TRANSCENDENCE IN MAYAN MYTHOLOGY
In Appendix 6, of Maya Cosmogenesis 2012, John Major Jenkins summarizes the present understanding of the cosmogenesis of ancient shaman cultures. He discusses the Bauval/Hancock contention in The Orion Mystery and The Mystery of the Sphinx that the moment of the first occasion occurred in the period 10,500 BC. Jenkins indicates that these authors recognized a date around 2450 AD as a final date. From his own research, Jenkins concludes that the 2012 AD date represents a cosmogenesis, or a rebirth of the cosmos. This is a conclusion arrived at by the correlation of many Maya monuments, their calendars, and their writings in the Popol Vuh, the Maya Bible. Jenkins correctly navigates the jumble of facts presented in The Mayan Prophecies by Adrian Gilbert and Maurice Cottrell. Then he indicates that William Sullivan had come closest to understanding the Mesoamerican cosmology in The Secret of the Incas. In general, Jenkins' conclusions can be supported by the measurable facts and the archaeological record. The following is an interim statement of some essential facts which were provided in Maya Cosmogenesis 2012, but as yet not developed by Jenkins. The discussion is for the record, as the further development of the Jenkins perspective evolves, both in this author and in Jenkins himself.
The one major stumbling block which Bauval and Hancock have not been able to overcome is their lock on the position of the belt stars of Orion. Bauval found the alignment in 10,500 BC and essentially ignored the alignment in the beginning of the Age of Aquarius. ---In bringing up this idea of the cosmic ages, it needs to be recognized that the precession of the equinoxes was fundamentally the most important feature of all cosmologies, ancient and modern. When the modern myth of space-time is properly understood, it will become clear that the only way to communicate from civilization to civilization over thousands of years is via the precession of the stars. Precession is the indispensable clock of the cosmos as perceivable on earth.--- Had Bauval and Hancock paid close attention to the six small pyramids east and southwest of the Giza complex, they would have realized that they represented the rising and setting positions of Orion in ~2450 AD and ~10,500 BC, respectively. The time of the design and construction of the pyramids was correctly determined via the "air shafts" to the stars. These architectural markings were designed specifically for the purpose of dating the monuments. Bauval is to be given credit for the opening up of the idea of celestial dating of the pyramids. That idea represents the intent in the monuments, and there is no other way to carry the message of the pyramids through the periodic devastation and catastrophes of human cultures. See the essay on The Great Pyramid for celestial details of the architecture.
The bottom line of the Bauval/Hancock debate is that the Giza complex was designed to carry the most profound knowledge which human kind had ever gained from the experience of life. The architecture was created to demonstrate the principle of the empty tomb, or the resurrection to everlasting life. That is the essential message behind all great monumental structures. The very idea of monumental construction is to pass on to later generations the wisdom of prior ages. When understood and properly applied, the resurrection of the spirits of the ancestors can be fulfilled. During the life span of the monument builders, their own cultures were stabilized for centuries, or millennia, by the knowledge that their own purposes in life could reach fulfillment, if not in the immediate experience, in a reincarnation when their knowledge returned to earth as cosmic wisdom. A higher goal for any generation is not a possible reality.
To overcome the projection of modern space-time perception onto ancient monuments, we must desire to put our own record in a place where it can be rediscovered. We live under the false security that the ultimate calamity will never happen to civilization. How we got to this state is not the subject of the present cosmogenesis, but it will necessarily be the subject after the cosmogenesis is transcended. For us, a "doomsday" scenario is not probable, because we know all there is to know about the material cosmos. That naive arrogant position is evidence of our irresponsibility toward our ancestors and our descendants. In 1995, we watched as comet Shoemaker-Levy 9 crashed into the planet Jupiter. The temporary scar on the surface of Jupiter represented a physical phenomenon larger than the whole earth. Because of the evolution of our modern sciences and the notion of space-time, we live under the influence of linear time and eternal light paradigms. We deny that the past catastrophes are likely to happen again. From the monumental record, it is quite clear that ancient shamans were far wiser than we in this respect. Monuments were built as a return path for spirits of the ancients and their accomplishments from the grave after catastrophe. This foresight assures more rapid recovery by future generations after a catastrophe. It takes a culture immensely rich, materially and spiritually, to carry out such enterprises.
