This extensive posting is a complete outline of Table of Contents of Codex Borgia. Each editing of the postings after 30 April 2008 will generate a note in sequence here to show dates of the work in progress. This set of pictorial essays is much too complex for immediate explanation/translation into English words.
This is how I will use the blog format to produce a living document, changing and alive.
The search blog window at the top will assist readers in finding relevant Plates as the study continues.
I am also going to start a wiki, it looks more convenient:
http://mexicancalendars.wikispaces.com
Wednesday, April 30, 2008
Plates 75, 76; Six paintings presenting columns
This pair of double pages provide a final review of the entire tonalamatl in eight segments. Each segment is correlated with half a trecena and a painting. The pages were damaged but a sequence can easily be deduced from the parts which were not damaged. I have not yet discovered the meaning of the paintings associated with each segment.
Plate 75
Bottom right painting with column 1, Cipactli, in order beneath then dots include six columns;
Bottom left painting with column 8,Tochtli, in order beneath then dots include five columns
Plate 76
Bottom right painting with column 14, Ocelotl, in order beneath then dots include six columns
Bottom left painting with column 21, Cipactli, in order beneath then dots include five columns
Plate 76
Top left painting with column 27, Mazatl, in order beneath then dots include six columns
Top right painting with column 34,Ocelotl, in order beneath then dots include five columns
Plate 75
Top left painting with column 40, Xochitl, in order beneath then dots include six columns
Top right painting with column 47, Mazatl, in order beneath then dots include five columns.
Meaning of these Plates
There are 20 trecenas and these plates are a method of associating painted descriptions with one method of grouping portions of trecenas. The index of grouping is presented on Plates 1,2,3,4,5,6,7 and 8.
Plate 75 presents a subgroup of the first seven columns of days on Plates 1 and 2 with the painting at lower right of Plate 75.
Plate 75 also presents a subgroup of the next six columns of days on Plates 1 and 2 with the painting at lower left of Plate 75.
Plate 76 then presents a subgroup of the first seven columns of days on Plates 3 and 4 with the painting at lower right of Plate 76.
Plate 76 also presents a subgroup of the next six columns of days on Plates 3 and 4 with the painting at lower left of Plate 76.
The upper parts of Plates 75 and 76 have damaged portions but the pattern of association continues.
Plate 76 presents a subgroup of the first seven columns of days on Plates 5 and 6 with the damaged painting at upper left of Plate 76.
Plate 76 also presents a subgroup of the next six columns of days on Plates 5 and 6 with the painting at upper right of Plate 76.
Plate 75 then presents a subgroup of the first seven columns of days on Plates 7 and 8 with the painting at upper left of Plate 75.
Plate 75 also presents a subgroup of the next six columns of days on Plates 7 and 8 with the painting at upper right of Plate 75.
Each icon of the tonalpohualli has been assigned another picture association by these two plates.
Plate 75
Bottom right painting with column 1, Cipactli, in order beneath then dots include six columns;
Bottom left painting with column 8,Tochtli, in order beneath then dots include five columns
Plate 76
Bottom right painting with column 14, Ocelotl, in order beneath then dots include six columns
Bottom left painting with column 21, Cipactli, in order beneath then dots include five columns
Plate 76
Top left painting with column 27, Mazatl, in order beneath then dots include six columns
Top right painting with column 34,Ocelotl, in order beneath then dots include five columns
Plate 75
Top left painting with column 40, Xochitl, in order beneath then dots include six columns
Top right painting with column 47, Mazatl, in order beneath then dots include five columns.
Meaning of these Plates
There are 20 trecenas and these plates are a method of associating painted descriptions with one method of grouping portions of trecenas. The index of grouping is presented on Plates 1,2,3,4,5,6,7 and 8.
Plate 75 presents a subgroup of the first seven columns of days on Plates 1 and 2 with the painting at lower right of Plate 75.
Plate 75 also presents a subgroup of the next six columns of days on Plates 1 and 2 with the painting at lower left of Plate 75.
Plate 76 then presents a subgroup of the first seven columns of days on Plates 3 and 4 with the painting at lower right of Plate 76.
Plate 76 also presents a subgroup of the next six columns of days on Plates 3 and 4 with the painting at lower left of Plate 76.
The upper parts of Plates 75 and 76 have damaged portions but the pattern of association continues.
Plate 76 presents a subgroup of the first seven columns of days on Plates 5 and 6 with the damaged painting at upper left of Plate 76.
Plate 76 also presents a subgroup of the next six columns of days on Plates 5 and 6 with the painting at upper right of Plate 76.
Plate 75 then presents a subgroup of the first seven columns of days on Plates 7 and 8 with the painting at upper left of Plate 75.
Plate 75 also presents a subgroup of the next six columns of days on Plates 7 and 8 with the painting at upper right of Plate 75.
Each icon of the tonalpohualli has been assigned another picture association by these two plates.
Plate 74 two paintings with icons.
The upper figure is female with 6 icons in painting and 14 icons at edge margins.
The lower figure is male with 14 icons in symmetric box arrangement at sides, 5 icons similar to the 20 often seen, a nd o ne which may be interpreted as an enlarged Calli, House.
The lower figure is male with 14 icons in symmetric box arrangement at sides, 5 icons similar to the 20 often seen, a nd o ne which may be interpreted as an enlarged Calli, House.
Plate 73 doubled figures with 20 icons
This elaborate picure of 2 figures bsck to back has the 20 icons attached.
It also has Miauiztli in the lower left corner and a border with 25 icons; first 10 from first trecena of Plate 1 are arranged CCW from Cipactli in lower right corner then continuing with next 5 CCW in top row then continuing CCW with repetition of first 5 after Xochitl in the left row.
It also has Miauiztli in the lower left corner and a border with 25 icons; first 10 from first trecena of Plate 1 are arranged CCW from Cipactli in lower right corner then continuing with next 5 CCW in top row then continuing CCW with repetition of first 5 after Xochitl in the left row.
