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Justin Kerr - The Transformation of Xbalanque or the Many Faces of God Resistance2010

Justin Kerr - The Transformation of Xbalanque or the Many Faces of God Resistance2010

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Published by Sevan Bomar
The actuality is a great lesson is being taught and soon humanity will learn to yield its idea of what it thinks it knows and be force to recon with the question on why such a complex Planet can be lived upon by Beings who in the most part are yet to identify what created it. It will soon learn that we are merely children in a vast Universe of Beings enveloping Matrixes in dreamtime illusions until one is ready to open up higher communication, we live to experience which in turn allows us to grow as we burn the energy of our Soul in motion. If the Most High did not intend for you to wear a crown, surely it would not have gave you a Crown Chakra. Welcome to the Next Level Earth, We are with you.

James Evans Bomar III
Developer of the Planetary Resistance
http://www.resistance2010.com
http://www.resistance2012.com
http://www.therealmorpheus.com
The actuality is a great lesson is being taught and soon humanity will learn to yield its idea of what it thinks it knows and be force to recon with the question on why such a complex Planet can be lived upon by Beings who in the most part are yet to identify what created it. It will soon learn that we are merely children in a vast Universe of Beings enveloping Matrixes in dreamtime illusions until one is ready to open up higher communication, we live to experience which in turn allows us to grow as we burn the energy of our Soul in motion. If the Most High did not intend for you to wear a crown, surely it would not have gave you a Crown Chakra. Welcome to the Next Level Earth, We are with you.

James Evans Bomar III
Developer of the Planetary Resistance
http://www.resistance2010.com
http://www.resistance2012.com
http://www.therealmorpheus.com

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Categories:Types, Research, History
Published by: Sevan Bomar on Dec 13, 2011
Copyright:Attribution Non-commercial

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06/14/2013

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The Transformation of Xbalanqué orThe Many Faces of God A
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By: Justin Kerr
 In Maya mythology, the Hero Twins appeared to have served many functions.Through time, and surely influenced by geography, they evolved the various aspectsof their personas. They seem to have accumulated many roles as Maya civilizationbecame more complex. In this paper, I will explore a succession of changes inbehavior and role.Maya deities, as we have come to know them from the Post-Classic codices, are quitedifferent from the earlier versions of the Early Classic and the Classic periods.Particularly, we will examine one such meld of characteristics, the metamorphosis of the Hero Twin Yax Balam (Xbalanqué) from his role of hunter, scribe, and magician,to also include the role of beekeeper or possibly as the patron of the beekeepers.Although Landa tells us that the Bacabs and especially Hobnil, were the patrons of thebeekeepers, the Maya themselves may tell us otherwise. In this paper I will alsosuggest that there is more than one way to understand the scenes on Maya vessels. Ithas been assumed, when we see a series of individuals on a vase that they shouldgenerally be read sequentially as a group of related scenes. I would like to show that,in some cases the same individual can appear on a vessel in a number of transformingguises or activities.To paraphrase Michael Coe (Coe, 1989), "The overwhelming significance of thePopol Vuh in solving many problems of Classic Maya iconography and epigraphy hasbeen overlooked by many scholars." Aside from the Quiché Popol Vuh, there musthave been numerous versions and regional additions to the basic tale. For example, inthe Hebrew bible, many stories from the oral tradition as well as from ancient writtensources were combined and edited. It is certainly possible that the Popol Vuh, as weknow it, represents only one of many attempts to coalesce the oral and writtentraditions of the Maya.As we know, the Popol Vuh presents us with three sets of twins; the eldest, Hun-Hunahpú and his brother Vucub-Hunahpú, the sons Hunahpú and his brotherXbalanqué, and their half-brothers Hun Batz and Hun Chuen. Their exploits andaccomplishments are set forth in the Quiché story, but there are images from earliertimes that fill out and enhance some of the themes that we are familiar with. There are
 
images from Izapa (Figure 1) and on Early-Classic vessels, (Figure 2) which forexample, confirm the story of the killing of Vucub Caquix, the major bird deity.These and other images suggest that the underlying religion, with its heroes anddemons was in place very early in the history of Mesoamerican peoples. I believe wemust draw on these images to show the transitions and changes that took place overtime.In his seminal work, The Maya Scribe, His Art and World, Michael Coe identified thetwo characters he called "The Head Band Twins." (Figure 3) The headband isprobably the most important iconographic tool that we can use in identifying the HeroTwins. I believe that all of the characters wearing the headband, (other than the Ahawvulture who also wears the headband), are related to either the Hero Twins, theirfathers, or their half brothers in one way or another. However, along with theheadband, there are other symbols which the Maya use to define the Hero Twins.Blowguns for example, are their choice of weapons. To emphasize their roles asballplayers, they wear animal headdresses as well as yokes, often decorated with asky-band. The eye "cruller" and a thick round knot at the neck or waist, are sharedwith G1 (God I) and G3 (God III). The "death’s eye" collar is shared with God A andothers. An olla marked with the ak’bal glyph , carried or worn as a pendant, is sharedwith God A
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. These aspects help to identify the many forms of the ubiquitous Twins.Even these strange characters, (Figure 4) largely ignored, are headbanded HeroTwins. These depictions of the Hero Twins do not fit the standard form of the twins,yet the figure on K1207 (Fig. 4) bears a striking resemblance to the pose and actiontaken by the Hero Twin Yax Balam, on the Resurrection Plate. (Figure 5) On K1207,
 
(Figure 4) he holds the olla in the same manner as the Twin on the plate. The crullerof G3 over his eyes establishes his identify with his namesake, the jaguar (note the jaguar-skin skirt and he wears the headband as well).The Twins on K1254 (Figure 6) also wear the headband and the G3 "cruller". One sitsfacing the toad, who acts as messenger, probably bringing a message from the Lordsof The Otherworld to the Twins to come and play ball with them.

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