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Anticovidian v.2 COVID-19: Hypothesis of the Lab Origin Versus a Zoonotic Event which can also be of a Lab Origin: https://zenodo.org/record/3988139
IDOLATRÍAS COMUNES ENTRE LAS RUINAS DE LOS PUEBLOS MESOAMERICANOS Y LAS DE CANAÁN
Parte 2
Para ir a la Parte 1, píquele aquí: http://fdocc.ucoz.com/index/0-111
Para ir a la Parte 3, acá: http://fdocc.ucoz.com/index/0-113
Si algunos de estos humanoides u homínidos (Neandertaloides) perversos escaparon a las persecuciones que los humanos llevaron a cabo en contra de ellos en los tiempos del rey David, y si se adaptaron a vivir en profundas regiones subterráneas del planeta tierra, tenemos una posible explicación a la evasiva apariencia física de los "aliens” (la adaptación de los animales a la oscuridad reproduce exactamente semejantes características, ver por ejemplo el incremento en la masa cerebral de "los peces ciegos”, que desarrollan al máximo el resto de sus órganos de percepción), esos supuestos seres evasivos con piel pálida, debido a su falta de exposición a la luz solar, con grandes ojos (usualmente cubiertos con una especie de protectores contra la luz), con grandes habilidades tecnológicas (ovnis manufacturados a partir de los abundantes metales del subsuelo y sus "chupacabras”, dispositivos succionadores de moléculas animales, metálicos - zoomorfos teledirigidos), moleculares (láser y mutilaciones de ganado para extraer hemoglobina y otras proteínas), y geométricas (aunque los "crop circles” son actualmente también elaborados por jóvenes humanos ociosos). Los cuales, cual caníbales, mostraron en el pasado ser "cazadores” despiadados de mujeres y de niños (abducciones. El canibalismo Neandertal se ha comprobado con los estudios de Tim White y otros). Los Neandertales sobrevivientes, si alguno, conforme se adaptaron a otros diversos ambientes y climas, también pudieran ser el Yeti, el Bigfoot, etc. Los ángeles caídos también pueden revivir todo esto, sea por "materializaciones", "posesión", "alucinaciones inducidas", etc., y todas esas "mitologías populares”, fueron y son la parte inspiradora y central de toda idolatría, de todo crimen, y de toda perversión sexual "religiosa”:
http://www.oocities.com/kubyimm2/image027.jpg
http://www.oocities.com/kubyimm2/image029.jpg
La siguiente figura presenta también rasgos físico-musculares Neandertaloides y está usando una máscara. El artículo menciona que las escenas de violencia al desnudo pudiera parecer espeluznante ("grisly”) pero probablemente tuvo una poderosa significación religiosa para los indios Moche. Apodado: "El Decapitador”, una feroz criatura sobrenatural ha cortado una cabeza humana con un "tumi” o cuchillo ceremonial (Donan C. B. and Benn N., "Masterworks of Art Reveal a Remarkable Pre-Inca World”, 1990, National Geographic, 177(6):30-31):
http://www.oocities.com/kubyimm2/decap.jpg
En el mismo artículo, la foto de entrada es la cara de una mujer negra, lo cual nos hace recordar las monumentales cabezas de negros encontradas en la cultura Olmeca.