The fact that we do not create great monuments any more is evidence that we live after a cataclysmic event. It is a means of communication we no longer understand. We have searched everywhere, and we have essentially proven that since the last ice age, circa 9,500 BC, there have been no great worldwide catastrophes in the material world. The catastrophe that has occurred, and the influence of which still effects us today, is what the ancients called the Fall of Man. That is the catastrophe which results when dreams become more important than reality; when ego is more important than consciousness. This particular catastrophe was predicted by the architects of the Great Pyramids, Stonehenge, and the monuments in Mesoamerica. We are presently searching for our beginnings, after denying our ancestors. But, we are failing to acknowledge that the reason we do not understand our ancestors, is because we portray them as illiterate beasts. When modern culture lost respect for the animal world and the natural world, it disconnected itself from its roots. The return of evolutionary consciousness which carries the wisdom of our ancestors will restore consciousness of the cosmos to the soul of modern civilization. That will represent a rebirth and a new cosmogenesis. The rebirth and the new cosmogenesis will come from the past as an awareness of returning spirituality from the days before the Fall of Man.
The quest of Cosmogenesis 2012, whether Mayan, Egyptian, or any other, must begin with the realization that a catastrophe of consciousness has occurred to human civilization. As we uncover the cosmogenesis, we will begin to see how denial has resulted in the fall, and how restoration of ancient beliefs will resurrect a New Aeon within our souls. The ancients told us very clearly, the message is written on the walls of the cosmos. They say that we must move away from our cave of self consciousness and into the everlasting spirit of being. This movement will function within the person as a vehicle fired by spiritual enlightenment. What we see through all the researchers from Hertha von Dechend and Giorgio de Santillana in Hamlet's Mill to John Major Jenkins in Maya Cosmogenesis 2012 is an increasing awareness that we have lost something we once cherished as cosmic awareness. That cosmic consciousness is being reborn, and it will happen on the schedule first recorded in cave drawings over 30,000 years ago. Our first step is to acknowledge that human mental capacities have not evolved continuously to greater consciousness over the intermediate ages, but they have been falling in a downward spiral toward obliviousness, for several millennia. The cycle we are presently completing was described nearly 2000 years ago in gnostic words recorded about our loss of personal soul.
John 1:1-15 (KJV)
1 In the beginning was the Word, and the Word was with God, and the Word
2 The same was in the beginning with God.
3 All things were made by him; and without him was not any thing made that was made.
4 In him was life; and the life was the light of men.
5 And the light shineth in darkness; and the darkness comprehended it not.
6 There was a man sent from God, whose name was John.
7 The same came for a witness, to bear witness of the Light, that all men through him might believe.
8 He was not that Light, but was sent to bear witness of that Light.
9 That was the true Light, which lighteth every man that cometh into the world.
10 He was in the world, and the world was made by him, and the world knew him not.
11 He came unto his own, and his own received him not.
12 But as many as received him, to them gave he power to become the sons of God, even to them that believe on his name:
13 Which were born, not of blood, nor of the will of the flesh, nor of the will of man, but of God.
14 And the Word was made flesh, and dwelt among us, (and we beheld his glory, the glory as of the only begotten of the Father,) full of grace and truth.
15 John bare witness of him, and cried, saying, This was he of whom I spake, He that cometh after me is preferred before me: for he was before me.
These words are taken from a modern cosmology called the Gospel of John. Verse 15 describes the cyclical nature of conscious awareness of natural phenomena. These words split the human collective conscious like a meat clever splits raw meat. People who want to believe, do so without hesitation. People who do not want to believe cannot be convinced of its efficacy. These words have not been placed in this essay to evangelize. They were placed here as a demonstration. To take either the road of doubt or the road of belief is to be lost in a wilderness of misunderstanding. There is a middle road which is implied in the words. The middle road is to pay attention and play the game as it unfolds as the light abides within the darkness. Doubt and belief are inward directed forms of consciousness searching for security by the edict of a rational tyrant, or by the emotional submission of a child to its mother's breast. The cosmogenesis path is to again watch and listen. Perception is the path to truth of all being. When action is called for, then act in accordance with what has been brought to the consciousness by the eternal cosmos, not by the inner mind which retreats from the eternal cosmos. It is the retreat from cosmic consciousness that has resulted in the reverse evolution of human awareness capacities. We have withdrawn to the cave of our own awareness, and we have lost our cosmic soul. It is attention deficit disorder (ADD) on a collective consciousness scale.
