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The  Bable


A relevant oil painting in the history of art

Archaeological research and image provenance


Refarming and Modern models is Popular Culture

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Lunar eclipses






Origin of the image of Tengu







Artistic creations by artists from various regions on lunar eclipses 02.


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The source of the image and characteristics of the Tree of Heaven.


























Ometeotl: The supreme god of Aztec mythology

  

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In ancient times, all people spoke the same language. They migrated eastward and settled in the land of Shinar, where they decided to build a tower tall enough to reach the heavens—to make a name for themselves and avoid being scattered across the earth. They used baked bricks and tar instead of stone and mortar, and they eagerly began construction.

But the Lord saw their pride and their ambition, knowing that with a common language, nothing would be beyond their reach. To halt their defiance, He confused their speech so they could no longer understand one another. The work on the tower stopped, chaos spread, and the people eventually scattered across the world. The unfinished tower was called Babel (meaning "confusion"), and from then on, humanity was divided by different languages and nations

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The Mayans believed that the Tree of Heaven was a giant sacred tree (the Tree of Heaven in Mayan art is often depicted as a giant ceiba tree with an upright trunk that runs through the Three Realms, roots deep into the Nether Realm, and a crown that touches the upper heavens). Double-headed serpents are often coiled on the branches (symbolizing the passage of divinity) or perched sacred birds (such as the macaw, representing the sun god)

The roots of the tree go deep into the underground world (Xibalba, nine floors), which is the realm of death and rebirth;

The trunk of the tree is located in the human world, supporting the real world;

The canopy extends to thirteen layers of heaven, each representing a different realm of gods, ruled by a specific deity.

The tree is not only a link in physical space, but also a channel for communication between gods, ancestors, and humans. Priests and kings communed with the gods through rituals such as bloodletting or hallucinatory rituals by climbing the symbolic "Tree of Heaven".


Ometéotl (Nahuatl for "twin gods") is the highest creator god in the Aztec mythological system, symbolizing the ultimate origin, duality, and harmony of the universe. This deity is not an anthropomorphic deity in the traditional sense, but an abstract and divine cosmic law that represents the unity of opposites (yin and yang, male and female, life and death, etc.)
02.01. The source of the image and characteristics of the Tree of Heaven. The "Temple of the Cross Complex" at the site of Palenque, Mexico, is the epitome of the Mayan cosmology.


The main relief depicts King K'inich Janaab' Pakal (Pakal the Great) at the time of his death with the soul rising from the root of the World Tree (the underworld) to the canopy (the celestial realm). A two-headed serpent coiled around the tree (symbolizing a divine passage) and a sacred bird perched on top of it (representing the sun god or celestial god)


Chichén Itzá's "Pyramid of Castillo" Every year at the sunset of the vernal equinox, the shadows cast by the steps of the pyramid form a serpentine shape (Kukulkan), symbolizing the communication between the World Tree and the gods.

The holy book of the Kiche Mayans, Popol U, mentions that Hunab Ku, the god of creation, and Kukulkan, the god of feathered quetzalls, created humans in the thirteen heavens.


Bonampak Murals:
In the ruins of Bonanpac, Chiapas, Mexico, a mural depicts a priest conversing with the gods through the World Tree, with a layered background suggesting thirteen heavens.