View allAll Photos Tagged WORLDTREE

a personal interpretation of the old Norse creation myth

a stunning fjord landscape on our way along the Northern Lofoten islands. The shape of the mountains' crests strongly reminded me of the Norse myth of Níðhǫggr the dragon who lives in Niflheim and feeds off the roots of the worldtree Yggdrasill :)

Der Weltenbaum gehört zur Mythologie vieler Völker und ist ein altes Symbol

der kosmischen Ordnung. Er steht als Weltachse (axis mundi) im Zentrum der Welt.

Seine Wurzeln reichen tief in die Erde und seine Wipfel berühren oder tragen den Himmel.

Somit verbindet er die drei Ebenen Himmel, Erde und Unterwelt.

World tree

 

music : Falkenstein - Weltenbaum

background : HKD

for the Art Uni International : Magical Background Comptition

texture : mystical mood

 

Hay más serpientes acostadas

Bajo el fresno Yggdrasil

De las que creen los tontos

I used Photoleap's Tiny Planet component to create this image of a heron flying away from the mythological World Tree.

My Brickscalibur 2022 entry for the Micro-Castle Categorie.

#Worldtree #Castleinthesky #eternalflame

© 2014 RESilU | Please don't use this image without my explicit permission.

|| • FreiRaum - My Blog || • Photostream - Fluidr || • My most interesting - FlickeFlu

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World tree

When I was a boy the word 'Yggdrasil' fascinated me. I'd heard of it as the Scandinavian World Tree, but actually I found the combination of letters much more interesting...

Now in the Sarawak Museum of Kuching, Borneo, I was fascinated by yet another word, the Kayo' Aya': the Big Tree, also called the Tree of Life of the indigenous peoples here.

In the culture of the Orang Ulu - the Upriver People - of Borneo (to use a term comprising both Malaysian Sarawak and Indonesian Kalimantan), especially among the Kenyah and Kayan tribes, this Tree of Life is a potent symbol which is closely connected to the well-being, indeed the origins of humankind. In their rainforest, jungle worldview an upperworld creeper impregnates an underworld tree and this delivers up the first human beings, man and woman. Thus also the form of the tree with a proper trunk and at the same time outwardly and upwardly spiralling tendrils. As a symbol of life, the hornbill ( the Burung Kenyalang) is always at its crown, signifying and pointing to the Celestial Upperworld. (This symbolism has been adopted by Christian Catholic communities in these tribal areas although not without controversy.)

The rendition of their legend in this photograph was painted in the early 1950s by Kenyah artists from the upper regions of the Kayan River. They were employed to that purpose by the Sarawak Museum. This museum was the brainchild in 1891 of the great second 'White Rajah' of Sarawak, Charles Brooke (1829-1917). Not only was Brooke an able administrator and legislator, but he also had a keen interest in the native cultures of his principality. A good indication of that love is the memorial obelisk erected for him in 1924 in front of the (former) Kuching courthouse, on the right bank of the Sarawak River. The four sides of the pedestal portray the main peoples of Sarawak: Chinese, Dayak, Kayan and Malay (sculpted by one Frederick John Wilcoxson (1888-????)). The Kayan and Kenyah groups are very closely connected. From Yggdrasil to Kayo' Aya'... what a privilege to take it all in.

This photo was taken on the first floor of the Sarawak Museum but the lighting is not as good as I would have wished it to be... Even a certain Pharmacist from V. is relatively unclear... The building was apparently constructed after the models of the town halls of medieval Normany - so I learned from an historic marker on the site. Hence the curious columns... at least for Borneo.

With a giant Ceiba tree, sometimes known as a Kapok with its cotton like flower buds. The Ceiba is the sacred tree of the Mayas. Even today if they were to clear any forest land they would never cut down a Ceiba. In the Mayan culture they frequently depict the Universe as a ceiba. The roots below ground represent the underworld from which the Earth is nurtured. Above is the world of day to day life, and the upper branches represent the realm of the gods. (photo taken by my Mayan guide on a half day forest trek).

Map of the World Tree seedworld Jardunia, with additional explanatory notes.

 

Red lines delineate the equator (path of equinoctic sunrise and sunset) and "tropic lines" ("northernmost" and "southernmost" extents of seasonal drift of the solar orbit over and under the disc).

Pale blue arrows show the prevailing sea-level winds of the atmospheric circulation (pseudo-Hadley cells that function more like ocean gyres)

Black text names mountain ranges and islands, Blue text names the major bodies of water

With a giant Ceiba tree, sometimes known as a Kapok with its cotton like flower buds. The Ceiba is the sacred tree of the Mayas. Even today if they were to clear any forest land they would never cut down a Ceiba. In the Mayan culture they frequently depict the Universe as a ceiba. The roots below ground represent the underworld from which the Earth is nurtured. Above is the world of day to day life, and the upper branches represent the realm of the gods. (photo taken by my Mayan guide on a half day forest trek).

 

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FlickRSet: Shamans of Siberia || My OnLine Album: Schamanen Sibiriens || Mircea Eliade || World tree ||

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[...] What you have to keep the rite of passage of Buryat shamans in mind is the fact that you think the neophyte rise into the air , to be ordained . Ascend into heaven with the help of a tree or pole is the main ritual of the Altaic shaman sessions. The birch or the pile are compared with the established in the center of the world tree or pillar, which connects the three cosmic zones each - earth, heaven, hell . The shaman may also , by the drum beat , get to the center of the world. Because as just showed us the dream of Samoyed shamans , drum box from a branch of the cosmic tree is made . If the shaman hears the sound of his drum , he flies in ecstasy to the tree that is the center of the world .