PURPOSE OF THE GAME
Jenkins has stated his belief that William Sullivan has found the meaning of the Secret of the Incas. Yet it is clear that Sullivan did not see the connections of the stars to the Inca secrets with his eyes. At best, he saw only shadows in the galaxy, and he assumed that his superior knowledge could unravel the mystery before his face as a projection by Incas to the heavens. Since the Inca sciences were perceived to be less highly developed than modern sciences, the Inca appeared to be overly subject to superstition and the influence of shadows. It is an easy trap to fall into, especially with the self aggrandizement espoused by modern academia. Our rational education systems intentionally fail to demonstrate truth by experience on a regular basis. They demonstrate truth by inexhaustible hyperbole and an ouroborus of references, which often leads to someone who made a conjecture without experiencing the cosmic game.
The game of reading the hand writing on the walls is now, and has always been, a game of connect the dots. Shadows and clouds in the galaxy are the backdrop on the cosmic stage. They must be utilized in order for the Cosmic Mother to express what has not been witnessed before by the perceiver. Like any stage production, the backdrop is essential, but rarely is it the focus of attention. William Sullivan recognized that the stage was the galaxy, but he failed to realize who the actors on the cosmic stage really were. They are individual stars, asterisms, constellations, and regions of the perceivable heavens. When we begin to see the "fixed" stars as actors on a cosmic stage, we can begin to understand why the planetary and cometary objects became so important to some ancient stargazers. These wandering stars were dynamic and timely events which made the fixed story come alive with a sense of urgency and premonition. They were the essence of self expression by the cosmos itself. Kings could use the wandering stars to show the "divine appointment" of their kingship. More experienced wisdom knew that these wandering stars were being used as indications of cosmic intent, but they did not see the "fixed" stars as stationary. They saw the "fixed" stars moving on a tapestry which is the precession of the equinoxes. That tapestry tells the story of the "King of Kings." Jenkins has found the dynamic action of the King of Kings, but he does not yet perceive the role played by the actors on the stage. His stage is an empty ferris wheel going around without places to ride, or stories to tell. His objective is to get the ferris wheel turning again. When the Maya Cosmogenesis 2012 starts over again, Jenkins perceives a renewal, the details of which, he has yet to develop. The details are the lights shining in the uncomprehended darkness.
In the glyph of a king in a cave, we can see the whole of the cosmos summarized in a few elements. The walls of this cave are the backdrop, it is the Orphic egg, or the virgin's womb from other metaphors. Sitting upon a throne of water is a king with a great headdress. In his arms some treasure is being held securely. Jenkins failed to draw attention to the flames roaring from the mouth of the cave. This cave is a metaphysical vehicle used to travel in an "out of body" world. A world where experience through the senses does not represent the only messenger. Unlike a material rocketship that gives up its own possession of fuel substance to propel itself in the direction away from the exiting fuel, this vehicle moves in the same direction as the fuel. It is propelled by desire to belong and to fulfill a cosmic purpose. That desire and purpose are symbolised by the treasure held securely. In this glyph, the cave is moving from left to right and it is carrying its occupant, with the treasure. The vehicle is the cosmic consciousness which comes without experience. Its stage is created from the treasure which empowers it. The propulsion system has spiritual hooks which attach the cave to the cosmos by the flame. This is the fire of inspiration that moves all kings. Without inspiration, a king is just a pauper. Around the king are points of light signified as dots and circles. Cosmic matter is transformed into spirit by kings through the fires of inspiration. This is an internal cosmic source which can defeat temporal powers of the dreaded entropy of thermodynamic materials. It is this very power that gets lost through the catastrophe called the Fall of Man. It is this power that is coded into the greatest monuments of mankind. It is the Popol Vuh, or the Book of Life.
William Sullivan spoke of a legendary story behind the question, "Why is the Fox's Tail Black," and the race between the condor and the hummingbird to get to the land of the rising sun. He accepted these renditions of the Incas as part of the mystery of the shadow in the Milky Way near the tail of the constellation of the serpent. In doing so, the stage for the action of the heavens was made visible, but the actors were simply human imagination projected onto the darkness of the stage. Had he played the game of connect the dots, he would have seen that the fox's tail was dark because it was in the region of the dark rift. Within that dark rift, a condor flies toward the rising sun. But, look at the hummingbird which passes the condor as it reaches the dark rift of the Milky May. The legend says that the hummingbird hid in the condor's feathers until it had gotten to the way of the dead, then the hummingbird went the rest of the way on its own. Can you see the child king hidden in the feather's of the condor? If you can, then you have just made the proper connection between the dark rift in the cloud of heaven and the legendary message from those who had taken that trip before. That is why the fox's tail is black. So that it can be used to get children of kings to the place where the sun begins to rise. That place is the one the Egyptians called, Sep Tepi. It is the place where First Father came out of the mouth of First Mother in the Maya cosmogenesis of 2012. It is the zenith message over Teotihuacan.