Plate 71, thirtten birds and a painting.
This painting has identifying A-O icon which assigns date 1 Acatl.
Plates 61,62,63, 64,65,66,67,68,69,70 ; 20 trecenas
!0 paintings associated with icons arranged as 20 groups of thirteen; the entire tolanpohualli of 216 with association to 20 different paintings.
Plates 58,59,60 25 paintings with no simple icons.
The intention of these paintings is not yet evident to me.
Plate 57, six couples with multiple icons per couple
4 lower groups with 40 icons each; total of 160 icons;
upper left with 45 icons;
upper right with 55 icons; some repeats.
upper left with 45 icons;
upper right with 55 icons; some repeats.
Plate 55, six paintings with associated icons
2 icons with first
3 icons with second
4 icons with thrd
4 icons with fourth
5 icons with fifth
2 icons with sixth.
3 icons with second
4 icons with thrd
4 icons with fourth
5 icons with fifth
2 icons with sixth.
Plate 53 lower left and Plate 54.
Five sets of numbered icons with associated paintings.
The numbered icons are in a sequence which demonstrates a rhythm which uses the day icons as a basic metronome for the rhythm. Plates 1,2,3,4,5,6,7, and 8 are a timing key.
I am searching for a connection with cycles of Venus since that is the most obvious object in the sky that shows cycles. I am quoting here from a web site.
" Additionally, phenomenon of Venus occur in steps of thirty-six days or in multiples of thirty-six. Maximum brightness occurs thirty-six days after the inferior conjunction; the next step, maximum elongation occurs thirty-six days later; and the superior conjunction occurs 216 days (or 6 x 36 days) after maximum elongation. In the evening star phase, maximum elongation occurs 216 days after the superior conjunction; maximum brightness takes place thirty-six days following maximum elongation and thirty-six days more brings the inferior conjunction. " The total cycle from inferior conjunction to the next inferior conjunction is 36+36+216+216+36+36=576. This site provides many hints for astrologers.
Another web site says:
"The ancient Maya tracked the morningstar risings of Venus, which occur every 584 days."
Codex Borgia has five similar figures on Plates 53 and 54 so I am looking for a count of 5x115=575 or 5x116=580; 115 or 116 days per figure.
I have not found any relation to the cycles of Venus.
I will now try to interpret the instructions on the figures, with no prejudged purpose.
Starting from lower right numbered icon on Plate 53 and counting days from lower right row of Plate 1, there are 21 icons passed before Lizard appears in column 8 of Plate 4 in agreement with the next numbered icon on Plate 53. This agreement continues between the tonalpohoalli on Plates 1,2,3,4,5,6,7, and 8 and the numbered icons on Plate 53 until column 7 of Plate 6 leaving 20 more days until the tonlpohualli ends. The three icons in Plate 53 are then the three after Lizard has been skipped in a repeating tonalpohualli.
The sequence continues in the tonalpohualli to the icon Snake in column 5 which agrees with number 5 Snake in the lower right quadrant of Plate 54. The agreements continue between tonalpohualli days and numbered icons in Plate 54. Continuation of painted icons after Snake is represented by icons for Death, Deer, and Rabbit.
The sequence continues in the tonalpohualli to the icon Water in column 9 which agrees with number 9 Water at the lower left qudrant of Plate 54.
This agreement continues between tonalpohualli and Plate 54 until the number 10 Movement ant the last three icons of a complete ritual calendar.
This seems to be another demonstration of detail figures associated with five cycles of tonnalpohualli. There is a remaining mystery, why is there no painting to represent the repeating Alligator, Snake, Water, Reed, and Movement when the sequence of tonalpohualli is started anew five times?
There is this evidence of a cycle related to Venus by another alternate approach:
9*13=117 days per figure to yield 5*117=585days for one Venus cycle. The cycle of numbered icons needs to be counted nine times. Or 5*13=65 by counting each numbered icon in the five figures and repeating the count 9 times 9*65=585 days for one Venus cycle.
Where is the indication of 9 repetitions?
Or 45*13=585 but where is the instruction to count 45 sets of numbered icons? Each tonalpohualli has 20 sets and two tonalpohualli would have 40 sets but what gives instruction to count two sets and 5 more sets? I still have no answers.
The numbered icons are in a sequence which demonstrates a rhythm which uses the day icons as a basic metronome for the rhythm. Plates 1,2,3,4,5,6,7, and 8 are a timing key.
I am searching for a connection with cycles of Venus since that is the most obvious object in the sky that shows cycles. I am quoting here from a web site.
" Additionally, phenomenon of Venus occur in steps of thirty-six days or in multiples of thirty-six. Maximum brightness occurs thirty-six days after the inferior conjunction; the next step, maximum elongation occurs thirty-six days later; and the superior conjunction occurs 216 days (or 6 x 36 days) after maximum elongation. In the evening star phase, maximum elongation occurs 216 days after the superior conjunction; maximum brightness takes place thirty-six days following maximum elongation and thirty-six days more brings the inferior conjunction. " The total cycle from inferior conjunction to the next inferior conjunction is 36+36+216+216+36+36=576. This site provides many hints for astrologers.
Another web site says:
"The ancient Maya tracked the morningstar risings of Venus, which occur every 584 days."
Codex Borgia has five similar figures on Plates 53 and 54 so I am looking for a count of 5x115=575 or 5x116=580; 115 or 116 days per figure.
I have not found any relation to the cycles of Venus.
I will now try to interpret the instructions on the figures, with no prejudged purpose.
