Professional Documents
Culture Documents
Clifford C. Richey
January 2011
Illustration 1: Photograph © Justin Kerr
Illustration 2: The Theme
This glyph on page 9 of the Grolier Codex is some what damaged so the damaged parts and some of
the surrounding areas cannot be translated. The theme appears to be one of an important person
(the Great One due to relative size) holding a captive on a leash. What makes the scene odd is that
the captive is small, about the same size as the bird on his head. Another odd aspect of this scene is
the strange shape of the conqueror's head. It is almost as if he had horns like a bull. The is an
instance of a similar shape found on the head of a Figure in the background of the lid in Pacal's
tomb in Palenque. The general Form is almost the opposite of the Figure in our illustration. The
Pacal Figure is facing upward and has to do with ascension while our Figure depicts descent. In
both cases the Figures probably represent spirits. The Cleft in the head is the “V” shaped sign for an
opening in the surface. This has the same meaning one finds in the Olmec heads with a “V” shaped
cleft in their heads.
Illustration 3: Olmec Cleft
Head
Illustration 4: Opening at Top of Head Type
Vessel
Similarly we find many Native American ceramic vessels in the form of figures with openings in the
tops of their heads. In such cases the vessel appears to have been a metaphor for the earth as a kind
of container from which liquid could flow from the head or its Face (surface).
Illustration 5: Maya Cleft Head
In the above illustration we see the Cleft Head in a Maya glyph. The Straight Line made from the
top of the Head is the ground's surface line broken by the sign for a hole (a break or gap in the
earth's surface). The Horn like signs on either side of the hole were created from a compounding of
the several signs. The Crook shaped sign for, taken downward and (on the left) a Rectangular place
sign. Taken downward place. On the right the Crook has a Foot and Leg signs compounded
meaning, taken downward on a long journey. Both the left and right signs have the signs for
mountain on the sides of the Crook signs. The mountain signs are positioned on their sides and have
place signs positioned on their own sides. One might be led to think that this Large figure was
considered to be a Great Mountain Spirit.
There are several signs within the hole of the Cleft Head. These small signs are difficult to resolve
clearly but seem to be about places, male spirits, and a journey. One could also speculate that they
represent a bunch of seeds planted in the ground as a metaphor for the bodies of the deceased.
Comparisons have been made between Olmec Cleft Heads and Native American ceramic vessels
with the opening in the heads as a metaphors for the earth. In both cases the clefts and the holes in
the vessel heads appear to represent holes in the earth from which something (usually water) is put
into or withdrawn.
Illustration 6: The Two
Tethered
In the illustration of the Human figure with a Bird on its head the figures are apparently tied
together and held on a leash. The leash is doubled as if emphasizing the double nature of the
depiction. The Human figure is kneeling or in the act of arising while the Bird (flight) is Sitting
(awaiting flight). The Double Leash which is made up of place and journey signs is itself a sign for
arising. The leashes are joined together as one until their termination point at the top. Here they
make the “V” sign for an opening and also the sign for diverging (splitting apart or separation). In
terms of the metaphor everything in this scene is on the spirit level. Thus a great spirit has two,
smaller, spirits held on a leash. These two spirits are captives but not in the sense of warfare but
rather captivated by death, in the after life. There is also the impression that these two small spirits
are joined together as one and the same. They are joined together in flight and arise together only to
then go their separate ways.
Illustration 7: Grolier Codex Page 9 Color Coded
Now that we have an overview of the scene we will concentrate on the signs within the figures. The
glyphs are divided between left and right with the right side being the direction west. It is assumed
that the reader, or the signer, is facing south regardless of the actual directions involved. So we will
begin in the West where the right Horn of the Large Spirit is made up (as previously discussed) of
the compound signs for, taken downward, a hole in the surface, a place on the mountainside.
Following this sign downward we come to a (light green) stylized Serpent which is the sign for a
stream of water.
Illustration 8: The Great Mountain Spirit?
The Serpent is attached to the Face of the Figure. His Face, his appearance taken downward.