We will return to the king and his cave in a moment. For know, lets look at various glyphs in Maya Cosmogenesis 2012 and see if there is a common theme to them.
The glyphs above show a repeating theme; coming forth of being. The being coming forth is pure enlightenment as a sun disk in the split skull of the Cauac Monster, or First Father coming from the frog body of First Mother, or Mixcoatl coming from the cosmic serpent. These coming forth images represent egress from a mouth, as when an expression of faith creates a purposeful life.
In the ballcourt glyph, we see the same theme. Only here there is a twist. Three directions are indicated. To go left or right leads to death, or cosmic sleep. But, to rise up brings total cosmic awareness and renewal of a lost soul. The two paths to failure are doubt and belief. The reason why they lead to failure is because they are blind to self perception, and how it projects personal purpose. The approved path is to be perceiving as the self rises above the game. Life, for all its victories and defeats, is a game played on a cosmic stage. The effect on the cosmos will not be the doubt and the belief, but what the cosmos can inspire through self awareness in relationship to the cosmos. The one who wins that game will be expressed from the spiritual womb of its cosmic mother through the voice of Mother Nature. Thus, this birth is out of the mouth of First Mother. It is a statement of faith in the truth of personal purpose when that purpose has cosmic alignment. In other words, the game must be played on the cosmic stage if the individual is to achieve the kingdom to come. This concept is written into the words of modern religions and the process of modern science. It is the "scientific method" expressed in the monumental cosmic vernacular.
Now lets return to the meaning of the king in his cave as a witnessing of cosmic events. The rational mind can grasp the definitions of self awareness and cosmic awareness. But, the rational mind cannot experience cosmic awareness. This can only be experienced through the senses of the physical body. If we allow man to be a metaphor for rational being, and woman to be a metaphor for sensual being in the form of emotions, feelings, and senses, then First Mother came before First Father, and she brought him out as a rationalization of emotions, feelings, senses, or other physical experiences. These physical experiences are cosmic events to the organism of the body. If the treasure held close to the heart is truthful experience, then that treasure can be used to understand events which cannot be experienced, or have not been experienced. This is the gift of prophecy, and the presence of the Cosmic Mind. The key to cosmic awareness is what is being held securely by the king in the cave. From the position in his cave, the king can perceive all time and space as an "out-of-body" experience, since he communicates beyond the physical means of the body. The vehicle he rides is truthfully inspired imagination. The fuel is the word from the ancestors, the Popol Vuh.
Four elements of ancient metaphysics are transformed by this cosmic process in which matter becomes spirit. That is an explanation that covers any human endeavor. The material world is just the prison which holds an uninspired soul. With the physical body of First Mother, and the rational mind of First Father, a conscious entity can transcend boundaries between the material and spiritual worlds. That is the goal of any, dare I say all, religions. The method by which that consciousness expresses itself is what we experience as culture. Culture is the child of the relationship of the First Parents; she being emotional, and he being rational. Every rational thought, every irrational dream, comes through the harbingers of inner emotions.
This process is true at the microscopic and the macroscopic levels. The new biological models of Bruce H. Lipton, Ph.D., support evidence for modification of the DNA of a cell nucleus by sensual transmission across the cell wall; the biological equivalent of the Maya king inspired within a cave. Equally amazing is the astrophysics work of Dr. Bernhard Haisch of The Astrophysical Journal and staff physicist at the Lockheed Martin Solar & Astrophysics Laboratory in Palo Alto. In the essay, Brilliant Disguise: Light, Matter and the Zero-Point Field in Science & Spirit Magazine, Haisch describes new science in astrophysics that shows matter to be dependent upon light for its behavior. His thesis indicates that matter does not exist of itself, but is dependent upon the underlying quantum level zero energy light field. Haisch said, "that mass is, in effect, an illusion. Matter resists acceleration not because it possesses some innate thing called mass, but because the zero-point field exerts a force whenever acceleration takes place. To put it in somewhat metaphysical terms, there exists a background sea of quantum light filling the universe, and that light generates a force that opposes acceleration when you push on any material object. That is why matter seems to be the solid, stable stuff that we and our world are made of." These two respected scientists are essentially saying what the Maya have said, as expressed by John Major Jenkins in Maya Cosmogenesis 2012. Consciousness is an allusion caused by the way light interacts with itself to cause the illusion of matter and cosmic presence. The transcendence of the king out of the metaphorical cave represents the stage in the process of life when cosmic secrets are understood and "carried out" by the individual. Clearly, this is no ordinary individual. This is a god, precisely as the Maya have said. They claimed that their sacred cities were the places where humans became divine.