 

All of these shamanic rituals and other customs and beliefs , of which we have not spoken , are closely connected with an ideology that has developed around the myth of the cosmic tree . One hand there is the idea of ​​the tree as the center of the world : he connects the three cosmic zones , and when one moves up to his tribe , you can go from the earth to heaven . This cosmic tree , on the other hand, an imago mundi : symbolic it includes the whole universe in the first place and humanity in its entirety. Many Siberian myths represent the souls of the people in the branches of the tree hanging before . When the time comes for her birth , God sends the soul to earth. Other myths tell that the souls of all shamans are gathered on a single tree , the higher is the road on which depends the soul , the stronger will be the shaman . Finally, there are many beliefs that relate to the mystical relationship between the shamans and their trees . every shaman has a tree on which it seeks refuge in the spirit , when he was defeated in battle by other shamans. If the tree is cut , the shaman dies .

 

All this points - it seems to us - suggests that the shaman tree the same reputation and renown as the cosmic tree that it is therefore suitable to be used by the shaman as a means to get to the center of the world, that is the heart of reality , of life and of the saints.

 

Climbing the tree to the Siberian shamans in the sky. Similar rituals we met when we some initiation ceremonies South and North America investigated . We now add another , that the ascent of trees is also characteristic of the shamanic initiations of some American peoples. The initiation of the Araucanian Machi contains the ritual climb a tree or a barked trunk up to a platform on which the novice addresses a prayer to the God. The Caribbean Pujai experienced an ecstatic ascent to heaven, by rising on a platform hanging from the ceiling of the hut in several twisted ropes : when the ropes rolled up , they leave the platform to rotate faster and faster. [...]

 

Mircea Eliade, „Das Mysterium der Wiedergeburt“ Frankfurt 1997

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Was man vom Initiationsritus des burjätischen Schamanen in Erinnerung behalten muss, ist die Tatsache, dass man glaubt, der Neophyt steige zum Himmel auf, um geweiht zu werden. Mit Hilfe eines Baums oder Pfahls in den Himmel aufsteigen ist auch der Hauptritus der altaischen Schamanensitzungen. Die Birke oder der Pfahl werden mit dem im Zentrum der Welt errichteten Baum oder Pfeiler verglichen, der die drei kosmischen Zonen miteinander verbindet - Erde, Himmel, Hölle. Der Schamane kann auch, indem er die Trommel schlagt, ins Zentrum der Welt gelangen. Denn wie uns soeben der Traum eines samojedischen Schamanen zeigte, wird der Trommelkasten aus einem Ast des kosmischen Baums gefertigt. Wenn der Schamane den Ton seiner Trommel hört, fliegt er in Ekstase zu dem Baum, das heißt ins Zentrum der Welt.

 

Alle diese schamanischen Riten sowie andere Bräuche und Glaubensvorstellungen, von denen wir nicht gesprochen haben, sind eng mit einer Ideologie verbunden, die sich um den Mythos des kosmischen Baums entwickelt hat. Da ist einerseits die Vorstellung vom Baum als Zentrum der Welt: er verbindet die drei kosmischen Zonen, und wenn man an seinem Stamm hinaufklettert, kann man von der Erde in den Himmel gelangen. Dieser kosmische Baum ist andererseits eine imago mundi: symbolisch umfasst er das ganze Universum und an erster Stelle die Menschheit in ihrer Gesamtheit. Zahlreiche sibirische Mythen stellen sich die Seelen der Menschen in den Ästen des Baumes hängend vor. Wenn die Zeit der Geburt für sie kommt, schickt Gott die Seele auf die Erde. Andere Mythen erzählen, dass die Seelen aller Schamanen auf einem einzigen Baum versammelt sind: je höher der Ast ist, an dem die Seele hängt, desto stärker wird der Schamane sein. Schließlich gibt es zahlreiche Glaubensvorstellungen, die sich auf das mystische Verhältnis zwischen den Schamanen und ihren Bäumen beziehen. jeder Schamane besitzt einen Baum, auf den er sich im Geiste flüchtet, wenn er im Kampf von anderen Schamanen besiegt worden ist. Wenn der Baum gefällt wird, stirbt der Schamane.

 

All das deutet - wie uns scheint - darauf hin, dass der Schamanenbaum dasselbe Ansehen genießt wie der kosmische Baum, dass er folglich geeignet ist, von dem Schamanen als Mittel benutzt zu werden, ins Zentrum der Welt zu gelangen, das heißt ins Herz der Wirklichkeit, des Lebens und des Heiligen.

 

Die Besteigung des Baumes führt den sibirischen Schamanen in den Himmel. Ähnlichen Ritualen sind wir begegnet, als wir einige Initiationszeremonien Süd- und Nordamerikas untersuchten. Fügen wir nun noch hinzu, dass die Besteigung von Bäumen auch für die schamanischen Initiationen einiger amerikanischer Völker charakteristisch ist. Die Initiation der araukanischen Machi enthält die rituelle Besteigung eines Baumes oder eines entrindeten Stammes bis zu einer Plattform, auf der die Novizin ein Gebet an den Gott richtet. Der karibische Pujai erlebt einen ekstatischen Aufstieg zum Himmel, indem er auf eine Plattform steigt, die von der Decke der Hütte an mehreren zusammengedrehten Seilen herunterhängt: wenn die Seile sich aufrollen, lassen sie die Plattform sich immer schneller drehen.