De la misma referencia anterior podemos ver otros detalles (pp. 24-25), tales como prácticas semejantes a la llevada a cabo por la anterior figura, los autores señalan, acerca de la técnica de manufactura de la siguiente figura (p. 27),
"An extraordinary invention, the Moche’s electrochemical-plating process”, (p. 22) "metalworkers dissolved gold in a solution of water and corrosive minerals, to which they added a compound like bicarbonate of soda to achieve a pH of about nine. A clean copper object dipped into this solution served as both anode and cathode. In this way an electric current was maintained, and a microscopically thin coating of gold formed on the surface of the object when gently boiled. Then the object was heated to between 500 and 800 ° C (932 to 1472 Fahrenheit) to permanently bond the gold to the copper”, según lo indicó Heather Lechtman, del "Massachussets Institute of Technology” (MIT):
http://www.oocities.com/kubyimm2/decap2.jpg
En la siguiente figura simétrica, de nuevo dos horribles criaturas sostienen de los cabellos cabezas humanas y las "colas” de dichas criaturas presentan también cabezas de serpiente-dragón:
http://www.oocities.com/kubyimm2/decap3.jpg
Otra observación que hemos realizado es que el "tumi” o cuchillo ceremonial presente en la cultura Moche sudamericana se encuentra también en las culturas norteamericanas de los constructores de montículos (moundbuilders), poniendo de manifiesto una intrincada comunicación e interacción ideológica (sacrificios humanos a sus "dioses”) entre las culturas prehispánicas del continente Americano. Ejemplos pueden ser observados en "The Cahokia Mounds” (ver libro "The Cahokia Mounds”, by Warren K. Moorehead et al, Edited by John E. Kelly, 2000, The University of Alabama Press, 432 pp.), cerca de St. Louis (East), en las inmediaciones del río Mississippi ("Central Mississippi Valley”), y en Moundville ("The Moundville Expeditions of Clarence Bloomfield Moore”, Edited by Vernon James Knight, Jr., 1996, The University of Alabama Press, 224 pp.). To see figures and notes (from their original papers).
"The Stucco Wall from Tonina, in Palenque depicts "an enormous dancing skeleton, the very being who was the "spirit” of the kings of Palenque and the constant participant in the sacrificial dance of Chak and the Baby Jaguar at other Maya sites. Cavorting wildly, this huge death god swung the severed head of an enemy by its hair. Next to this image were three identifying glyphs... this title belonged not to a god, but to a... king manifesting himself as a "spirit” ” (a "Skeletal Wayob”, or "skeletal dancer”, in: Freidel et al, 1993:320-23, color plates 35-39):
http://www.oocities.com/kubyimm2/decap4.jpg
This skeleton can also be seen in Chich’en Itza’s Temple of the Warriors, fragments of the exterior mural on the north(Freidel et al, 1993:322):
http://www.oocities.com/kubyimm2/decap5.jpg
We can also see "a scaffold sacrificial scene in a pot, like that modeled in stucco on the Tonina terrace facade” ” (Freidel et al, 1993, color plate 39):
http://www.oocities.com/kubyimm2/decap6.jpg
"A group of Wayob in a ritual” (Freidel et al, 1993, color plate 38, see again the detail of the protruding eyebrow and the ape-like appearance of the "skeletal” being holding the severed head with its right hand, a blood colored fluid seems to be flowing of the Neandertal-like sexual organ):
http://www.oocities.com/kubyimm2/decap7.jpg
"Graffiti drawings scratched on the walls of Tikal palaces, depicting the conjuring of supernatural beings from the Otherworld, prove that these scenes were more than imaginary events seen only by the kings. Several of these elaborate doodles show the great litters of the king with his protector beings hovering over him while he is participating in ritual. These images are not the propaganda of rulers, created in an effort to persuade the people of the reality of the supernatural events they were witnessing. They are the poorly Darwin images of witnesses, perhaps the minor members of the lordly families, who scratched the wonders that they saw during moments of ritual into the walls of the palaces where they lived their lives” (Freidel et al, 1993:312-313, Fig. 7:19 represents "a scratched drawing of a litter with the Waxak-lahun-Ubah-Kan as the animal spirit”, "a scratched drawing of a litter with the Nu-Balam-Chak as its animal spirit being” and "a scratched drawing of a litter with the Sun-Jaguar as the animal spirit being. Notice one of the bearers below (at the right side)”):
http://www.oocities.com/kubyimm2/devil-spirits.jpg
En los diversos Juegos de pelota Mayas (no solamente el famoso juego de la "alta y pequeña portería redonda”, sino otras variantes como la de "aventar contra los escalones a la gran pelota”, etc.), la "pelota” era la cabeza de un prisionero o un prisionero completo comprimido y atado en forma de pelota, quizás también, una tradición heredada por los "gigantes” Nephilim,
