the emblem of the Cross in pre-Christian times venerated as a holy symbol on both sides of the Atlantic; and we find it explained as a type of the four rivers of the happy island where the civilization of the race originated.
We find everywhere among the European and American nations the memory of an Eden of the race, where the first men dwelt in primeval peace and happiness, and which was afterward destroyed by water.
We find the pyramid on both sides of the Atlantic, with its four sides pointing, like the arms of the Cross, to the four cardinal points-a reminiscence of Olympus; and in the Aztec representation of Olympos (Aztlan) we find the pyramid as the central and typical figure.
Is it possible to suppose all these extraordinary coincidences to be the result of accident? We might just as well say that the similarities between the American and English forms of government were not the result of relationship or descent, but that men placed in similar circumstances had spontaneously and necessarily reached the same results.

Next: Chapter VI: Gold and Silver the Sacred Metals of Atlantis.
 

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