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"#SCARY" #FACES? #ISLAND? #DREAMS? #PEACE? #TIME? #IM #EXPERIENCESTHATS #BRUNOS #SHAPE? #SCAFFOLDING? #PURPOSE? #CANT #REVEAL? #YOURSELF? #DEVELOP? #TAKE? #EXPLORATIONS? #ALLIGATORCATFISH #EMERGE? #WORLDS #ALLIANCE? #ENVIRONMENT? #SELFUNDERSTANDING #ITS #CHINACATSUNFLOWERIKNOWYOURIDER #WWWRHYTHMSECTIONTNCOM #MTN #RECORDS #RHYTHMSECTIONGATLINBURGCOM #FLICKRCOMPHOTOSMUSIC1978 #MISTAKE #SELFDISCOVERY #TRAUMA #TRANSFORMATION #PEOPLE #WISDOM #TOGETHER #WORLD #GROWTH #THREATS #RESOURCES #SECURITY #WELLBEING #EXPLORATION #INHABITANTS #FACTIONS #LIFE #POTENTIAL #PSYCHE #NEXT #1 #TOOL #2 #DISCOVERY #3 #PURPOSE #4 #GOOD #UTILIZED #DREAMSCAPE #COSMOS #NARRATIVES #FLUID #JOURNEY #3RECORDS #TENNESSEE #HARDTOFIND #EUROPE #AUDIOPHILEQUALITY #RERELEASES #ROCKBOTTOM #PRICES #BOWIETHE #BOWIE #STICKERSTOREWWWFLICKRCOMPHOTOSMUSIC1978 #RHYTHMSECTIONTNCOM #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #CITYOFLIGHT33 #GATLINBURGRECORDSTOWWWRHYTHMSECTIONGATLINBURGCOMOCHET #SMOKYMTNSRECORDS #HEARTRECORDS #PRAYERSFORRAINGREENHGOLDEN ++++ +++++#GATLINBURG #PRAYERSFORRAIN+ #SHOP #REQUESTS! #STICKERS! #RECORDS! #SOUNDTRACKS #ALBUMS! #CDS! #MOUNTAINS! #NEWVINYLRECORDS! #PEACEEARTH ++++#DAZEDANDCONFUSED ++++#RECORDSGOLDEN ++++++ #GOLD+ ++++++#NEWVINYLRECORDS! #3@THERHYTHMSECTION78DREAMREALMEXPLORATION+ #STONETEMPLEPILOTS+++++ #STATION #TREASURETROVE #DESTINATIONWWWREDBUBBLECOMPEOPLESTARLIGHTMOONSHOPBUTTERFLY #CARTOONISH #W #TROVE #LIFESAVINGPRINCE #PEACE3EARTH #INCLUDING #LIFESTATION #ARE #BUTTERFLY #LIBRARY! #ENGLAND! #2XL! #GODS! #POSTERS! #INSTAGRAM! #STORE! #ELYSIUM! #SHOPPING! #WIND! #WORLD! #MUCHMORE! #PINS! #EMBRACED! #DAYS! #MANYMORE! #PATCHES! #EMBRACED!PEACE #SEASON! #YOU! #MIDNIGHTSLODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!VALLEYSTICKERS@THERHYTHMSECTION78!MUSICLOVERS #EUROPE! #PRICES!! #NOSTALGIALODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNILODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!VALLEYSTICKERS@THERHYTHMSECTION78! #ABSOLUTELY! #EMERGED #CORE #COLLABORATION #INTERPRETATIONS #EMPOWERMENT #BALANCE #PROTECTION #POTENTIAL #SYMBOLISM! #YES! #NARRATIVE #WORLD #RESOLUTION #TRANSFORMATION #MONSTERS #ISLAND #EXPLORING #EXPERIENCES!THATS #DREAMSCAPE! #INTRODUCES #EVOLUTION #RESOURCES #REFLECTION #TAKES! #NEXT! #CONTINUE #STARSHIP #REALM #HARMONY #DREAMS! #RAINBOW #CITADEL #VISIONSTICKERSTOREWWWFLICKRCOMPHOTOSMUSIC1978 #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #PRAYERSFORRAINGREENHIMAGINATIONLIBRARY ++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++ #SHOP+ #TREASURES+ #ALLALONGTHEWATCHTOWER+ #HENDRIX+ #PINS+ #FORTRESS+ #BOWIE+ #MTNS+ #HEAVENANDHELL+ #BEETLEJUICE+ #PARK+ #BANDS+ #ORDERS+ #AVAILABILITY+ #BUTTONS+ #MORE+ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ #DAFTPUNK+ #CREATION+ #MEMORY+ #HEALING+ #POSTERS+ #AVALON+ #ROXYMUSIC+ #GATLINBURG+ #GREATSMOKYMOUNTAINS+ #BRIDGE+ #TOWER+ #PEACE+ #IMAGINATION+ #VALLEY+ #TREEOFLIFE+ #SMOKYMOUNTAINS+ #MUSIC+ #TSHIRTS+ #TYLERCHILDERSINN+ #STICKERS+ #PALACE+ #MAGIC+ #LOVE+ #DIAMOND+ #REQUESTS+ #METAL+ #WATERFALL+ #TALKTALK+ #CDS+ #BARBIE+ #RECORDS+ #MUSHROOM+ #BRIANENO+ #OLYMPUS+ #REFUGE+ #ETC #MAILORDERS+ #TENNESSEE+ #ENO+ #SUN+ #BUSH+ #MOUNTAINS+ #RESTORATION+ #PATCHES+ #SHIRTS+ #DUNE+ #NIRVANA+ #COSMOS+ #DYLAN+ #RAINBOW+ #TAROT+ #EMBRACED!GOINGTOCALIFORNIA #RAINBOWTREE #RAINBOWHARDSUN #ARRIVALS! 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wool fiber art, needle-felted.

unspunart.com

Two people where intrested in this painting, and I have done these two recently, acrylic on stretched canvas. Sold 13-05-10.

I love this unremarkable image for a couple of reasons: The central figure is a ceiba tree, the world tree in Mayan cosmology, which stands in the center of the Four Directions and is believed to lift up the sky. Its celestial correlate is the Milky Way, the Mayan highway to the heavens.

 

The power pole next to it is pure happenstance, of course, but it’s in the shape of the cross – a symbol that the ancient Mayan long used to represent the world tree (decorating it, as they still do in Chamula, with the flowering blossoms of the ceiba and the needles of the pine) – long before the Spanish arrived and introduced their cross, carrying the crucified Christ. They use it still today, in Catholic churches, where ancient Mayan belief and colonial religion come together in a fascinating amalgam.