"A text in La Amelia Stela 2 reads: he threw it, The-Guardian-of-the-Jaguar [was] the name of the ball (yalah u chan Balamnal u k’aba Bolon-nab)”. Here is direct hieroglyphic evidence that captives were bound and used as balls (Grube and Schele, Six-Staired Ballcourts (Wak-Ebnal), Copán Note 83, 1990, Honduras: Copán Mosaics Project and the Instituto Hondureño de Antropología), "captives really did roll down... to suffer and die in mock play... with a ball made from the body of a bound sacrificial victim... The balls... really were tightly bound captives... Hieroglyphic stairs pictured in the center of Bird-Jaguar’s ballgame sequence (Yaxchilan HS 2) record three self-decapitation rituals...[the] ballgame sacrifice renewed the basic covenant between gods and people...” (Freidel et al, 1993:358-62, 486, Note 46, of Fig. 8:16b we read "Panel 7, Bird-Jaguar plays ball at the Three-Conquest-Ballcourt-Stair, he prepares to catch his captive on his yoke…Next to him stand two dwarves, one wearing the shell earflare of Chak and both wearing Venus or star sings attached to their arms”:)
http://www.oocities.com/kubyimm2/ball.jpg
"The Great Ballcourt (at Chich’en Itza) has relief scenes carved on large panels... two teams of seven players each, face each other across a ball with a skull engraved on it. The player to the immediate left of the ball holds the severed head of the captive whose unfortunate corpse kneels on the other side of the ball in the position of a player. His neck stump spurts seven streams of blood shaped like serpents... we believe the contest pits Maya against Maya [not "prisoners of war”, as others have suggested. At the right side of the Ballcorut there is "the skull rack”]” (Freidel et al, 1993:376-79).
http://www.oocities.com/kubyimm2/ball2.jpg
Nótese en las siguientes figuras la apariencia facial feroz de cuatro criaturas:
http://www.oocities.com/kubyimm2/drags1.jpg
Otra cosa que observamos fueron incrustaciones de conchas marinas en diversos sitios, especialmente en las pirámides más antiguas, ya sea en sus paredes o en sus gradas, evidencias éstas del diluvio descrito en la Biblia, el cual inundó a toda la tierra.
En los templos de Yaxchilán se nos muestra la práctica común entre las mujeres Mayas de derramar sangre de la punta de sus lenguas, previamente pinchadas con un objeto punzante, y de los varones (aún de los infantes), de derramar sangre de la punta de los dedos de sus manos, y de colectar esa sangre en sogas (para la lengua) o en "papel amate”, y de presentar dichas ofrendas de sangre, especialmente a sus dioses (ángeles caídos), los cuales se les "materializaban” una vez presentada la ofrenda (como en el Lintel 15, "The Rearing Vision Serpent”), es decir, se les presentaban con cuerpos de serpiente y con cabeza humana (o como "humanos mitad serpiente”, "the long looping body of the Vision Serpent transforming into the torso of K’awil ("cavil” in Poqom Maya (compiled by Fray Pedro Moran (1720) and by Fray Diego Zuñiga (1608), studied by Susan Miles (1957)), and "q’abwil” in Maya K’iche (Quiche) and Kaqchikel, mean "gods”, and also their "carved images”, and those gods are "volatile”, pp. 194, 443, Freidel et al, 1993)” o "brotando de la boca de la serpiente”, "Yat-Balam, founding ancestor of the dynasty of Yaxchilan, emerging from the mouth of an enormous Vision Serpent is called "nawal of the founder” ”, pp. 184-5, 196, Freidelet al, 1993), en el Lintel 13 de Yaxchilan vemos al hijo de Pájaro-Jaguar saliendo de la boca de la serpiente ("being born from the snake”, p. 219, Freidel et al, 1993), o como "humanos alados”, un rasgo no solamente presente en las esculturas Mesoamericanas sino que también se encuentran presentes en los dioses de Babilonia, "el dios volador Asur”, con su "disco alado (con alas) rodeando su cintura, disco poseedor de dos piernas de aterrizaje” y con un "volante circular sostenido por su mano izquierda”, como se puede apreciar en un relieve, o la Mitología Hindú preservada en el Rig Veda y en el Mahabharata), y todo esto para darles instrucciones especiales de una "sabiduría superior” (los siguientes dos primeros ejemplos han sido tomados de postales en blanco y negro que se venden entre las ruinas Mayas; en el primer ejemplo un varón esta suspendiendo una antorcha de fuego sobre la cabeza de la "ofrendante” como práctica antiséptica mientras ella desangra su lengua, es decir, estos paganos no eran estúpidos, eran más bien muy inteligentes (ya vimos los avanzados métodos de procesar oro con cobre en la cultura "Moche”); así mismo, eran totalmente idólatras y espiritistas, descendientes de las prácticas de Cam y de su hijo Canaan:
http://www.oocities.com/kubyimm2/image031.gif
http://www.oocities.com/kubyimm2/image033.gif
(Otros detalles aparecen en Science, 1992, 256:1062-1069 y en Freidel et al, 1993).
