And in Aa6-68 the 3 stones of creation maybe are illustrated (with sun light shining on them from the left). First comes the deluge (Aa6-66), when the old 'fish' is engulfed (Aa6-67) and then a new creation is established by placing three stones (probably originating from the three stars of Orion's belt).

When sun is rising in Orion's belt a new era begins. When the cosmic tree is turning over into an east-west orientation the jaw of the kaiman is in the east (no longer in the south). The jaw is in the east and there the creation occurs. Maybe Aa6-67 also alludes to this fact, vaha mea means the red mouth.

The snake head is in the other direction, in the west. Sun moves towards west and his head must be there.

There are three stones, however. The Jaguar-throne-stone probably is in the east (no one has more powerful jaws than the Jaguar) and the Snake-throne-stone probably is in the west. The third stone is the Waterlily-throne-stone, which Itzamna set. I guess it is in the south, down in the watery Underworld.

First comes the Jaguar (horizon in the east), then the Snake (horizon in the west) and then sun goes down into the water. No wonder if he vomits up water later on (in Aa6-66)."

It is impossible to here explain or discuss all my comments. Suffice it to say that for whatever reasons I distinguished between the World Tree depicted as a crocodile on one hand and the Serpent oriented horizontally on the other hand.

The number of the beast can be counted as 66 * 6 = 396 (= 400 - 4).

And in the following glyph we can see the head of a rising fish being swallowed by something which looks like an ika hiku element. Early, when I created a catalogue over all the rongorongo glyphs according to glyph type, Aa6-67 was one of the few possible ika hiku glyphs in A.

Notably the central Olmec figure has 3 + 1 fingers on each hand, just as the persons in the rongorongo texts.

The Olmec structure is formed like a quincunx (see in Kuukuu and in 378):

... On February 9 the Chorti Ah K'in, 'diviners', begin the agricultural year. Both the 260-day cycle and the solar year are used in setting dates for religious and agricultural ceremonies, especially when those rituals fall at the same time in both calendars. The ceremony begins when the diviners go to a sacred spring where they choose five stones with the proper shape and color. These stones will mark the five positions of the sacred cosmogram created by the ritual. When the stones are brought back to the ceremonial house, two diviners start the ritual by placing the stones on a table in a careful pattern that reproduces the schematic of the universe. At the same time, helpers under the table replace last year's diagram with the new one. They believe that by placing the cosmic diagram under the base of God at the center of the world they demonstrate that God dominates the universe.

The priests place the stones in a very particular order. First the stone that corresponds to the sun in the eastern, sunrise position of summer solstice is set down; then the stone corresponding to the western, sunset position of the same solstice. This is followed by stones representing the western, sunset position of the winter solstice, then its eastern, sunrise position. Together these four stones form a square. They sit at the four corners of the square just as we saw in the Creation story from the Classic period and in the Popol Vuh. Finally, the center stone is placed to form the ancient five-point sign modern researchers called the quincunx ...

Later on in this series of rituals, the Chorti go through a ceremony they call raising the sky. This ritual takes place at midnight on the twenty-fifth of April and continues each night until the rains arrive. In this ceremony two diviners and their wives sit on benches so that they occupy the corner positions of the cosmic square. They take their seats in the same order as the stones were placed, with the men on the eastern side and the women on the west. The ritual actions of sitting down and lifting upward are done with great precision and care, because they are directly related to the actions done by the gods at Creation. The people represent the gods of the four corners and the clouds that cover the earth. As they rise from their seats, they metaphorically lift the sky. If their lifting motion is uneven, the rains will be irregular and harmful ...

... The 5th stone, the center stone, is drawn in the middle of the square form of the quincunx, and an example is offered by kan, the Mayan glyph for yellow:

I guess the corresponding rongorongo sign is vai (fresh sweet rain water):


*vai*	*vaha kai*

When the precious rain is falling from the sky the vai sign can be changed into the sign of vaha kai, because the 4 diviners (supporters of the sky roof) are no longer needed. In other words, at the beginning of land (when the sky roof is raised high by the 4 supporters) the sweet water is gradually accumulating in the sky (from the evaporation of small water puddles down on earth), and at this time of the year the Mayan quincunx glyph shows 4 corner stones as sky proppers with Sun shining in the center.

Then his Rain God time has come and Sun lets go of all these waters, creating a situation of flood down on earth, and the sky proppers are no longer needed. The sign changes to vaha kai. If my suggestion is correct, then we can anticipate a reversal when we compare the domain of the sky with what happens down in our own region. When the sweet water is above in the sky it cannot be down below and contrariwise ...

In Peru the conception was the same, the ruling Sun king was in the center surrounded by 4 supporters:

This illustration is from Ronald Wright, Cut Stones and Crossroads. A Journey in the Two Worlds of Peru. The 'pontificial world' (Pontifical Mundo) has Peru at the top and Spain at bottom, in both cases with the central edifices occupying the place of the Sun. Wright explains:

[This is] Waman Puma's conception of the relationship between Peru and Spain according to the Andean duality principle of Hanan (Upper) and Hurin (Lower). Each country is showns as a Tawantinsuyu - four quarters with a capital in the center. Peru is higher, closer to the sun, and therefore full of gold, the 'sweat of the sun'.

In Wikipedia one can read: "... Guaman Poma appeared as a plaintiff in a series of lawsuits from the late 1590s, in which he attempted to recover land and political title in the Chupas valley that he believed to be his by family right. These suits ultimately proved disastrous for him; not only did he lose the suits, but in 1600 he was stripped of all his property and forced into exile from the towns which he had once ruled as a noble ...

When Sun has gone down a transition could occur from Hanan to Hurin, from the kingdom of Sun to the kingdom of Man (trying to rule like Sun as best as he can down in his darkness).

The central position ('stone') is the ruler's, and possibly the idea of Ophiuchus might be to illustrate how Man carries on after Sun has gone down. The human King could be carrying the Sun serpent as a Sign of his role. He 'is' the World Tree (cfr at The World Below):

... I already knew that the ceiba tree was the model for the sacred World Tree of the Maya, but I had never seen one in flower when I knew what I was looking at. I was really excited because normally you can't see the blossoms even if you're there when the tree is in blossom. The fully mature trees are hundreds of feet high, and the blossoms are very small. 'It's a ceiba', I chirped and began looking for a branch low enough to see one of the blossoms up close. Joyce Livingstone, a retired teacher, did the logical thing. She bent over, picked up a fallen branch, and held it out for me to see. I was too excited and full of myself to listen. She tapped my arm more insistently and still I didn't hear her. Finally, in frustration, she grabbed my wrist and raised her voice. 'Will you look at these?' she said, waving the branch, and finally I did.

What I saw stunned me, for in her hand lay a perfect replica of the earflares worn by the Classic Maya kings. Suddenly I understood the full symbolism of so many of the things I had been studying for years. The kings dressed themselves as the Wakah-Chan tree, although at the time I didn't know it was also the Milky Way ...