 

While we were traveling in Guatemala we had the good fortune to see a ceiba flowering in Mixtec Viejo, a remarkable highland site about two hours outside Guatemala City. I didn’t realize how remarkable the flowering was until I went digging for some background material on the ceiba as World Tree, and found this afterword by Linda Schele in Maya Cosmos, the book she co-authored with David Friedel and Joy Parker:

 

"'It’s a ceiba,' I chirped and began looking for a branch low enough to see one of the blossoms up close.

"What I saw stunned me, for in her hand [where she held a ceiba blossom] lay a perfect replica of the earflares worn by the Classic Maya kings. Suddenly I understood the full symbolism of so many of the things I had been studying for years. The kings dressed themselves as the Wakah-Chan Tree, although at the time I didn’t know it was also the Milky Way. The tzuk head on the trunk of the tree covered their loins, the branches with their white flowers bent down along their thighs, the double-headed elliptic snake rested in their arms, and the great bird Itzam-Yeh stood on their head.

 

"I already knew as I stood under that young tree in Tikal that the kings were the human embodiment of the ceiba as the central axis of the world. As I stood there gazing at the flowers in Joyce’s hand, I also learned that the kings embodied the ceiba at the moment it flowers to yield the sak-nik-nal, the “white flowers,” that are the soul of human beings. As the tree flowers to reproduce itself, so the kings flowered to reproduce their world.

 

"When I returned to Austin, I went to the Plant Resources Center of the University of Texas Herbarium and spoke to Dr. Carol Todzia about what I had seen. She helped me find out about the life cycle and natural history of the ceiba and exactly how unusual the little encounter was. Not only are ceibas so high that you usually can’t see the blossoms, I learned that they do not necessarily bloom every year. In fact, it can be as much as ten years between such flowerings. … The ceiba flowers in January through the first week or so of February. … The tree blossoms in the month just before Creation day on February 5, so that it was in flower when First Father raised it into the sky."

 

From Maya Cosmos: Three Thousand Years on the Shaman's Path

 

One more reason I love this image: the faint impression of the volcano Atitlan in the far distance. Shortly after I took this shot we would hike up a hill to the pilgrimage site of the Dios Mundo, where new year offerings lay smoldering, and the ancient stone head to which they were presented stood in alignment with the mountain and the ceiba in the distance.

 

(Original, non-dehazed appearance of) face-on view of ancient Maya Tripod Plate, symbolically depicting the Maya Cosmos.

 

Plate 122

Tripod plate

Late Classic period, A.D. 600-800

Polychromed ceramic

Diam. ca. 31 cm [12.2 in.]

Private collection

 

(Source: Linda Schele and Mary Ellen Miller, The Blood of Kings: Dynasty and Ritual in Maya Art, George Braziller, Inc., New York, 1986; Plate 122: p. 315.)

____

 

Archaeologists Linda Schele and David Freidel describe this remarkable ceramic piece, in their intriguing book “A Forest of Kings” (quoting…):

 

Fortunately for us, one of the greatest of Maya painters* left us an eloquent representation of the cosmos as his people understood it to exist. This image was painted on a tripod plate which was intended to hold the blood that helped open a portal to the Otherworld. The opened portal itself is depicted as the Maw of the Underworld, a great bearded and skeletal-jawed serpent. Out of the jaws of this serpent come the pure, life-bearing waters of the earth and below them flow the dark, fecund waters of the Underworld.

 

Along the upper edge of the image arches the living sky, the Cosmic Monster, which contains within its body the great ancestral sun and Venus. The rains, its holy blood, flow in great scrolls from the mouth of its crocodilian head and from the stingray spine on the Quadripartite Monster at the opposite end. The World Tree, _Wacah Chan_, emerges from the head of the god Chac-Xib-Chac (the Eveningstar) as he rises from the black waters of the portal. The trunk of the World Tree splits to become the Vision Serpent, whose gullet is the path taken by the ancestral dead and the gods of the Otherworld when they commune with the king as the forces of nature and destiny.

 

*This plate was painted by the same artist who executed the famous Altar de Sacrificios vase.

 

(/unQuote)

 

(Source: Linda Schele and David Freidel, “A Forest of Kings: The Untold Story of the Ancient Maya,” Quill/William Morrow, New York, 1990; pp. 69-70, Note 11: p. 426.)

____

 

Schele along with Mary Ellen Miller, in their book “The Blood of Kings,” noted earlier — from which the present photo was originally (since modified) drawn — further describe this piece as follows (quoting…):

 

This shallow, tripod plate is a self-contained symbolic representation of all the imagery of Maya cosmos and ritual interaction. Painted in the codex-style, the outside of the plate is identified as the surface of the watery Underworld by a water band with water-lily pads and water shells floating along it. The interior surface is divided into two pictorial fields: the imagery on the walls establishes the framework of the narrative action that is shown on the bottom plane. This surrounding frame is itself divided into two opposing domains.

 

Below, the rear head of the Vision Serpent sits in the center with personified water-lilies and blood streams growing from the top of its head. The water-lilies are contained on both sides by skeletal dragons like those on the sarcophagus lid at Palenque. The bottom of the frame is, then, the Maw of the Underworld in which the bloody water of Xilbalba floats.

 

The top of the frame constitutes the other half of the circle: the heavens represented by the Celestial Monster. On the right, the front crocodilian head falls into the scene from the red rim. His mouth is open and his tongue is personified with a serpent eye and teeth. His eyelid is a Venus sign and other additional Venus signs hang from his body defined by the red rim, which arcs around the plate to the rump of the Monster on the opposite side. The legs are in motion and crocodilian in form; a personified Imix-Water-lily glyph is attached to his elbow; the Quadripartite Monster hangs from his rump, head down and facing outward. A personified blood stream emerges from the stingray spine in the center of its _kin_-bowl forehead.

 

The scene encompasses the Celestial Monster and the domain of heaven in the upper arch, and the blood and water standing in the open Maw of the Underworld in the lower arch. The action occurs in the Middleworld in a lake of black water, complete with water stacks and scrolls, that rises from the Underworld water. It is marked by the same water-lily uinal sign that occurs in the water register on Tablet 14. Under the water are three figures, two inverted and one right side up. A leaf sign, a reference to the World Tree, identifies the inverted figure on the right as an ancestor. The other two may also be ancestors or perhaps Xibalbans living under the waters of the earth.