Starting from lower right numbered icon on Plate 53 and counting days from lower right row of Plate 1, there are 21 icons passed before Lizard appears in column 8 of Plate 4 in agreement with the next numbered icon on Plate 53. This agreement continues between the tonalpohoalli on Plates 1,2,3,4,5,6,7, and 8 and the numbered icons on Plate 53 until column 7 of Plate 6 leaving 20 more days until the tonlpohualli ends. The three icons in Plate 53 are then the three after Lizard has been skipped in a repeating tonalpohualli.
The sequence continues in the tonalpohualli to the icon Snake in column 5 which agrees with number 5 Snake in the lower right quadrant of Plate 54. The agreements continue between tonalpohualli days and numbered icons in Plate 54. Continuation of painted icons after Snake is represented by icons for Death, Deer, and Rabbit.
The sequence continues in the tonalpohualli to the icon Water in column 9 which agrees with number 9 Water at the lower left qudrant of Plate 54.
This agreement continues between tonalpohualli and Plate 54 until the number 10 Movement ant the last three icons of a complete ritual calendar.
This seems to be another demonstration of detail figures associated with five cycles of tonnalpohualli. There is a remaining mystery, why is there no painting to represent the repeating Alligator, Snake, Water, Reed, and Movement when the sequence of tonalpohualli is started anew five times?
There is this evidence of a cycle related to Venus by another alternate approach:
9*13=117 days per figure to yield 5*117=585days for one Venus cycle. The cycle of numbered icons needs to be counted nine times. Or 5*13=65 by counting each numbered icon in the five figures and repeating the count 9 times 9*65=585 days for one Venus cycle.
Where is the indication of 9 repetitions?
Or 45*13=585 but where is the instruction to count 45 sets of numbered icons? Each tonalpohualli has 20 sets and two tonalpohualli would have 40 sets but what gives instruction to count two sets and 5 more sets? I still have no answers.
Sunday, April 27, 2008
Plates 49,50,51,52 and half of 53
This is descriptive but I cannot yet offer a reading of these plates.
The commentaries in my Dover edition of Codex Borgia identifies these paintings by use of the five illustrations which each contain a tree. I am exploring an interpretation that uses the icons as basic information.
These plates have complex organization which leads me to another method of organizing the icons that were presented on Plates 1,2,3,4,5,6,7, and 8 where they were presented in four rows of 54 icons in each row.
I now notice a potential organization into 20 columns with the first 15 columns containing 13 icons each but the last 5 columns containing only 14 icons each. This follows prior conventions to replace the dot with an icon in sequence from the list of 20 icons. This organization would contain 255 icons instead of 260 as the first presentation of a calendar, called the ritual year. This organization does not include the additional information from the top quadrants of the five plates.
There are alternate readings which utilize the icons displayed at the top row of icons. Observe that each top row of icons repeats an icon from the bottom row. This can be read in alternate #1 as a sign to replace the row if icons designated by the Red dot Alternate #2 is to insert three icons in the list prescribed by the dots.
Alternate reading #1 replaces a column of 15 dots with three icons in Plates 49,50,51, and 52. It is not yet clear what happens in replacing Tochtli on Plate 52; it is replaced by Atl and Itzquintli but the observation of Plate 53 is not clear. This alternate reading #1 shows 13 icons on each of the four major columns of Plates 49,50,51 and 52; then 3 or more in replacing one icon on each Plate. This gives a minimum of 4x13+3=55 on each plate or a total of 220 on the complete set of icons. Alternate reading #1 does not correspond with any major cycles to my knowledge so it is rejected.
The sequence of 20 icons is well established so I will attempt to use the upper parts of these Plates to add icons somewhere. The most obvious reading is to count one icon per lunar cycle. This would yield 255x13 lunations. Modern astronomy says there are 29.53058 days per lunar cycle, yielding 260x29.53058=7677.9508 days. There are 52x265.2422=13792.5944 days in the well known 52 year cycle, more than would be counted by counting lunar cycles.
One iconis missing from each row reconstructed from these plates. This is a ratio of
52/51=1.102
52x13=676 lunar cucles in 52 years
13x29.53058=354.3696 days is 13 lunar cycles
354.3696/356.25/354.37=1.0053
The commentaries in my Dover edition of Codex Borgia identifies these paintings by use of the five illustrations which each contain a tree. I am exploring an interpretation that uses the icons as basic information.
These plates have complex organization which leads me to another method of organizing the icons that were presented on Plates 1,2,3,4,5,6,7, and 8 where they were presented in four rows of 54 icons in each row.
I now notice a potential organization into 20 columns with the first 15 columns containing 13 icons each but the last 5 columns containing only 14 icons each. This follows prior conventions to replace the dot with an icon in sequence from the list of 20 icons. This organization would contain 255 icons instead of 260 as the first presentation of a calendar, called the ritual year. This organization does not include the additional information from the top quadrants of the five plates.
There are alternate readings which utilize the icons displayed at the top row of icons. Observe that each top row of icons repeats an icon from the bottom row. This can be read in alternate #1 as a sign to replace the row if icons designated by the Red dot Alternate #2 is to insert three icons in the list prescribed by the dots.
Alternate reading #1 replaces a column of 15 dots with three icons in Plates 49,50,51, and 52. It is not yet clear what happens in replacing Tochtli on Plate 52; it is replaced by Atl and Itzquintli but the observation of Plate 53 is not clear. This alternate reading #1 shows 13 icons on each of the four major columns of Plates 49,50,51 and 52; then 3 or more in replacing one icon on each Plate. This gives a minimum of 4x13+3=55 on each plate or a total of 220 on the complete set of icons. Alternate reading #1 does not correspond with any major cycles to my knowledge so it is rejected.
The sequence of 20 icons is well established so I will attempt to use the upper parts of these Plates to add icons somewhere. The most obvious reading is to count one icon per lunar cycle. This would yield 255x13 lunations. Modern astronomy says there are 29.53058 days per lunar cycle, yielding 260x29.53058=7677.9508 days. There are 52x265.2422=13792.5944 days in the well known 52 year cycle, more than would be counted by counting lunar cycles.