Further its position is at the Ear or the orifice, a hole. The Crook) compounded with a Foot (a
journey), the Serpent's Mouth (a water source such as a spring on the mountainside, a hole in the
surface). There is another hole sign on the Face and that is the sign used for the Eye. It appears to be
a compound of the signs for a Water Drop and a hole (a waterhole) but it is also an Eye because it is
in the position on the Face where the Eye would be normally located.
The Chin and Throat are another Foot except it is Up Side Down (indicating the journey or walk of
the dead). On the upper edge of the left place sign is a small (light blue) waterdrop. The two place
signs are attached to the Triangular (brown) earthfemale sign –effectively, the places on the side of
the earth.
His appearance, the Eye of the Sun, taken down on a journey, the journey of the dead, the water
places on the side of the earthfemale.
The Gorget at the throat of the Large Figure (purple) is a mountainside as viewed from above. The
Three Circles along side the mountain are the signs for locations (3) indicating, the many.
The many below the mountainside.
The place signs on either side of the earthfemale sign are also numbers. The number on the right
(including the water drop) equals the number 12 while the number on the left equals the number 13.
The number probably have something to do with the Venus cycle (such as the number of days in the
east and the west that Venus is not seen) but we must leave that to the astronomers to figure out.
The medallion that hangs from the (green) places signs is Oval in Form and represents the gesture
sign for all or everything. The fact that this Oval is Double Lined (yellow) means that it is hidden or
unseen. Within the Oval are the Circular location(s) signs serving as as the number two. The
locations two, in the east and west. Below this Oval is a Finger (skin toned) pointing a direction,
here that terminates at the side of the (yellow) Rectangle indicating an unseen place, below
(positional) as it is also Double Lined. We can see a more complete (yellow) Double lined
Rectangle to the left as a comparison).
Everything unseen. The locations two, in the east and the west.
Here, on the side, of the unseen place, below
We are unable to determine if the unseen place sign is also part of larger Imagery or Form because
of the damage to this portion of the glyph.
Illustration 9: The Figure's Legs
We know that Legs and Feet mean long journeys, from previous translations, even though the
damage to the glyph does not allow us to actually see the Figure's feet. There are Feathers (parts in
flight) on the lower parts of the Legs. There are Four Feathers on each Leg indicating the four
directions (meaning, everywhere). The Figure's Loin Cloth provides a center so that the Legs are
perceived as being to the left and right (east and west) of center. The Loin Cloth is composed of
Rectangular (green) vertical place signs positioned below the horizontal place sign (yellow) of the
unseen place. The purple center sign of the Cloth is a house sign followed by another (green)
vertical place sign. The vertical places above and below the center house.
The long journeys on the side in the east and west
The flights in the four directions
everywhere
The center
The vertical places
of the center house
Illustration 10: The Figure's Arms and hands
The Arm and Hand (the Arm and Hand of the Sun, The Steward, The Great One) on the right (the
west). The Hand (held, Stance) is made up of the compounded signs as the Thumb, a Bird's Head
facing to the right (flight in the west) a large, Circular, locational/number sign (the great one) and
two Fingers in the gesture sign for together or united (as one). The Oval, Double Lined sign which
means unseen is slightly tapered indicating an Egg, the unborn.
The Wrist of the Hand has three, unconnected, (many) Lines in horizontal layers indicating the
many levels of the underworld (positional as below the hand).