 

Chac-Xib-Chac stands waist deep in the water holding an ax in one hand. Blood spurts from the stump of his amputated left hand. He wears the appropriate shell earflare and diadem, but the top of his head merges into the image of a fantastic tree. God C is on its base, marking it as the great World Tree on Pacal's sarcophagus. The trunk curves to the left, then forks into two branches. The right branch leads through two zoomorphic heads to culminate in a leaf at its summit, the same leaf worn by Chan-Bahlum on Tablet 14 and held by Pacal on the Dumbarton Oaks Tablet. The fork transforms into a Vision Serpent with the bulbous-nosed serpent head at the end of the left branch and the God C personified blood head at the midpoint of the right branch. Blood signs and blood scrolls are attached to the body at several points. As at Palenque, the trunk of the tree is God C and the branches of the tree are blood and the vision.

 

Normally the Celestial Bird sits in the Tree, but in this scene Chac-Xib-Chac's twin, the Water-lily Jaguar, has climbed the Tree after the Bird, who hovers above him in panicked flight. The Jaguar gazes up from his branch, roaring his frustrations. The Bird, apparently wounded by the Jaguar, bleeds from a gaping wound in his breast.

 

(/unQuote)

 

(Source: Linda Schele and Mary Ellen Miller, The Blood of Kings: Dynasty and Ritual in Maya Art, George Braziller, Inc., New York, 1986; pp. 310-311, Plate 122: p. 315)

____

 

[MEM] Modified from original published photograph:

1. Rotated so (Middleworld/Xibalba) waters are level.

2. Background cropped away.

3. Dehazing has _not_ been performed in this case.

One of my painted eggs done for the Hoth Kindred Eostre Blot in 2008.

 

The Runic Tree is the World Tree of the Heathen cosmos representing the life force of the universe.

 

Face-on view of ancient Maya Tripod Plate, symbolically depicting the Maya Cosmos (sketched by Linda Schele).

 

Plate 122

Tripod plate

Late Classic period, A.D. 600-800

Polychromed ceramic

Diam. ca. 31 cm [12.2 in.]

Private collection

 

(Source: Linda Schele, sketch of ancient Maya Tripod Plate.)

____

 

Archaeologists Linda Schele and David Freidel describe this remarkable ceramic piece, in their intriguing book “A Forest of Kings” (quoting…):

 

Fortunately for us, one of the greatest of Maya painters* left us an eloquent representation of the cosmos as his people understood it to exist. This image was painted on a tripod plate which was intended to hold the blood that helped open a portal to the Otherworld. The opened portal itself is depicted as the Maw of the Underworld, a great bearded and skeletal-jawed serpent. Out of the jaws of this serpent come the pure, life-bearing waters of the earth and below them flow the dark, fecund waters of the Underworld.

 

Along the upper edge of the image arches the living sky, the Cosmic Monster, which contains within its body the great ancestral sun and Venus. The rains, its holy blood, flow in great scrolls from the mouth of its crocodilian head and from the stingray spine on the Quadripartite Monster at the opposite end. The World Tree, _Wacah Chan_, emerges from the head of the god Chac-Xib-Chac (the Eveningstar) as he rises from the black waters of the portal. The trunk of the World Tree splits to become the Vision Serpent, whose gullet is the path taken by the ancestral dead and the gods of the Otherworld when they commune with the king as the forces of nature and destiny.

 

*This plate was painted by the same artist who executed the famous Altar de Sacrificios vase.

 

(/unQuote)

 

(Source: Linda Schele and David Freidel, “A Forest of Kings: The Untold Story of the Ancient Maya,” Quill/William Morrow, New York, 1990; pp. 69-70, Note 11: p. 426.)

____

 

Schele along with Mary Ellen Miller, in their book “The Blood of Kings,” noted earlier — from which the present photo was originally (since modified) drawn — further describe this piece as follows (quoting…):

 

This shallow, tripod plate is a self-contained symbolic representation of all the imagery of Maya cosmos and ritual interaction. Painted in the codex-style, the outside of the plate is identified as the surface of the watery Underworld by a water band with water-lily pads and water shells floating along it. The interior surface is divided into two pictorial fields: the imagery on the walls establishes the framework of the narrative action that is shown on the bottom plane. This surrounding frame is itself divided into two opposing domains.

 

Below, the rear head of the Vision Serpent sits in the center with personified water-lilies and blood streams growing from the top of its head. The water-lilies are contained on both sides by skeletal dragons like those on the sarcophagus lid at Palenque. The bottom of the frame is, then, the Maw of the Underworld in which the bloody water of Xilbalba floats.

 

The top of the frame constitutes the other half of the circle: the heavens represented by the Celestial Monster. On the right, the front crocodilian head falls into the scene from the red rim. His mouth is open and his tongue is personified with a serpent eye and teeth. His eyelid is a Venus sign and other additional Venus signs hang from his body defined by the red rim, which arcs around the plate to the rump of the Monster on the opposite side. The legs are in motion and crocodilian in form; a personified Imix-Water-lily glyph is attached to his elbow; the Quadripartite Monster hangs from his rump, head down and facing outward. A personified blood stream emerges from the stingray spine in the center of its _kin_-bowl forehead.

 

The scene encompasses the Celestial Monster and the domain of heaven in the upper arch, and the blood and water standing in the open Maw of the Underworld in the lower arch. The action occurs in the Middleworld in a lake of black water, complete with water stacks and scrolls, that rises from the Underworld water. It is marked by the same water-lily uinal sign that occurs in the water register on Tablet 14. Under the water are three figures, two inverted and one right side up. A leaf sign, a reference to the World Tree, identifies the inverted figure on the right as an ancestor. The other two may also be ancestors or perhaps Xibalbans living under the waters of the earth.

