The Array of Fate

SUN STONE
GLYPHS		 DRESDEN /
TIMESTAR
GLYPHS




Wind


Night


Seed


Serpent


Death


Hand


Star


Moon


Dog


Monkey


Human


Vessel


Wizard


Eagle


Vulture


Earth


Mirror


Storm


Solar Lord
Among the richly illustrated texts associated with Teotihuacan a figure copied from the texts, the Kingsborough drawing stands as a witness of the human condition. In a plate from the Borgia Codices, the God of Fate, Camaxtli, stands with a serpent attached to the root chakra comparable to Vedic illustrations of kundalini, that literally means "serpent fire".

Figure with serpent in root position copied from Borgia Codex



In contrast to the Mayan codices mainly comprised of almanacs in southern Mexico, the codices associated with Teotihuacan were largely concerned with ritual. Literally meaning, "The City of the Gods", Teotihuacan was renowned as the city where they did not die but awakened from a dream; the pyramid complex was The Feathered Serpent's initiation center. And while the design and numbers of Native America's ancient calendar first appeared in the pyramids at Teotihuacan, initiation was the primary objective at Teotihuacan.

Sun Stone



After the codices were removed from central Mexico and taken to Europe, Cardinal Stefano Borgia acquired them and they became the property of the Vatican upon his death. Thus the ritual codices associated with Teotihuacan are known as the Borgia Codices despite the fact that Cardinal Borgia obviously did not know what they were much less how to use them. The Kingsborough drawing was subsequently copied from an illustration in the codex that showed the calendar glyphs attached to various parts of a human body.

Hopi - Sand drawing with serpent at root of central axis marked with chakra-like symbols

Art from central Mexico associated with Teotihuacan depicted the same chakras system as the Vedic tradition. A relief from Monte Alban in central Mexico explicitly aligns chakras similarly to the Vedic tradition.

Vedic - Kundalini Serpent
aligned with root chakra



The glyphs attached to Fate's body in the Kingsborough drawing outline the luminous light body that the Toltec don Juan Matus described as an egg shape comprised of fibers that emanate from the stomach. The glyphs on the Kingsborough figure are arrayed in a non-linear sequence relative to the Sun Stone glyphs. For example, Serpent glyph is sixth in sequence on the Sun Stone but occupies the spotlight in the Kingsborough drawing.

The body parts pointed out on the God of Fate include points of the soul's entrance and exit recognized in the Tantric tradition of Tibet. It is interesting that the seven chakra points that were known in central Mexico were not the topic of the Kingsborough drawing from the Borgia Codex, but that the drawing relates to areas addressed in ritual cleansing as well as the entrance and exit of the soul from the body.

In the original Kingsborough drawing the artist took it upon himself to number the glyphs in sequential order, starting with #2 on the figure's right foot and ending with #20 at the serpent in the center of the drawing. The ludicrous confusion in counting the glyphs sequentially exemplifies the reasons why Euro-Americans still have not fully deciphered the ancient calendar almost 500 years after most of the codices were burned.

Relief from Monte Alban - Glyphs on the figure forming a vertical axis with glyphs in the root position parallel chakras in Vedic system.


Yet the archetypes of Native America's first calendar are so powerful that the crudely drawn glyphs on Fate's body in the Kingsborough drawing still tell their story through the confusion that destroyed a civilization. When interpreted in their proper sequence, the glyphs will even tell the condition of those humans who destroyed an ancient civilization for gold and slaves. In this way, the crudely executed and annotated copy of ritual texts from central Mexico, the Kingsborough drawing, now provides an historical documentary of the barbaric European confusion that enveloped Native America.




Copyright KDuran 2001