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8. The perching bird at the top of the pole in the round Dendera Zodiac is not moving, it is not the picture of a manu rere. He is more like a stuffed up old bird, just an image (manu uru):

Manu

1. Bird; manu uru, bird figure (like the drawings or wooden figures once found in caves and houses); manu va'e e-há, four-legged bird (name given to the first sheep introduced to the island. 2. Insect. manupatia, wasp. 3. Bird's egg: mâmari manu. 4. Wild, untamed. 5. Song in which is expressed the desire to kill someone, or in which a crime is confessed: he-tapa i te manu (see tapa).

Bird; manu uru, kite; manu rikiriki, insect. P Pau.: manu, bird, insect, brute. Mgv.: manu, bird, beast. Mq., Ta.: manu, bird, insect. Manu nave, great abscess, bubo. Manu i te raá = comet. Manu vae eha,  'birds with four legs'.

At summer solstice Spring Sun does not move any more, he has changed from being a manu rere (or a manu kake) to a manu uru. Maybe he has been caught in a trap. The word uru could have been used as a sign to indicate this standing still status, e.g. when the turtle of the explorers returned into the water after having immobilized Kuukuu:

After he had lifted the turtle a little bit, he pushed her up farther. No sooner had he pushed her up and lifted her completely off the ground when she struck Kuukuu with one fin. She struck downwards and broke Kuukuu's spine. he iri ka iri era ka avaava ro.etahi no o kapeu i pua mai era kia kuukuu.he ava ki raro he hati te tua ivi o kuukuu.
The turtle got up, went back into the (sea) water, and swam away. he ea te honu he uru ki roto ki te vai he oho.

Orion was imagined as a bird snare by the Maori, a place where the 'bird' got stuck and couldn't move away:

"Pewa-o-Tautoru, Bird-snare-of-Tautoru; the constellation Orion in New Zealand. The Belt and Sword form the perch, te mutu or te teke, while Rigel is the blossom cluster, Puanga, used to entice the unsuspecting bird. To visualize the bird-snare we must remember that Orion, as we see it in the northern hemisphere, is upside down to the view obtained from New Zealand where Orion stands in the northern sky." (Makemson)

(Picture from Text Centre, http://www.nzetc.org/.)

Makemson's remark also means that for the Maori the belt stars were not down in the 'water' (below the ecliptic or below the celestial equator) but up on 'land'.

Maybe Sirius (Reitaga on Easter Island) was imagined as the 'pigeon' who had been caught in the snare. The fame of this star is based not only on its brightness but also on its power to remain standing still in spite of the precession (it was so in ancient Egyptian times). Taga means 'sack', and Spring Sun possibly was put into a sack after having been caught, at least he is no longer seen because of the rain clouds:

Taga

1. Act, business, anecdote; taga poki, anecdote, nonsense, story, puerile, childish. 2. Sack. PS Sa., Fu., Niuē, Viti: taga, a bag. To.: taga, the colon; tagai, a sack. Churchill.

The snaring perch was named mutu, we can see from the picture. This word suggests that Spring Sun has not only stopped in his track but also totally disappeared, because Mutu is the name of the 29th black night, the night when Sun went on the back of Moon.

Mutu

1. Cut short, shortened, amputated; at an end, ceased; anything cut off short; short, brief, quick (rare). Ua muku ko'u lole, my dress is shortened. He kanaka wāwae muku, a person with amputated foot. Huli muku a'ela nā wa'a, the canoes turned sharply. (PPN mutu.) 2. A measure of length from fingertips of one hand to the elbow of the other arm, when both arms are extended to the side. 3. Broken section of a wave or crest. See lala 1. 4. Same as Mumuku, a wind. 5. Thirtieth night of the moon, when it has entirely disappeared (muku). 6. Starboard ends of 'iako (outrigger booms), hence starboard sides of a canoe.

Another name for Sirius on Easter Island was Te Pou (the pole), i.e. the name of the 7th kuhane station:

Along the southern coast - 1st part:

5 Te Piringa Aniva

6 Te Pei

7 Te Pou

Along the southern coast - 2nd part:

8 Hua Reva

9 Akahanga (†)

10 Hatinga Te Kohe

The location of the kuhane station Te Pou at the end of the first half of the southern coastline makes sense. 7 is half 14 and Te Pou probably therefore marks the halfway point in the cycle of 14 * 29.5 = 413 nights, when Moon will turn around from waxing to waning.

Beyond 7 Te Pou comes 8 Hua Reva - the uplifted Mercury 'fruit' - and the corresponding Dendera constellation (to the left of manu uru perching on his pole) is the uplifted 'cow', presumably the Bull of Spring now calmly lying down after having lost his 'front leg' - changed his sex. His lost great 'front leg' is depicted as a hind leg close to the northern pole. This enigmatic constellation was depicted as if snared by a hippopotamus (like the turtle a beast living at the border line between land and water, life and death):

We can count the number of stars as 18 (at the back side of the man) + 13 (close to the head of the hippopotamus) + 9 (around the leg of the bull) + 1 (below the front arm of the man) + 5 (to the right of the serpent) + 10 (close to the face of the man) = 56.