 

Chac-Xib-Chac stands waist deep in the water holding an ax in one hand. Blood spurts from the stump of his amputated left hand. He wears the appropriate shell earflare and diadem, but the top of his head merges into the image of a fantastic tree. God C is on its base, marking it as the great World Tree on Pacal's sarcophagus. The trunk curves to the left, then forks into two branches. The right branch leads through two zoomorphic heads to culminate in a leaf at its summit, the same leaf worn by Chan-Bahlum on Tablet 14 and held by Pacal on the Dumbarton Oaks Tablet. The fork transforms into a Vision Serpent with the bulbous-nosed serpent head at the end of the left branch and the God C personified blood head at the midpoint of the right branch. Blood signs and blood scrolls are attached to the body at several points. As at Palenque, the trunk of the tree is God C and the branches of the tree are blood and the vision.

 

Normally the Celestial Bird sits in the Tree, but in this scene Chac-Xib-Chac's twin, the Water-lily Jaguar, has climbed the Tree after the Bird, who hovers above him in panicked flight. The Jaguar gazes up from his branch, roaring his frustrations. The Bird, apparently wounded by the Jaguar, bleeds from a gaping wound in his breast.

 

(/unQuote)

 

(Source: Linda Schele and Mary Ellen Miller, The Blood of Kings: Dynasty and Ritual in Maya Art, George Braziller, Inc., New York, 1986; pp. 310-311.)

(Secondary) legend for ancient Maya Tripod Plate, symbolically depicting the Maya Cosmos.

 

Plate 122b

Tripod plate

Late Classic period, A.D. 600-800

Polychromed ceramic

Diam. ca. 31 cm [12.2 in.]

Private collection

 

(Source: Linda Schele and Mary Ellen Miller, The Blood of Kings: Dynasty and Ritual in Maya Art, George Braziller, Inc., New York, 1986; Plate 122b: p. 310.)

____

 

Archaeologists Linda Schele and David Freidel describe this remarkable ceramic piece, in their intriguing book “A Forest of Kings” (quoting…):

 

Fortunately for us, one of the greatest of Maya painters* left us an eloquent representation of the cosmos as his people understood it to exist. This image was painted on a tripod plate which was intended to hold the blood that helped open a portal to the Otherworld. The opened portal itself is depicted as the Maw of the Underworld, a great bearded and skeletal-jawed serpent. Out of the jaws of this serpent come the pure, life-bearing waters of the earth and below them flow the dark, fecund waters of the Underworld.

 

Along the upper edge of the image arches the living sky, the Cosmic Monster, which contains within its body the great ancestral sun and Venus. The rains, its holy blood, flow in great scrolls from the mouth of its crocodilian head and from the stingray spine on the Quadripartite Monster at the opposite end. The World Tree, _Wacah Chan_, emerges from the head of the god Chac-Xib-Chac (the Eveningstar) as he rises from the black waters of the portal. The trunk of the World Tree splits to become the Vision Serpent, whose gullet is the path taken by the ancestral dead and the gods of the Otherworld when they commune with the king as the forces of nature and destiny.

 

*This plate was painted by the same artist who executed the famous Altar de Sacrificios vase.

 

(/unQuote)

 

(Source: Linda Schele and David Freidel, “A Forest of Kings: The Untold Story of the Ancient Maya,” Quill/William Morrow, New York, 1990; pp. 69-70, Note 11: p. 426.)

____

 

Schele along with Mary Ellen Miller, in their book “The Blood of Kings,” noted earlier — from which the present photo was originally (since modified) drawn — further describe this piece as follows (quoting…):

 

This shallow, tripod plate is a self-contained symbolic representation of all the imagery of Maya cosmos and ritual interaction. Painted in the codex-style, the outside of the plate is identified as the surface of the watery Underworld by a water band with water-lily pads and water shells floating along it. The interior surface is divided into two pictorial fields: the imagery on the walls establishes the framework of the narrative action that is shown on the bottom plane. This surrounding frame is itself divided into two opposing domains.

 

Below, the rear head of the Vision Serpent sits in the center with personified water-lilies and blood streams growing from the top of its head. The water-lilies are contained on both sides by skeletal dragons like those on the sarcophagus lid at Palenque. The bottom of the frame is, then, the Maw of the Underworld in which the bloody water of Xilbalba floats.

 

The top of the frame constitutes the other half of the circle: the heavens represented by the Celestial Monster. On the right, the front crocodilian head falls into the scene from the red rim. His mouth is open and his tongue is personified with a serpent eye and teeth. His eyelid is a Venus sign and other additional Venus signs hang from his body defined by the red rim, which arcs around the plate to the rump of the Monster on the opposite side. The legs are in motion and crocodilian in form; a personified Imix-Water-lily glyph is attached to his elbow; the Quadripartite Monster hangs from his rump, head down and facing outward. A personified blood stream emerges from the stingray spine in the center of its _kin_-bowl forehead.

 

The scene encompasses the Celestial Monster and the domain of heaven in the upper arch, and the blood and water standing in the open Maw of the Underworld in the lower arch. The action occurs in the Middleworld in a lake of black water, complete with water stacks and scrolls, that rises from the Underworld water. It is marked by the same water-lily uinal sign that occurs in the water register on Tablet 14. Under the water are three figures, two inverted and one right side up. A leaf sign, a reference to the World Tree, identifies the inverted figure on the right as an ancestor. The other two may also be ancestors or perhaps Xibalbans living under the waters of the earth.

 

Chac-Xib-Chac stands waist deep in the water holding an ax in one hand. Blood spurts from the stump of his amputated left hand. He wears the appropriate shell earflare and diadem, but the top of his head merges into the image of a fantastic tree. God C is on its base, marking it as the great World Tree on Pacal's sarcophagus. The trunk curves to the left, then forks into two branches. The right branch leads through two zoomorphic heads to culminate in a leaf at its summit, the same leaf worn by Chan-Bahlum on Tablet 14 and held by Pacal on the Dumbarton Oaks Tablet. The fork transforms into a Vision Serpent with the bulbous-nosed serpent head at the end of the left branch and the God C personified blood head at the midpoint of the right branch. Blood signs and blood scrolls are attached to the body at several points. As at Palenque, the trunk of the tree is God C and the branches of the tree are blood and the vision.

