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 |
 |
 |
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|
Ca6-11 |
Ca6-12 |
Ca6-13 |
Ca6-14 |
Ca6-15 |
Ca6-16 |
The redmarked
henua+rima glyphs form a pattern of 3 + 1, and the
pattern of 'feathers' on haś ke (7 + 7 + 6 = 20) is
similar to how I have tried to divide the 20 glyphs above into 3
lines with 7, 7, respectively 6 glyphs. Other subdivisions
are also possible, though.
We can take one
more step and add ordinal numbers counted from Ca1-1:
 |
 |
 |
 |
 |
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|
Ca6-1 |
Ca6-2 |
Ca6-3 |
Ca6-4
(144) |
Ca6-5 |
Ca6-6 |
 |
 |
 |
 |
|
|
|
Ca6-7 |
Ca6-8 |
Ca6-9 |
Ca6-10
(150) |
Ca6-11 |
Ca6-12 |
|
|
|
|
|
|
Ca6-13 |
Ca6-14 |
Ca6-15 |
Ca6-16 |
Possibly hau
tea in Ca6-4 (where 6 + 4 = 10 and 6 * 4 = 24) has to do
with summer solstice. There are 3 + 3 'feathers' at the top,
and the outer vertical lines are curved, which could mean 'spreading out'
('multiplying','growing'). Though it is rather strange that
the height of the glyph is so low, when the
sky is so high in summer.
The central
'person' in the following Ca6-5 has a threadlike vertical straight line
above his head, presumably a 'line for measuring', and
his mata in front is tilted. It could mean
that beyond the maximum height of Sun his path is sloping
downwards.
In Ca6-10 (the
last of 3 identical glyphs) we can count 6 + 10 = 16 or 6 *
10 = 60, and 150 is half 300. In
the following Ca6-11 there is a break between the left
'person'
and the central niu. The 'chevron' at bottom left
could have been put there to indicate a contrast with the
top of niu, i.e. to convey a sense of overturning (huri).
This was also, it seems, a thought with Metoro, who
here said
te niu kua huri.