The Arm and Hand of the Sun,
The Steward of the Sun,
The unborn
held
unseen
The Flight
The great one
The two together
as one
The many levels
below
Illustration 11: The Serpent and the Egg
As we have learned in viewing previous glyphs from a variety of cultures it is wise to look at the
spaces found in the compositions. Often these spaces have a Form of their own which will lend to
increased understanding of the composition. In the above illustration we can see that the space
between the Arm/Hand of the Figure and its Head is in the Form (green) of a Serpent (a stream of
water). This Serpent is literally, unseen. The Body of the Serpent is in the form of a Foot heading
downward positioned on the side of the Arm and the many levels sign. Also there is a Finger on the
Serpent's Head that provides the opposite meaning, one of ascending here, on the mountainside. The
Double Lined Egg sign (the unseen, the unborn) is positioned at the Mouth (a water source, a
spring in this context). The Serpent brings down the unborn through the many levels below (the
underworld) and then ascends to the surface with the unborn at a place, its mouth, on the
mountainside. Apparently the spirit of the deceased is only considered reborn when it leaves the
spring site in the form of ascending particles of water (evaporation).
It is not clear how this section should be read because part of the message is in Imagery while the
other part is in Form. It is possible they should be read as one but we have, despite our lack of
knowledge, chosen to keep the Imagery and Form separate for ease of reading.
The Serpent,
the stream,
its downward
journey
on the side
the many levels
ascending
here
a
place
on
mountain side
the water source,
the spring,
the unseen
the unborn
Those readers who have read the previous paper on the Ohio Serpent Mound1 will recognize this
theme. Finding this theme incorporated into a Maya glyph shows us that the Ohio mound
composition was not an a unique depiction of a Serpent with an Egg at its Mouth but rather a theme
that was part and parcel of an ancient Native American cosmology.
1 http://www.scribd.com/doc/33683231/TheOhioSerpentMound
Illustration 12: The Figure's Arms and Hands Left Side
We will now look at the left (east) side. We see an Arm and Hand holding up a rope or cord. This is
actually two cords joined together and in the Form of a Serpent (a stream). The cord is a bunch of
place signs with a few Leg/Foot (long journeys) signs interspersed. The place signs are on an angle
and together form the signs for held down or places that hold down. The Form of the Serpent is also
the gesture sign for arising. At the Top of the Cord the strands part to make the gesture sign for an
opening. The strands diverge and go their different ways. The Hand (the Hand of the Sun) is in the
Form of a Bird (flight) with a long Neck. The Beak of the Bird is a compounded place sign. The
Fingers (the two) are in the gesture sign for together as one or united. The Back of the Hand from
which the two Fingers stem is the, on the side sign. The entire Serpent/Cord stems from the (yellow)
Double Lined unseen Rectangle (place) signs compounded at its base or Tail.
At the Wrist are the three signs (light green) meaning, the many (turning places) a compound of the
“U” shaped sign for turning, and the Rectangular place sign which is, positionally, on the side.
Below the three turning places signs and connected to the Cord is Form (orange) of a Tumi Knife,
the sign for a warrior.
Serpent (a stream)
the tie that binds
the places of the journeys
together
arising to an opening
the divergence.
The Hand of the Sun,
The Steward of the Sun.
on the side,
the two united
as one.
The Tumi Knife,
The warrior,
the location(s)
of
the one(s).
Illustration 13: The Shape of the Spaces
Between the Face of the Figure and the Arm/Hand is a space in the Form (orange) of a Profile Face
(his appearance). The Chin of the Profile Face is connected (also orange) to the Tumi Knife Form
(the warrior). This Profile face emanates from the Mouth (the water source or mountain spring) and
at its Forehead at the tip of the Bird's Beak (its Mouth) is the gesture sign for ascending up and
over. This sign is then connected to the sign for water (the SawBlade shape) which is also the side
of the mountain (blue) sign
On the Face of the Large Figure we can trace the line from the Mouth arising to the Nose
(positionally, the two holes) and then up the mountainside Form where it becomes an ascending
sign possibly compounded with a right facing Bird's Head (flight) and a Rectangular place sign.
Also below the Tumi Knife (orange) and connected to it is the (blue) Form of a Standing Bird
(arisen in flight). Below the Bird but not shown in the illustration is the Form of a Foot meaning a
journey.