One iconis missing from each row reconstructed from these plates. This is a ratio of
52/51=1.102
52x13=676 lunar cucles in 52 years
13x29.53058=354.3696 days is 13 lunar cycles
354.3696/356.25/354.37=1.0053
Saturday, April 26, 2008
Plates 29, thru 46, a long story on 18 plates.
The second plate, number 30 has an interesting introduction of all 20 icons counterclockwise from the circled Cipactli in bottom right quadrant. Every fifth icon is circled as they are presented.
This story has comments by Bruce E. Byland and I have no more observations to add yet.
This story has comments by Bruce E. Byland and I have no more observations to add yet.
Plate 28 five paintings and some icons, some damage
This painting is damaged at the bottom quadrants; three icons are visible and it is possible that some dots are missing.
The bottom left, reading from the left contains three marked positions containing three dots, then Atl with four dots, then Coatl with six dots.
The bottom right, from the left has one dot alone, then Ollin with three dots, then three dots alone.
The Dover edition contains extensive commentary by Bruce E. Byland with reference to more studies of this figure. I have found no more coments to add.
The bottom left, reading from the left contains three marked positions containing three dots, then Atl with four dots, then Coatl with six dots.
The bottom right, from the left has one dot alone, then Ollin with three dots, then three dots alone.
The Dover edition contains extensive commentary by Bruce E. Byland with reference to more studies of this figure. I have found no more coments to add.
Plate 26 focus on Death?
This Plate shows all 20 icons arranged around Miquiztli along with four bodies wrapped in funeral bundles.
There is a footprint pointed upward at position 2 Miquiztli on Plate 1. perhaps this indicates a detour that is explained by Plate 26. Perhaps it is an indication that the next 2o days celebrate those who are dead.
There is a footprint pointed upward at position 2 Miquiztli on Plate 1. perhaps this indicates a detour that is explained by Plate 26. Perhaps it is an indication that the next 2o days celebrate those who are dead.
Plates 47 and 48.
I cannot yet offer a reading of these plates.
These plates have two sets of five figures at the top. There are two figures of different type at the right and another five other different types at the bottom. It seems wrong to me when they are called three groups of five; they have obvious pictorial grouping as I describe here. The bottom row of paintings and the extreme right paintings have obviously different structures.
Order of reading.
Following prior figures which were read counterclockwise from the bottom right I will read in groups counterclockwise from the bottom row to the group at the right and then to the two groups of five starting with the bottom row with female figures.
Description of the bottom row, one painting alone and four paintings with similarities.
Each of the four segments on bottom right sections have a number-icon associated with several different paintings. Using Plates 1 through 8 as if the numbers indicate a column we can find positions in the ritual calendar.
Starting at right bottom of Plate 47 we see nine spots and the icon of Acatl which corresponds with column 9 Acatl on Plate 2 where a footprint points up.
The next segment left on Plate 47 has 4 dots and Tecpatl corresponds to column 4 Tecpatl on Plate 5.
The next segment left on Plate 47 has 6 dots and Acatl which corresponds to column 6 Acatl on Plate 7.
The next segment left on Plate 47 has 8 dots and Acatl which corresponds to column 8 Acatl on Plate 4.
I do not yet understand the importance of the sequence of segments in this bottom row.
The lone painting at bottom left has a single dot and the Cuauhtli icon. I have no special words to explain reason for associating the painting with the icon.
Description of the two paintings in upper right section of Plate 47.
The lower painting has 13 spots associated with each icon, reference to row 13 in each of the four quadricenas on Plates 1 through 8 the sequence reading counterclockwise from icon Ehecatl contains the number-icon pairs 13 Miquiztli, 13 Tecpatl, 13 Izquintli,13Ehecatl and 13 Ocelotl; found in sequence on Plate 4, the second trecena, starting with Miquiztli in the upper right quadrant of this segment and reading upward. This seems to be an elaborate abbreviated reference to the entire tonalpohuali via reference to column 13 at the end of the second quadricena.
The upper painting has 4 spots with each icon except that the four circles for Ozomatli do not contain red pigment. Column 4 Plate 7, the has all these icons in the fourth trecena, fourth column, starting with Calli, and reading upward to Cuauhtli, Mazatli Quiahuitl, and Ozomatli, . This seems to be another reference to the entire toanlpohualli by reference to column 4 of the third quadricena.
Portions of the second and third trecenas are given some sort of additional meaning by these paintings. I do not yet understand these meanings.
Description of the upper ten figures.
The two upper rows of five figures each appear to be organized into masculine figures in the top row and feminine figures in the row below. Each set of the five figures has a similar arrangement of dots and icons even though the icons vary between the figures. All five figures in each row have the same headdress and are dressed the same.
I have not found a method of reading the sequence of icons on a single row of figures 1-8 for either set of five figures. There is a systematic way of reading the icons form all the rows of a single set of trecenas. This is detailed in the following two paragraphs.
The icon at the each end of the row of females is deer, Mazatl. Starting at the right end of the female row and at the right end of the Mazatl trecena on double plates 5 and 6 and skipping an icon counterclockwise for each dot we see that the same icons appear with female figures and on the double Plates 5 and 6. Both the paintings of female figures and the selected parts of the third trecena, Mazatl, show Mazatl, Ozomatli, Quiahuitl, shifting to the prior Quiahuitl, Calli, Atl, shifting to the prior Atl, Cuauhtli, Calli, shifting to the prior Calli, Mazatl, Cuauhtli, shifting to the prior Cuauhtli, Quiahuitl, Mazatl to complete a cycle of each of the third trecena on double plates 5 and 6. The same icons appear in the same sequence to complete a cycle of the third trecena.