 

Normally the Celestial Bird sits in the Tree, but in this scene Chac-Xib-Chac's twin, the Water-lily Jaguar, has climbed the Tree after the Bird, who hovers above him in panicked flight. The Jaguar gazes up from his branch, roaring his frustrations. The Bird, apparently wounded by the Jaguar, bleeds from a gaping wound in his breast.

 

(/unQuote)

 

(Source: Linda Schele and Mary Ellen Miller, The Blood of Kings: Dynasty and Ritual in Maya Art, George Braziller, Inc., New York, 1986; pp. 310-311, Plate 122b: p. 310.)

(Principal) legend for ancient Maya Tripod Plate, symbolically depicting the Maya Cosmos.

 

Plate 122

Tripod plate

Late Classic period, A.D. 600-800

Polychromed ceramic

Diam. ca. 31 cm [12.2 in.]

Private collection

 

(Source: Linda Schele and David Freidel, A Forest of Kings: The Untold Story of the Ancient Maya, Quill/William Morrow, New York, 1990; Fig. 2:4: p. 70.)

____

 

Archaeologists Linda Schele and David Freidel describe this remarkable ceramic piece, in their intriguing book “A Forest of Kings” (quoting…):

 

Fortunately for us, one of the greatest of Maya painters* left us an eloquent representation of the cosmos as his people understood it to exist. This image was painted on a tripod plate which was intended to hold the blood that helped open a portal to the Otherworld. The opened portal itself is depicted as the Maw of the Underworld, a great bearded and skeletal-jawed serpent. Out of the jaws of this serpent come the pure, life-bearing waters of the earth and below them flow the dark, fecund waters of the Underworld.

 

Along the upper edge of the image arches the living sky, the Cosmic Monster, which contains within its body the great ancestral sun and Venus. The rains, its holy blood, flow in great scrolls from the mouth of its crocodilian head and from the stingray spine on the Quadripartite Monster at the opposite end. The World Tree, _Wacah Chan_, emerges from the head of the god Chac-Xib-Chac (the Eveningstar) as he rises from the black waters of the portal. The trunk of the World Tree splits to become the Vision Serpent, whose gullet is the path taken by the ancestral dead and the gods of the Otherworld when they commune with the king as the forces of nature and destiny.

 

*This plate was painted by the same artist who executed the famous Altar de Sacrificios vase.

 

(/unQuote)

 

(Source: Linda Schele and David Freidel, “A Forest of Kings: The Untold Story of the Ancient Maya,” Quill/William Morrow, New York, 1990; pp. 69-70, Note 11: p. 426.)

____

 

Schele along with Mary Ellen Miller, in their book “The Blood of Kings,” noted earlier — from which the present photo was originally (since modified) drawn — further describe this piece as follows (quoting…):

 

This shallow, tripod plate is a self-contained symbolic representation of all the imagery of Maya cosmos and ritual interaction. Painted in the codex-style, the outside of the plate is identified as the surface of the watery Underworld by a water band with water-lily pads and water shells floating along it. The interior surface is divided into two pictorial fields: the imagery on the walls establishes the framework of the narrative action that is shown on the bottom plane. This surrounding frame is itself divided into two opposing domains.

 

Below, the rear head of the Vision Serpent sits in the center with personified water-lilies and blood streams growing from the top of its head. The water-lilies are contained on both sides by skeletal dragons like those on the sarcophagus lid at Palenque. The bottom of the frame is, then, the Maw of the Underworld in which the bloody water of Xilbalba floats.

 

The top of the frame constitutes the other half of the circle: the heavens represented by the Celestial Monster. On the right, the front crocodilian head falls into the scene from the red rim. His mouth is open and his tongue is personified with a serpent eye and teeth. His eyelid is a Venus sign and other additional Venus signs hang from his body defined by the red rim, which arcs around the plate to the rump of the Monster on the opposite side. The legs are in motion and crocodilian in form; a personified Imix-Water-lily glyph is attached to his elbow; the Quadripartite Monster hangs from his rump, head down and facing outward. A personified blood stream emerges from the stingray spine in the center of its _kin_-bowl forehead.

 

The scene encompasses the Celestial Monster and the domain of heaven in the upper arch, and the blood and water standing in the open Maw of the Underworld in the lower arch. The action occurs in the Middleworld in a lake of black water, complete with water stacks and scrolls, that rises from the Underworld water. It is marked by the same water-lily uinal sign that occurs in the water register on Tablet 14. Under the water are three figures, two inverted and one right side up. A leaf sign, a reference to the World Tree, identifies the inverted figure on the right as an ancestor. The other two may also be ancestors or perhaps Xibalbans living under the waters of the earth.

 

Chac-Xib-Chac stands waist deep in the water holding an ax in one hand. Blood spurts from the stump of his amputated left hand. He wears the appropriate shell earflare and diadem, but the top of his head merges into the image of a fantastic tree. God C is on its base, marking it as the great World Tree on Pacal's sarcophagus. The trunk curves to the left, then forks into two branches. The right branch leads through two zoomorphic heads to culminate in a leaf at its summit, the same leaf worn by Chan-Bahlum on Tablet 14 and held by Pacal on the Dumbarton Oaks Tablet. The fork transforms into a Vision Serpent with the bulbous-nosed serpent head at the end of the left branch and the God C personified blood head at the midpoint of the right branch. Blood signs and blood scrolls are attached to the body at several points. As at Palenque, the trunk of the tree is God C and the branches of the tree are blood and the vision.