His face,
His appearance,
the Tumi Knife,
the warrior
from the water source
they arise
from the dual holes
ascending up and over
the water
on mountainside
He appears
from
the water source
the dual holes
taken upwards
on the mountainside
the place
of his
ascending flight
Illustration 14: The Two Tethered Together
Although the two, a Bird and a Man, both of similar size, were drawn as bound together that sort of
misses the point. What was bound together is the Eye of the Sun, (Venus) the two united as one.
Venus ascends over the horizon both in the east and the west but there is a period of time when it is
not seen in either direction. It is this phase of Venus cycle that this glyph is concerned about.
The Human figure is in a crouched position as about to arise. The Bird is in a similar position while
sitting it is flapping its wings as it tries to arise.
The Captive Ones
The ones bound together
attempting to arise.
Illustration 15: The One Arising
His Face, his appearance. The one arising. The Eye of the Sun in the water hole. The Form of the
Eye is in the shape of a water drop while the dark center and the surrounding white of the Eye is the
gesture sign for a hole. On the side of the Figure's Head (the position of the Hair) are Four Fingers
pointing upward to the Four Feathers of the Bird's tail feathers. The meaning is flight or rather,
parts (parts of the Bird as the Fingers, the ones, are parts of the Hand)) in flight in the four
directions –everywhere. The Black Lines that separate the Fingers are the gesture sign for flowing.
Considering that this is combined with the position for Hair the meaning becomes one of cleansing
or purification.
At the position for the Ear (an orifice or hole) we have a (light green) stylized Form of a Serpent (a
stream). The Serpent is created by a compounding of the Crook (brings or takes) downward (the
final direction that the stem of the Crook takes). This leads to two “U” shaped turning signs at the
position of the Serpent's Mouth (a water source). Finally, the Serpent's Neck positioned below the
Head is in the Form of a Rectangular place sign. The Neck is extended to be between the (light
yellow) signs on either side. The Neck rests on top of the Form (also light yellow) of a vessel (the
earth as a container) which has a small “V” shape opening gesture sign on its lip. These three signs
may also Form a Large Rounded greatmalespirit, at the opening of the container—the earth.
While the container and on the side signs are clear the sign on the left is not recognized.
His Face,
his appearance.
The one arising
The Eye of the Sun
in the water hole
The Serpent,
the stream
takes
down
at the
water source
on a journey
the long journey
of the dead
a vertical,
a deep place,
between the sides
(the great male spirit)
at
the opening
in
the container
Illustration 16: The Great
Unseen Cave
The Great, unseen, cave (yellow, Double Lines, Curved) and within it the Profile of a Face (his
appearance) connected to the Imagery of a Hand (The Hand of the Sun, the steward) positioned, on
the side. At the Forehead is the Double Lined Rectangular unseen place sign. We can see that on the
back of the Hand imagery there is a Foot sign facing upward. Above and below the Hand there is
further imagery but there is damage in both areas that makes it difficult to know what these signs
refer to.
On the side of the cave sign there appears to be a sign that is both a phallic image and a Finger
pointing a direction, here. The imagery has either the fingernail or the glans penis indicating a male
spirit sign. The great one (relative size), the male spirit. Below this are two further male spirit signs.
The two on the side.
The Great, unseen, cave
his appearance within it
the unseen place
The great one, the male spirit,
the two
on the side
(of the earth)
The Great Hand,
The steward of the Sun
on a journey
(damaged area)
…
the purification.
the parts
in flight
(damaged area)
…
upward
in all directions
everywhere
Illustration 17: The
Medallion
The medallion is in the Form of a Face, his appearance. In the position of the Eyes there is the
gesture sign for, not. On the side of the position for the Nose (the two holes) the locational/number
signs are merged together as one, positionally, on the side. Below the Face is the Double Lined
(yellow) unseen “U” shaped turning sign. The sign or Image between the strap of the medallion
appears to be that of a Sitting Dog (a prophet) or some other animal in a waiting Stance.
His Face,
his appearance
The Eyes,
Venus,
not seen,
the two together
united as one
on the side.