The icon at the each end of the top row of male figures is flower, Xochitl, the last day of a ritual calendar. Starting at the right end of the male row and at the right end of the Xochitl trecena on double plates 7 and 8 and skipping an icon counterclockwise for each dot we see that the same icons appear with male figures and on double Plates 7 and 8. Both the paintings of male figures and the selected parts of the fourth trecena, Xochitl, show Xochitl, Cueutzpalin, Malinali, shifting to the prior Malinalli, Cozcacuauhtli, Cuetzpalin, shifting to the prior Cuetzpalin, Tochtli, Cozcacuauhtli, shifting to the prior Cozcacauhtli, Xochitl, Tochtli, shifting to the prior Tochtli, Malinalli, Xochitl. The same icons appear in the same sequence to complete a cycle of the fourth trecena.
Each male figure has a small, unique iconic drawiing directly beneath the top left icon in each segment. Perhaps these iconic drawings are the name of its associated male figure.
There are no similar iconic drawings associated with female figures. Each female figure has obvious exposed breasts but variable facial features. The female figures each hold three similar items in their right hands and single similar item in each left hand.
These plates have two sets of five figures at the top. There are two figures of different type at the right and another five other different types at the bottom. It seems wrong to me when they are called three groups of five; they have obvious pictorial grouping as I describe here. The bottom row of paintings and the extreme right paintings have obviously different structures.
Order of reading.
Following prior figures which were read counterclockwise from the bottom right I will read in groups counterclockwise from the bottom row to the group at the right and then to the two groups of five starting with the bottom row with female figures.
Description of the bottom row, one painting alone and four paintings with similarities.
Each of the four segments on bottom right sections have a number-icon associated with several different paintings. Using Plates 1 through 8 as if the numbers indicate a column we can find positions in the ritual calendar.
Starting at right bottom of Plate 47 we see nine spots and the icon of Acatl which corresponds with column 9 Acatl on Plate 2 where a footprint points up.
The next segment left on Plate 47 has 4 dots and Tecpatl corresponds to column 4 Tecpatl on Plate 5.
The next segment left on Plate 47 has 6 dots and Acatl which corresponds to column 6 Acatl on Plate 7.
The next segment left on Plate 47 has 8 dots and Acatl which corresponds to column 8 Acatl on Plate 4.
I do not yet understand the importance of the sequence of segments in this bottom row.
The lone painting at bottom left has a single dot and the Cuauhtli icon. I have no special words to explain reason for associating the painting with the icon.
Description of the two paintings in upper right section of Plate 47.
The lower painting has 13 spots associated with each icon, reference to row 13 in each of the four quadricenas on Plates 1 through 8 the sequence reading counterclockwise from icon Ehecatl contains the number-icon pairs 13 Miquiztli, 13 Tecpatl, 13 Izquintli,13Ehecatl and 13 Ocelotl; found in sequence on Plate 4, the second trecena, starting with Miquiztli in the upper right quadrant of this segment and reading upward. This seems to be an elaborate abbreviated reference to the entire tonalpohuali via reference to column 13 at the end of the second quadricena.
The upper painting has 4 spots with each icon except that the four circles for Ozomatli do not contain red pigment. Column 4 Plate 7, the has all these icons in the fourth trecena, fourth column, starting with Calli, and reading upward to Cuauhtli, Mazatli Quiahuitl, and Ozomatli, . This seems to be another reference to the entire toanlpohualli by reference to column 4 of the third quadricena.
Portions of the second and third trecenas are given some sort of additional meaning by these paintings. I do not yet understand these meanings.
Description of the upper ten figures.
The two upper rows of five figures each appear to be organized into masculine figures in the top row and feminine figures in the row below. Each set of the five figures has a similar arrangement of dots and icons even though the icons vary between the figures. All five figures in each row have the same headdress and are dressed the same.
I have not found a method of reading the sequence of icons on a single row of figures 1-8 for either set of five figures. There is a systematic way of reading the icons form all the rows of a single set of trecenas. This is detailed in the following two paragraphs.
The icon at the each end of the row of females is deer, Mazatl. Starting at the right end of the female row and at the right end of the Mazatl trecena on double plates 5 and 6 and skipping an icon counterclockwise for each dot we see that the same icons appear with female figures and on the double Plates 5 and 6. Both the paintings of female figures and the selected parts of the third trecena, Mazatl, show Mazatl, Ozomatli, Quiahuitl, shifting to the prior Quiahuitl, Calli, Atl, shifting to the prior Atl, Cuauhtli, Calli, shifting to the prior Calli, Mazatl, Cuauhtli, shifting to the prior Cuauhtli, Quiahuitl, Mazatl to complete a cycle of each of the third trecena on double plates 5 and 6. The same icons appear in the same sequence to complete a cycle of the third trecena.
The icon at the each end of the top row of male figures is flower, Xochitl, the last day of a ritual calendar. Starting at the right end of the male row and at the right end of the Xochitl trecena on double plates 7 and 8 and skipping an icon counterclockwise for each dot we see that the same icons appear with male figures and on double Plates 7 and 8. Both the paintings of male figures and the selected parts of the fourth trecena, Xochitl, show Xochitl, Cueutzpalin, Malinali, shifting to the prior Malinalli, Cozcacuauhtli, Cuetzpalin, shifting to the prior Cuetzpalin, Tochtli, Cozcacuauhtli, shifting to the prior Cozcacauhtli, Xochitl, Tochtli, shifting to the prior Tochtli, Malinalli, Xochitl. The same icons appear in the same sequence to complete a cycle of the fourth trecena.
Each male figure has a small, unique iconic drawiing directly beneath the top left icon in each segment. Perhaps these iconic drawings are the name of its associated male figure.
There are no similar iconic drawings associated with female figures. Each female figure has obvious exposed breasts but variable facial features. The female figures each hold three similar items in their right hands and single similar item in each left hand.