The Maya, and all mature ancient cultures recognized that the raising of children was the ultimate purpose of the cosmos. The culmination of that growth was represented when a king exited the space-time material cave of consciousness and came into the world of cosmic spirituality. How individual groups affect that process is the essence of what we know as culture. Most cultures describe a trip into a Xibalba like place where tricksters or demons attempt to prevent the child from reaching cosmic consciousness and union with the cosmic rationality and sensuality; First Father and First Mother. The whole process was simulated as a ball game to teach the children what spirit to expect without teaching the actual cosmic event to expect. In other words, religion prepares the child to get out of the bondage within the psychic cave by an action metaphor. When children actually get to gates of cosmic consciousness, they will "know" the answers they will seek, even though they did not perceive the questions earlier in life. The tricksters that the children will encounter when they choose to cross the threshold into cosmic spirituality will be the believers who tell them they are right, wise, and good, as well as the skeptics who tell them they are wrong, insane, and bad.
Here is one example of the metaphor as presented in the Popol Vuh. These vignette's demonstrate the spectator Lords of Xibalba at the ball game; the players on the field; and the hero twin raising a new crop of Mayans. The Lords of Xibalba are spectators who do not understand that the purpose of the game is the new crop of Mayans. No matter which team you are on in the ball game, some will be for you and some will be against you. The objective is to get the ball into the temple pyramid so that progress up the seven tiers can be accomplished. Those tiers are the four elements, earth, water, air, fire, and the communication process represented by the Heroic Child, the First Mother, and the First Father. The culmination is that the Hero Child will raise the children to learn how to win at the game of life and maintain the cultural heritage. Without this process in effect, all cultures go the way of the Maya as reported in "The New Maya" article of the Archaeology Magazine, September/October 1998 issue, from which these vignettes were taken..
The goal is to become a form of enlightenment so that children can get to enlightenment as their "sun begins to rise." That is shown by the son of First Father, Hunahpu, standing outside the turtle's shell with a jug pouring water into the crack in the shell of the turtle where he came into enlightenment. Notice that the turtle with lost souls on either side of the crack, where Hunahpu successfully achieved victory over spiritual death, is the same theme as the ballcourt glyph shown previously. Thus, Hunahpu's actions are a sign of compassion for uninspired souls, after winning at the game of life.
The middle vignette in the second set represents childhood accomplishments in the physical body. The right vignette of these three shows Hunahpu with a blowgun warding off the nemesis Seven Macaw. This bird and the blow gun are clear associations with the metaphysical element air. The last three vignettes represent a metaphor saying that to avoid eternal demise, the adolescent mind must overcome the tendency to rationalize all experience as a personal dream. On a percentage basis, more people have sold their souls to the academics of reason during the last two thousand years in Western Civilization than at any other time in history. The cause for this is quite simple. We have been provided with more metaphors about life than we can learn in a single lifetime. Thus, we never get out of the cave of insecurity because we never finish all the rational education available to us. This is the very process which the ancients had prophesied. We would eventually become educated beyond our intelligence. Personal knowledge would become more valuable than experience, as we project our knowledge onto the fabric of life.
The cosmogenesis of 2012 was defined by the ancients as the passing of the rational mind through the barriers to rational experience and arriving at the inspirational truth required for successful regeneration. This type of cosmogenesis is a return of the notion that rationality is just an expression of a mature emotion. The very first rational expression came from the First Mother's mouth, and it was One Hunahpu, First Father to the Maya, and the Maya projection of self image.
Continue with the
SOURCE OF THE COSMOGENESIS STORY
Return to the beginning of:
TRANSCENDENCE IN MAYAN MYTHOLOGY
Proceed to beginning of:
SOURCE OF THE COSMOGENESIS STORY
Proceed to beginning of:
MEANING OF THE 5TH SUN IN MAYAN MYTHOLOGY
Proceed to beginning of:
WHY THE STARS REALLY MATTER
Proceed to beginning of:
FINDING INVISIBLE MESSENGERS
Proceed to beginning of:
MEANING OF THE BALL GAME IN MAYAN MYTHOLOGY
Appendix: Ambilac's Time December 21, 2012 22:18:13
Appendix: Definitions of Astronomical Terms
Analysis of the Circular Zodiac at Denderah, Egypt
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