 

Normally the Celestial Bird sits in the Tree, but in this scene Chac-Xib-Chac's twin, the Water-lily Jaguar, has climbed the Tree after the Bird, who hovers above him in panicked flight. The Jaguar gazes up from his branch, roaring his frustrations. The Bird, apparently wounded by the Jaguar, bleeds from a gaping wound in his breast.

 

(/unQuote)

 

(Source: Linda Schele and Mary Ellen Miller, The Blood of Kings: Dynasty and Ritual in Maya Art, George Braziller, Inc., New York, 1986; pp. 310-311.)

(Original, unmodified photograph of) face-on view of ancient Maya Tripod Plate, symbolically depicting the Maya Cosmos.

 

Plate 122

Tripod plate

Late Classic period, A.D. 600-800

Polychromed ceramic

Diam. ca. 31 cm [12.2 in.]

Private collection

 

(Source: Linda Schele and Mary Ellen Miller, The Blood of Kings: Dynasty and Ritual in Maya Art, George Braziller, Inc., New York, 1986; Plate 122: p. 315.)

____

 

Archaeologists Linda Schele and David Freidel describe this remarkable ceramic piece, in their intriguing book “A Forest of Kings” (quoting…):

 

Fortunately for us, one of the greatest of Maya painters* left us an eloquent representation of the cosmos as his people understood it to exist. This image was painted on a tripod plate which was intended to hold the blood that helped open a portal to the Otherworld. The opened portal itself is depicted as the Maw of the Underworld, a great bearded and skeletal-jawed serpent. Out of the jaws of this serpent come the pure, life-bearing waters of the earth and below them flow the dark, fecund waters of the Underworld.

 

Along the upper edge of the image arches the living sky, the Cosmic Monster, which contains within its body the great ancestral sun and Venus. The rains, its holy blood, flow in great scrolls from the mouth of its crocodilian head and from the stingray spine on the Quadripartite Monster at the opposite end. The World Tree, _Wacah Chan_, emerges from the head of the god Chac-Xib-Chac (the Eveningstar) as he rises from the black waters of the portal. The trunk of the World Tree splits to become the Vision Serpent, whose gullet is the path taken by the ancestral dead and the gods of the Otherworld when they commune with the king as the forces of nature and destiny.

 

*This plate was painted by the same artist who executed the famous Altar de Sacrificios vase.

 

(/unQuote)

 

(Source: Linda Schele and David Freidel, “A Forest of Kings: The Untold Story of the Ancient Maya,” Quill/William Morrow, New York, 1990; pp. 69-70, Note 11: p. 426.)

____

 

Schele along with Mary Ellen Miller, in their book “The Blood of Kings,” noted earlier — from which the present photo was originally (since modified) drawn — further describe this piece as follows (quoting…):

 

This shallow, tripod plate is a self-contained symbolic representation of all the imagery of Maya cosmos and ritual interaction. Painted in the codex-style, the outside of the plate is identified as the surface of the watery Underworld by a water band with water-lily pads and water shells floating along it. The interior surface is divided into two pictorial fields: the imagery on the walls establishes the framework of the narrative action that is shown on the bottom plane. This surrounding frame is itself divided into two opposing domains.

 

Below, the rear head of the Vision Serpent sits in the center with personified water-lilies and blood streams growing from the top of its head. The water-lilies are contained on both sides by skeletal dragons like those on the sarcophagus lid at Palenque. The bottom of the frame is, then, the Maw of the Underworld in which the bloody water of Xilbalba floats.

 

The top of the frame constitutes the other half of the circle: the heavens represented by the Celestial Monster. On the right, the front crocodilian head falls into the scene from the red rim. His mouth is open and his tongue is personified with a serpent eye and teeth. His eyelid is a Venus sign and other additional Venus signs hang from his body defined by the red rim, which arcs around the plate to the rump of the Monster on the opposite side. The legs are in motion and crocodilian in form; a personified Imix-Water-lily glyph is attached to his elbow; the Quadripartite Monster hangs from his rump, head down and facing outward. A personified blood stream emerges from the stingray spine in the center of its _kin_-bowl forehead.

 

The scene encompasses the Celestial Monster and the domain of heaven in the upper arch, and the blood and water standing in the open Maw of the Underworld in the lower arch. The action occurs in the Middleworld in a lake of black water, complete with water stacks and scrolls, that rises from the Underworld water. It is marked by the same water-lily uinal sign that occurs in the water register on Tablet 14. Under the water are three figures, two inverted and one right side up. A leaf sign, a reference to the World Tree, identifies the inverted figure on the right as an ancestor. The other two may also be ancestors or perhaps Xibalbans living under the waters of the earth.

 

Chac-Xib-Chac stands waist deep in the water holding an ax in one hand. Blood spurts from the stump of his amputated left hand. He wears the appropriate shell earflare and diadem, but the top of his head merges into the image of a fantastic tree. God C is on its base, marking it as the great World Tree on Pacal's sarcophagus. The trunk curves to the left, then forks into two branches. The right branch leads through two zoomorphic heads to culminate in a leaf at its summit, the same leaf worn by Chan-Bahlum on Tablet 14 and held by Pacal on the Dumbarton Oaks Tablet. The fork transforms into a Vision Serpent with the bulbous-nosed serpent head at the end of the left branch and the God C personified blood head at the midpoint of the right branch. Blood signs and blood scrolls are attached to the body at several points. As at Palenque, the trunk of the tree is God C and the branches of the tree are blood and the vision.

 

Normally the Celestial Bird sits in the Tree, but in this scene Chac-Xib-Chac's twin, the Water-lily Jaguar, has climbed the Tree after the Bird, who hovers above him in panicked flight. The Jaguar gazes up from his branch, roaring his frustrations. The Bird, apparently wounded by the Jaguar, bleeds from a gaping wound in his breast.

 

(/unQuote)

 

(Source: Linda Schele and Mary Ellen Miller, The Blood of Kings: Dynasty and Ritual in Maya Art, George Braziller, Inc., New York, 1986; pp. 310-311, Plate 122: p. 315)

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