Turning unseen
below
The many
locations
in the east
in the
center
(animal imagery)
the one
waiting
the many
locations
in the west
Illustration 18: The Bird
The Stance of the Bird is Sitting meaning, waiting and the Bird's Wing (its Hand) Flapping
(perhaps, attempting to fly).
The One
waiting
attempting
to fly
Looking at the Bird Imagery we see that the largest subimage is that of a Large (great) Arm and
Hand (flesh tone), the warrior, the steward of the Sun. This Imagery is on the Head of the Face
indicating they are one and the same. There are Four Fingers on the Hand ans Four Feathers on the
Tail of the Bird (parts of the Bird –parts in flight). The Four relates to the four directions or in every
direction –everywhere.
The great warrior,
the great steward,
the ones,
the water particles,
in flight
everywhere
Because the “in flight everywhere” is connected to the flowing sign one may assume that the
Feathers, the parts in flight refer to water particles in flight. Perhaps this was an allusion to the
evaporation of water (drawn up by the Sun) everywhere from the springs and streams on the
mountainsides.
Illustration 19: T he Wing
The upper edge of the Wing (blue) is a compound of the Straight Line sign for the surface while
there are three (many) “U” shaped turning signs below (positional) the surface. Reading from the
right we find Two Tadpoles, light brown and pink, (the two changelings) followed by a Leg/Foot
(darker brown) sign (a long journey). These three signs are attached to the (blue) many turnings
signs above them. Next we see a (green) rectangular place sign followed by a (yellow) vertical Half
Circle side sign. The Crook (taken upward) to the surface is attached to the side sign.
The Changelings,
the two
on a
long journey
the place
on the side
taken upward
to
the surface.
Illustration 20: Descent and
Ascension
The is some damage in the area of the Bird's Foot (the journey). It would appear that the damage
(gray areas) is to two locational/numerical Circles. There is a (yellow) “U” shaped turning sign and
a horizontal Half Circle representing the underside or the underworld. There are Two Fingers the
left one indicating the direction downward –below and the right one a turning sign.
The two Fingers are parallel to each other or partly parallel indicating the gesture sign for together
as one. There are two arising signs (red) also joined together as one. At the top of these signs are
two Legs/Feet (light blue), the two journeys together as one. The arising sign on the left (the east)
connects to a Crook sign for taken upward, and arising unseen (the Double Lines of the lower part
of the Birds Beak). The Beak is, of course, a Mouth (a water source) and is in the “V” shape of the
gesture sign for an opening.
Arising unseen
in the east
they journey upward
together as one.
taken upward
to the water source,
the spring,
the opening.
The second unseen ascension sign (also red) moves upward to the Eye, the dark centered hole sign.
The Eye is in the shape of a WaterDrop and may mean exactly that. Arising unseen to the hole in
the surface—a water droplet. The droplet is facing upwards in the opposite Form of a raindrop.
The Eye of the Sun. This sign is connected to the (skin tone) Large Arm/Hand sign (the great
warrior, the great steward of the Sun –probably a Sunpriest). There is a Crook (black curved line)
on the side of the Bird's upper Beak which is a Double Lined , unseen, arising sign. This same
Crook (blue) was also used to denote the opposite event of the being taken down the nine levels of
the underworld (one must count the shoulder of the Arm as the ninth level).
Taken down
the nine levels
the great warrior,
the great steward,
(of the Sun)
The unseen arising
of
the waterdroplet,
the Eye,
the hole
in
the surface
Taken upward
ascending
unseen.
Despite the complexity of this glyph it is quite similar in content to many of the other glyphs we
have translated. One cannot help but wonder about the redundancy. But as poetry or song there may
be an explanation. Many, present day, songs have a basic theme of unrequited love yet there seems
no end to the number of such songs. It is not the content of such songs that involve the listener but
rather the differences in wording from one song to another. Perhaps in the important area of Maya
cosmology a similar mechanism was in effect. The Maya knew the phases of their metaphorical
cosmology well so maybe it was the difference in the wording of the poetry or song that maintained
the continued production of the multitude of similarly based glyphs.