These 56 stars can be ordered into groups in any number of possible ways, and the only we can say with certainty is that there is a single star below the man's front (closed) hand, 56 = 'one more' than 55.

I find it plausible to group this single star together with the 9 stars around the leg of the bull. The Bull of Spring is finished (9) but he has sired a new generation (1).

Van Tilburg describes eloquently where Te Pou had its place according to Polynesian thought:

The higher-ranked of the two largest political units on Rapa Nui was the Ko Tu'u Aro Ko Te Mata Nui. This literally translates as The Mast/Pillar/Post [standing] Before the Greater Tribes. Toko te rangi, or Sky Propper, is named by Métraux in his corrected Miru genealogy as the thirteenth king of Easter Island and as one of the lineages or subgroups of the Miru. Although we have no record of the Sky Propper legend on Rapa Nui, other Polynesian legends of the Sky Propper are widely known, and they are formative elements in the basic cosmogenic theory of Polynesian belief.

Sky (rangi) and Earth (papa) lay in primal embrace, and in the cramped, dark space between them procreated and gave birth to the gods such as Tane, Rongo and Tu. Just as children fought sleep in the stifling darkness of a hare paenga, the gods grew restless between their parents and longed for light and air. The herculean achievement of forcing Sky to separate from Earth was variously performed by Tane in New Zealand and the Society Islands, by Tonofiti in the Marquesas and by Ru (Tu) in Cook Islands. After the sky was raised high above the earth, props or poles were erected between them and light entered, dispelling the darkness and bringing renewed life. One detail which is iconographically of interest is whether the god responsible for separating Earth and Sky did so by raising the Sky with his upraised arms and hands, as in Tahiti and elsewhere, or with his feet as in New Zealand.

The actual props, pillars or posts which separated the sky and earth are called toko in New Zealand, to'o in the Marquesas Islands and pou in Tahiti. In Rapanui tuu and pou are known, with pou meaning column, pillar or post of either stone or wood. Sometimes the word is applied to a natural rock formation with postlike qualities which serves as an orientation point. The star Sirius is called Te Pou in Rapanui and functions in the same way. 

One monolithic basalt statue is called Pou Hakanononga, a somewhat obscure and probably late name thought to mean that the statue served to mark an offshore tuna fishing site. The Rapanui word tokotoko means pole or staff. Sacred ceremonial staves, such as the ua on Rapa Nui, were called toko in Polynesia. 

Based upon the fact that toko in New Zealand also means 'rays of light', it has been suggested that the original props which separated and held apart Sky and Earth were conceived of as shafts of dawn sunlight. 

In most Polynesian languages the human and animate classifier is toko-, suggesting a congruence of semantic and symbolic meaning between anthropomorphic form and pole or post. Tane as First Man and the embodiment of sunlight thus becomes, in the form of a carved human male figure, the probable inspiration for the moai as sacred prop between Sky and Earth.

The moai as Sky Propper would have elevated Sky and held it separate from Earth, balancing it only upon his sacred head. This action allowed the light to enter the world and made the land fertile. Increasing the height of the statues, as the Rapa Nui clearly did over time, would symbolically increase the space between Sky and Earth, ensuring increased fertility and the greater production of food. The proliferating image, consciously or unconsciously, must have visually (and reassuringly) filled the dangerously empty horizon between sea and land, just as the trees they were so inexorably felling once had.

In the text of G the halfway point (probably equal to the end of 'land') could be glyph number 12 * 29.5 / 2 = 177:

Ga7-1 Ga7-2 Ga7-3 Ga7-4 Ga7-5 Ga7-6 Ga7-7 (177)
Ga7-8 Ga7-9 Ga7-10 Ga7-11 Ga7-12 Ga7-13 Ga7-14

The Jupiter glyphs (Ga7-2 and Ga7-9) look like compositions including poles. Ika hiku in Ga7-12 means 'tail fish', and with 'tails' both at top and bottom there is no place for a head. The head of Spring Sun has disappeared.

4 + 4 = 8 'legs' on ika hiku agrees with 4 + 4 legs of Cancer in the Dendera zodiac. The top 'tail' in ika hiku (a haga rave sign) is possibly also alluding to vaha ('opening'), because it is day number 182 (halfway to 364) and the 2nd half of the cycle is 'opening'.

haga rave Ga7-12 (182) vaha mea

After another 177 nights it is closing, growing really dark:

Gb4-18 Gb4-19 Gb4-20 Gb4-21 Gb4-22
Gb4-23 Gb4-24 Gb4-25 Gb4-26 Gb4-27
Gb4-28 Gb4-29 Gb4-30 Gb4-31 Gb4-32
Gb4-33 (354) Gb5-1 Gb5-2 Gb5-3 Gb5-4

Probably the hau tea glyph type signifies the light from Moon or the lights in the night sky:

hau tea