Friday, April 25, 2008
Plate 22 lower half and Plates 23, 24
These plates contain pictures elaborating on the content of the icon of each day.
Note that the sign for Ehecatl is repeated in the painting of Plate 22 which elaborates on this day.
Note that the sign for Ehecatl is repeated in the painting of Plate 22 which elaborates on this day.
Plate 22 upper half.
The white deer on lright upper half of this plate carries the sign for five rows as seen on the first column of the tonalpohualli diagrammed on Plates 1 thru 2. Twelve dots indicate continuation through the other 12 days of the first trecenas. The last trecena on the last quadricena, Atl, ends with Cipactli; a repeat of the first icon in the first trecena.
The yell0w deer on leftt upper half of this plate carries the sign for five trecenas as seen on the fifth column of the tonalpohualli diagrammed on Plates 2 thru 3. Twelve dots indicate continuation through the other 12 days of the second trecenas. The last trecena on the last quadricena, Ehecatl, ends with Ocelotl; a repeat of the first icon in this set of trecenas.
The yell0w deer on leftt upper half of this plate carries the sign for five trecenas as seen on the fifth column of the tonalpohualli diagrammed on Plates 2 thru 3. Twelve dots indicate continuation through the other 12 days of the second trecenas. The last trecena on the last quadricena, Ehecatl, ends with Ocelotl; a repeat of the first icon in this set of trecenas.
Plates 18, 19,20,21, 8 groups of 4 quadricenas.
Each of these 8 detail pictures are associated with a group of day icons. They are arranged in a rythm reminiscent of a repeating cycle of drumbeats 7-7-7-7-7-7-5-5. This does not have any obvious interpretation related to natural or astronomical cycles. I have no present understanding of the 8 associated paintings except noticing that the last painting appears to be a night scene.
The icons under the first painting at bottom of Plate 18 are the icons in the first column on Plate 1. Use of the six dots to indicate included icons in each row includes the first 7 columns in this group which is associated with the painting at the bottom of Plate 18. These are the first seven days of each quadricena.
The icons under the painting at bottom of Plate 19 are the icons in the next, eighth, column on Plate 1. By use of the six dots to indicate icons in each row to include, the icons in column 8-14 are associated with the icons at the bottom of Plate 19. This includes all the second set of seven days of each quadricena.
The icons under the painting at bottom of Plate 20 are the icons in the next, fifteenth, column on Plate 3. By use of the six dots to indicate icons in each row to include, the icons in column 15-21 are associated with the icons at the bottom of Plate 20. This includes all the third set of seven days of each quadricena.
The icons under the painting at bottom of Plate 21 are the icons in the next, 22nd, column on Plate 4. By use of the six dots to indicate icons in each row to include, the icons in column 22-29 are associated with the icons at the bottom of Plate 21. This includes all the fourth set of seven days of each quadricena.
The icons under the painting at top of Plate 21 are the icons in the next, 29th, column on Plate 5. By use of the six dots to indicate icons in each row to include, the icons in column 29-36 are associated with the icons at the top of Plate 21. This includes all the fifth set of seven days of each quadricena.
The icons under the painting at top of Plate 20 are the icons in the next, 36th, column on Plate 6. By use of the six dots to indicate icons in each row to include, the icons in column 36-43 are associated with the icons at the top of Plate 20. This includes all the sixth set of seven days of each quadricena.
The icons under the painting at top of Plate 19 are the icons in the next, 43rd, column on Plate 7. By use of only 4 dots to indicate icons in each row to include, the icons in column 43-48 are associated with the icons at the top of Plate 19. This includes all the next set of only 5 days of each quadricena.
The icons under the painting at top of Plate 18 are the icons in the next, 48th, column on Plate 8. By use of only 4 dots to indicate icons in each row to include, the icons in column 48-52 are associated with the icons at the top of Plate 18. This includes all the last set of 5 days of each quadricena.
18 and 19 20 and 21 and upper 20 and 21 each have 6 dots skipped for a total of 36x6=196 icons skipped; 18 and 19 each have 4 spots for another 8 skipped or a total of 46 skipped. Five icons are illusrated on each of six Plates for a total of 30 icins illustrated. 196 +20 = 216 icons counted; a complete ritual calendar.
That is an interesting check on the count observed but it does not help to explain the strange rhythm of six sevens and two fives repeting in every quadricena of a repeating ritual calendar.
The icons under the first painting at bottom of Plate 18 are the icons in the first column on Plate 1. Use of the six dots to indicate included icons in each row includes the first 7 columns in this group which is associated with the painting at the bottom of Plate 18. These are the first seven days of each quadricena.
The icons under the painting at bottom of Plate 19 are the icons in the next, eighth, column on Plate 1. By use of the six dots to indicate icons in each row to include, the icons in column 8-14 are associated with the icons at the bottom of Plate 19. This includes all the second set of seven days of each quadricena.
The icons under the painting at bottom of Plate 20 are the icons in the next, fifteenth, column on Plate 3. By use of the six dots to indicate icons in each row to include, the icons in column 15-21 are associated with the icons at the bottom of Plate 20. This includes all the third set of seven days of each quadricena.
The icons under the painting at bottom of Plate 21 are the icons in the next, 22nd, column on Plate 4. By use of the six dots to indicate icons in each row to include, the icons in column 22-29 are associated with the icons at the bottom of Plate 21. This includes all the fourth set of seven days of each quadricena.
The icons under the painting at top of Plate 21 are the icons in the next, 29th, column on Plate 5. By use of the six dots to indicate icons in each row to include, the icons in column 29-36 are associated with the icons at the top of Plate 21. This includes all the fifth set of seven days of each quadricena.
The icons under the painting at top of Plate 20 are the icons in the next, 36th, column on Plate 6. By use of the six dots to indicate icons in each row to include, the icons in column 36-43 are associated with the icons at the top of Plate 20. This includes all the sixth set of seven days of each quadricena.
