August 4, 2004 Silbury Hill, Wiltshire, England – Whoever, or whatever, is responsible for the August 2 to 3, 2004, crop formation at Silbury Hill, the design in its border is a mirror image of a rare statue of the Aztec God, Xochipilli, The Prince of Flowers, Maizes, Love, Games, Beauty, Song and Dance. Xochi means ‘flower,’ while pilli means either prince or child. In the mid-1800’s, a 16th century Aztec statue of Xochipilli was unearthed on the side of the volcano Popocatapetl near Tlamanalco, Mexico. The statue is of a single figure seated upon a temple-like base.
Both the statue and the base upon which it sits are covered in carvings of sacred and psychoactive flowers including mushrooms (Psilocybe aztecorum), tobacco (Nicotiana tabacum), morning glory (Turbina corymbosa), sinicuichi (Heimia salicifolia), possibly cacahuaxochitl (Quararibea funebris), and one unidentified flower. The figure itself sits crosslegged on the base, head tilted up, eyes open, jaw tensed, with his mouth half open. The statue is currently housed in the Museo Nacional de Anthropologia of Mexico.
The ancient Aztec statue’s repeating base design of 90-degree mazes back-to-back is similar to, but curving in the opposite direction of, the August 3, 2004, border at Silbury Hill.
June 3, 2001 – Variation On The Aztec Motif?
Cycles of Time, in Life and Death
In Mysteries of the Ancient Americas, the book states: “To the Aztec, as to all ancient Mesoamerican peoples, time proceeded not linearly, but in cycles. … Just as the world was created, destroyed and recreated time and again, so smaller units of time repeated themselves. …If life was impermanent for the Aztec, so, in the last analysis, was death. Life contained the inevitability of death, but death held within it the certainty of rebirth. For the Aztec, as for other native American peoples, death meant passage from earthly life to another existence on a different plane in a multi-level universe. For some, it also meant even the possibility of return to earth, though in a different form.”
© 1998 - 2018 by Linda Moulton Howe.
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