En otra figura se puede ver que,
"The war snake ("the great war serpent”, p. 207, "with a half flayed body decorated with feather fans”, p. 208), named Waxaklahun-Ubah-Kan, the Maya War Serpent appears with the tok’-pakal (the flint shield) in a... lintel (Yaxchilan Lintel 25), showing the king’s principal wife, Lady K’abal-Xok (in: A Forest of Kings (Schele and Freidel, 1990:262-305), the full recounting of her story) communing with "the founder of (her husband’s, Freidel et al, 1993, p. 208) lineage”, after Shield-Jaguar had conjured him up through bloodletting during his accession rite. Holding a bowl full of paper splattered with her blood, she kneels gazing up at Yat-Balaam, the founder, emerging from the Waxaklahun-Ubah-Kan, the transformed war monster originally imported from Teotihuacan” (Freidel et al, 1993, p. 308). "Precolumbian Maya practiced bloodletting... to enter vision rites and ecstatic trance and to commune with the gods... and palpable... communication with "the Otherworld”... (Freidel et al, 1993, pp. 207-8).
[Other "Vision Serpents" can be seen in the modeled stucco example from Group H, Waxaktun, currently dated to the Late Preclassic Mayan period (see Schele and Freidel, Forest of Kings, 1990:chapter 4), and a black-line graffito on the wall of Structure 5C-2nd at Cerros, Belize. This graffito shows a tau-toothed god or ancestor in the mouth of the Vision Serpent, the earlier example of this kind of depiction so far. Current work in the Preclassic ruins of the Maya region will no doubt push this concept back even further in time (Freidel et al, 1993, p. 447, Note 71)]”
"Kisin takes the form of a large snake called Ochcan (och-kan), which is described as being very big... having a large shiny eye. When the initiate and the ochcan meet face to face, the alter rears up on his tail and, approaching the initiate till their faces are almost touching, puts his tongue in the initiate’s mouth. In this manner, he communicates the final mysteries of sorcery [final initiation of a Q’eqchi’ shaman in the village of San Antonio]... The master had previously removed all his clothes and was standing nude. The snake ["spirit” dragon] came up to him and after licking him all over, proceeded to swallow him whole. A few moments later he passed him out of his body with excrement. The master didn’t appear to be much the worse for his adventure. Very similar initiation ceremonies in Chiapas are described by Nuñez de la Vega (1700, which describes a cave as the location of the initiation ceremony) [Q’eqchi’ shamans in the village of Sokotz, Belize]” (Thompson, J. E., Ethnology of the Mayas of Southern and Central British Honduras, 1930,Field Museum of Natural History, Pub. 274, Anthropological Series Vol. XVII, No. 2, Chicago, pp. 68-9, 109-10).
"Ancient Maya drew ropes and bark paper through their tongues to conjure up Vision Serpents [some of the texts that record the conjuring of Vision Serpents may refer to bringing spirit[s] into these living snakes]... blood-splattered paper and bloody ropes... kings drew through their penises and kings and queens drew through their tongues... ” (Freidel et al, 1993:205, 209, 448, Note 76).
"Och-Kan, the animal spirit (vision serpent, also the name of the "boa constrictor”) companion of K’awil (a "god”) emerges from a ceremonial bar” (pp. 198, 196, 448 (note 73), Freidel et al, 1993):
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"Flint-headed sun god emerging from a double-headed serpent bar on Copan stela A (that reminds us of the deliberate lengthening of the head practiced by the Inca, also seen in the Egyptian Akenaton (see pictures in Apr. 2001, Natl. Geographic, "Pharaohs of the Sun” (in Amarna, their Sun god Aten, Akhenaten (born Amenhotep IV), Nefertiti, Kiya (his lover), and Tutankhamun), pp. 34-57 ), in the Olmecs, etc.)” (p. 199, Freidel et al, 1993):
http://www.oocities.com/kubyimm2/flint-head.jpg
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