The icons under the painting at top of Plate 19 are the icons in the next, 43rd, column on Plate 7. By use of only 4 dots to indicate icons in each row to include, the icons in column 43-48 are associated with the icons at the top of Plate 19. This includes all the next set of only 5 days of each quadricena.
The icons under the painting at top of Plate 18 are the icons in the next, 48th, column on Plate 8. By use of only 4 dots to indicate icons in each row to include, the icons in column 48-52 are associated with the icons at the top of Plate 18. This includes all the last set of 5 days of each quadricena.
18 and 19 20 and 21 and upper 20 and 21 each have 6 dots skipped for a total of 36x6=196 icons skipped; 18 and 19 each have 4 spots for another 8 skipped or a total of 46 skipped. Five icons are illusrated on each of six Plates for a total of 30 icins illustrated. 196 +20 = 216 icons counted; a complete ritual calendar.
That is an interesting check on the count observed but it does not help to explain the strange rhythm of six sevens and two fives repeting in every quadricena of a repeating ritual calendar.
Plate 17; picture at bottom.
This detailed picture is associated with all 20 icons associated with a figure that I have not been able to read in English.
Plates 15,16,17 top. detail paintungs for sets of 4 day figures.
Presenting descriptions of these plates. I still have no reading of the detail paintings.
These 20 detail pictures have similarity in groups of five. Each five figures are associated with a complete set of 20 icons; four icons accompany each detail picture.
The first set of five, starting at the bottom right picture, illustrates a piercing of a smaller figure. The center of this set has Miquitzli as the figure performing the piercing.
The second set of five, proceeding clockwise and then to the next row above, show presentations of the smaller figures. The center of this set also has Miquitzli as the figure performing the piercing.
The third set of five, proceeding as before, shows an attachment to the smaller figure which possibly represents an umbilical cord.
The fourth set of five pictures are females nursing the smaller figures, with notable exception of the center figure showing Miquitzli in a bloody confrontaton with a female figure.
These 20 detail pictures have similarity in groups of five. Each five figures are associated with a complete set of 20 icons; four icons accompany each detail picture.
The first set of five, starting at the bottom right picture, illustrates a piercing of a smaller figure. The center of this set has Miquitzli as the figure performing the piercing.
The second set of five, proceeding clockwise and then to the next row above, show presentations of the smaller figures. The center of this set also has Miquitzli as the figure performing the piercing.
The third set of five, proceeding as before, shows an attachment to the smaller figure which possibly represents an umbilical cord.
The fourth set of five pictures are females nursing the smaller figures, with notable exception of the center figure showing Miquitzli in a bloody confrontaton with a female figure.
Plate 14, nine icons with elaborated picture.
I cannot yet provide a reading of this painting.
It is notable that the death head, indicating Miquitzlia accompanies the icon Snake at the midpoint, or center, of the detail pictures.
It is notable that the death head, indicating Miquitzlia accompanies the icon Snake at the midpoint, or center, of the detail pictures.
Plates 9, 10, 11, 12.13.14, re the 20 icons
I still cannot present a reading of these paintings.
Each of these plates demonstrates a detailed picture associated with one of the 20 icons. The detailed figure with Ehecatl on Plate 9 has the same face as the icon itself. Plate 10 contains the only three detailed figures that are not on decorated seats which would indicate ruling personages..
Each of these plates demonstrates a detailed picture associated with one of the 20 icons. The detailed figure with Ehecatl on Plate 9 has the same face as the icon itself. Plate 10 contains the only three detailed figures that are not on decorated seats which would indicate ruling personages..
Monday, April 14, 2008
How are the different "tribes" (for want of a better word) - Olmec, Toltec, Maya, Inca, etc. - related?
Nahuatl dialects Totally Explained
Mirellle ashed the question used as a title.
The question is not quickly answered in detail. My reading from several books on my shelves has produced the following summary. Some of this is simply my assumption in order to produce a simplified answer.
All ethnic groups are descended from the same original peoples who crossed from Siberia to Alaska during low periods of ice as geology changed. There were probably some migrants across the Pacific who brought some cultural influence. Two major populations arrived into central Mexico; one via central valley (deserts ) from SW side, another through Mississippi river to Gulf coast. The desert people remained uncivilized as the gulf people became the first civilization, Olmec, along the coast now called Veracruz. The populations merged and moved through much of the region forming Maya and Chichimeca ( uncivilized nomads ) groups. Traders moved continuously between the groups and culture diffused. Teotihuacan and then Toltec and then Aztec emerged in central valley, with trade continuing.
The 260 day ritual calendar was in cultural records of all groups. It was extended to agree with an agricultural calendar of 365 days by slightly different methods in central valley cultures and southern, Maya, groups.
I have been concentrating on a study of the calendar that survived in Codex Borgia. There are other studies of extensions fro other sources but all known calendars include the ritual calendar of 260 days. I have not yet discovered any original manuscripts which can be read from the original writers in the Maya group of cultures.
There was an elaborate priesthood who learned to predict lunar and solar eclipses as well as changes in position of Venus. In my opinino, they used their scientific knowledge to mislead the gullible through astrological fortune telling.
This is a brief answer. You are welcome to join the search for original documentation and direct interpretation of the mysteries that were not recorded. Those were a people with advanced intelligence and most of their documentation was destroyed.
Mirellle ashed the question used as a title.
The question is not quickly answered in detail. My reading from several books on my shelves has produced the following summary. Some of this is simply my assumption in order to produce a simplified answer.
All ethnic groups are descended from the same original peoples who crossed from Siberia to Alaska during low periods of ice as geology changed. There were probably some migrants across the Pacific who brought some cultural influence. Two major populations arrived into central Mexico; one via central valley (deserts ) from SW side, another through Mississippi river to Gulf coast. The desert people remained uncivilized as the gulf people became the first civilization, Olmec, along the coast now called Veracruz. The populations merged and moved through much of the region forming Maya and Chichimeca ( uncivilized nomads ) groups. Traders moved continuously between the groups and culture diffused. Teotihuacan and then Toltec and then Aztec emerged in central valley, with trade continuing.
The 260 day ritual calendar was in cultural records of all groups. It was extended to agree with an agricultural calendar of 365 days by slightly different methods in central valley cultures and southern, Maya, groups.
I have been concentrating on a study of the calendar that survived in Codex Borgia. There are other studies of extensions fro other sources but all known calendars include the ritual calendar of 260 days. I have not yet discovered any original manuscripts which can be read from the original writers in the Maya group of cultures.
There was an elaborate priesthood who learned to predict lunar and solar eclipses as well as changes in position of Venus. In my opinino, they used their scientific knowledge to mislead the gullible through astrological fortune telling.
This is a brief answer. You are welcome to join the search for original documentation and direct interpretation of the mysteries that were not recorded. Those were a people with advanced intelligence and most of their documentation was destroyed.
Sunday, April 13, 2008
Plate 27 showing 365 days in each of the first four solar years of 52 year cycle.
( revised 29 April 2008)
(Click to enlarge image)
This plate illustrates the first four leap years as they are counted in the ritual calendar with a modification to synchronize with the agricultural cycles.
The bottom right section shows the start of a leap year at 1 Cipactli. The next five quadricenas include 260 days ending at 1 Coatl. Two more quadricenas, 104 days, end at 1 Reed. Seven rows of quadricenas have been counted making an elapsed count of 364 days
At this point the early astronomers inserted another day to corrrespond with the solar year, to continue at 1 Mizquitli as demonstrated on Plate 27 in the upper right quadrant. Many years must have expired to allow an observation that seven ritual years needed another day to keep the cycles synchronized.
A new starting point is established in column 2 and a new number 1 is assigned to 1 Mizquitli to start the second year. The next cycle of 7 quadricenas ends at 1 Tecpatl. Another day is added and the new begins at 1 Ozomatli. This solar year ends in similar fashion at 1 Calli.
An added day starts the next solar year at 1 Tochtli. and ends at 1 Cozcacauhtli.
Remember that 10 Movement indicated an endless repetition of day names.
This pattern continues until the completion of a 52 year cycle with a new appearance of 1 Cipactli. 365 icons have been counted in 52 years, yielding a total numbers of days 365x52=18980. This is only missing 13 leapyear days in the modern count of one extra day each 4 years that are called leap years.
The appearance of water in the paintings each of the four year quadrants is an indication that these were agricultural years. Some of the repetitions of a ritual calendar would not have equal likelihood of water and would not be expected to provide equal water supply. This indicates a sort of divination which can be read from Codex Borgia but there is no indication of which year will have water.
Interpretation of this painting:
A cycle of 52 years is completed in 18980 days which is only missing the 13 days added by leap years in the calendar used in modern times. It is probable that continued observation of agricltural cycles would have prompted the early Mexican astronomers to add another day every four cycles of seven quadricenas, every 32 quadricenas.
Saturday, April 12, 2008
Plate 25, Day of 10 Movement.
(edited 24 April 2008)(Click image for enlarged view)
I still hope to find an explanation of the count of extra days that are required to keep the day count coordinated with the agricultural, solar, and astronomical cycle.
Plate 25 is interesting after I accept the interpretation offered in the commentary by Diaz and Rodgers. They interpret the dots in the center square as being the name of the day 10 Ollin in the ritual calendar.
I used the "table of contents" in the four double plates 1-8 to find 10 Ollin which shows its position just before the end of a ritual calendar in the last trecena of Plate 8. There is a footprint on this square which indicates travel to the left. The next three icons of this last trecena are arranged on the arms of Plate 25 in a counter-clockwise direction to finish qAtl and the fourth square holds the icon of the first day of qCipactli. Then the 16 icons of a new ritual year fill the next arm counter-clockwise on the four arms. These icons can be placed in the first 16 columns of qCipactli. This finishes a count into the first quadrecena of the following ritual year and clearly provides a teaching tool to show that the calendar repeats without end.
Plate 25 and Plate 8 are clearly an explanation of how to continue the day count into a new ritual year. Twenty days have passed, the final four days of a ritual year and 16 days of a new ritual year. Each occurance of qOllin will show the continuation to qCpactli.
Interpreting this figure:
The five Quadricenas are repeated in an encless list of identical sets of five quadricenas.
More comments on organiztion of the Plates.
I have perused many of the plates in an attempt to understand the complex arrangements of icons and more complex paintings. The number 13, or number of lunar cycles per solar year is an intimate part of the tonalpohualli illustrated in figures 1 thrigh 8..
I decided to think of the bottom row of squares in figures 1 thru 8 as being a matrix used to hold a stone marker which is advanced one square to the left at the time of a new moon. This requires the stone to be moved to the second row, the next line of rows above, after four years. How can the extra day be added to account for the extra time required to maintain a count of coordinated agricultural, solar, cycles?
I will answeer this question when it becomes apparent to me. I assume that there have been hundreds of years of stellar observations before this codex was recorded. This is evident because of the diligent organization which must have required a long recorded count of moons, solar cycles, and probably stellar cycles.
I decided to think of the bottom row of squares in figures 1 thru 8 as being a matrix used to hold a stone marker which is advanced one square to the left at the time of a new moon. This requires the stone to be moved to the second row, the next line of rows above, after four years. How can the extra day be added to account for the extra time required to maintain a count of coordinated agricultural, solar, cycles?
I will answeer this question when it becomes apparent to me. I assume that there have been hundreds of years of stellar observations before this codex was recorded. This is evident because of the diligent organization which must have required a long recorded count of moons, solar cycles, and probably stellar cycles.
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