"The use of the term wu [for sun-spots], which means 'crow' as well as 'black', raises the question whether some reference long before -28 might be based on sun-spot observations.

As Chhen-Wên-Thao has pointed out, the existence of a crow in the sun (the colleague of the rabbit in the moon) was part of traditional Chinese mythology in Chou and early Han times. This we find in the Lun Hêng, where Wang Chhung says, 'The scholars hold that there is a three-legged crow in the sun ..." (Needham 3)

Sun-spots may be seen without optical artificial help.

"There is no reason why sun-spot observations could not have been made very early. Many sun-spots are easily visible with the naked eye at sunrise or sunset, or reflected on the surface of still waters. They can be seen well through thin haze.

A spot about 30,000 miles, or four earth-diameters, across, is large enough to be seen without telescopic aid, and many spots are much larger, even as large as twenty earth-diameters ..."

"As in the case of eclipses, it seems likely that from an early date the sun must have been observed through smoky rock-crystal or semi-transparent jade. Indeed, this technique is specifically referred to by Li Shih-Chin, who says that the 'books on jade' mention certain kinds which were used for looking at the sun ...

But haze due to dust-storms from the Gobi desert would also have permitted the observation of sun-spots." (Needham 3)

Both eclipses and sun-spots should therefore have been observed as long as mankind has existed. They must have thought about them and assimilated the phenomena into their world-view. They must have observed the regularities.

 "... Chinese astrological conclusions were for once perhaps right in maintaining a connection between celestial and terrestial phenomena. Though not at present generally admitted, it is not impossible that the sun-spot period may be connected, through meteorological effects, with events of social importance, such as good and bad harvests.

Such a correlation is indeed maintained for Japanese rice crop famines since +1750 by Arakawa (1). Conceivably the basis of the association made in the Chi Ni Tze book ... between the 12-year Jupiter cycle and an agricultural production cycle, may really have been, as Chatley (1) suggests, the 11-year sun-spot cycle." (Needham 3)

Thus the sun is in some way associated with a (three-legged) crow:

"... in the Tso Chuan for -490 ... it is said that 'a cloud like a flock of red crows was seen flying round the sun' (yu yün jo chung chhih wu chia jih i fei).

The term ji erh, which means a kind of solar halo, may also have been used to refer to the corona. Loewenstein suggests that corona observations may have been at the origin of the 'winged sun' symbol, so characteristic of Assyria and Persia, but not unknown in ancient China." (Needham 3)

Of course I get the idea that also the sun type of glyph in rongorongo may be related to this complex of concepts:

Three flames are pointing downwards and three upwards. The three below the middle should be thought of as the three legs of the sun. That probably is the explanation for why the crow has three legs. First was evident that sun must have 6 as his number (6 doublemonths in a year - the best approximation for a circle is the hexagon and the value of π then becomes 3), secondarily it was clear that the 3 flames below his middle must be his legs (thereby representing the dark half-year).

Remember that sun could not go down into the water like a fish, his fire would be extinguished. Instead he walks out through his back-door in the west, goes behind the mountain and returns in the east in the morning, dry and fiery as ever.

The three flames at the bottom half of the sun express the first half of him. The sun circles counterclockwise on Easter Island, and the upper three flames are reached by way of rounding the Poike peninsula in the east.

After noon sun is no longer quite himself, darkness is starting to take him down (or rather out of sight behind the mountain in the west). Sun becomes a bit 'smoky' in the afternoon (as can be seen through the evening haze in the west). He looks like his image reflected in still waters.

Sun is strong from his birth at 'midnight' and up until 'noon'; that half of the 'day' is 'male'. During the following (a female trait) half of the 'day' sun is overpowered; that half of the 'day' is female. The sun gods left eye is the moon:

The hau tea type of glyph is expressing number 3 by way of the vertical straight lines (with the sun disc at top right where he just has arrived in the east, soon to rise up into the sky, reaching the top at noon - the vertex - thereafter to decline):

To be straight is to be male. To bend is to be female. When sun is growing upwards during a.m. it is the female who is helping him (and after noon the inverse is true - his spouse takes the best of him), by way of nourishing the toko which raises the roof of the sky:

We can see that the hand with three bent fingers has no thumb - it couldn't because that hand is female.

The thumb is like the spur of a cock. It represents the 5th finger at the top of the hierarchy (as symbolized by the apex of a pyramid). It is the ruler without which nothing would be accomplished.

The thumb determines where one season ends and the next one will start (like a node in a bamboo stem), a concpet illustrated in the Gateway of the Sun (where the sun god's hands represent the equinoxes):

During p.m. the weight of the female makes sun slowly sink, as expressed in Tahua by the top flame being converted into the Y-sign (and also by the split henua for autumn in the sun god picture above):

The sun god has 'lost his head' and the toko (his supporters) are slowly buckling under the weight on him caused by powering his female.

In the tôa type of glyphs

Y may be explained as the conversion from the solar 3 into the 'moonar' 4 (which also is the number of the earth and of the female whose face we cannot see - papa has turned her face away from us, not liking what she otherwise would be forced to see).

The splitting of the middle top flame of the mature sun is a mirror image of the two members of the night female - between her two legs she has her crotch:

'Put his head in the fork of the tree that stands by the road', said One and Seven Death. And when his head was put in the fork of the tree, the tree bore fruit. It would not have had any fruit, had not the head of One Hunaphu been put in the fork of the tree.

This is the calabash, as we call it today, or 'the skull of One Hunaphu', as it is said. And then One and Seven Death were amazed at the fruit of the tree. The fruit grows out everywhere, and it isn't clear where the head of One Hunaphu is; now it looks just the way the calabashes look. All the Xibalbans see this, when they come to look." (Popol Vuh)

At midning the next phase occurs: the female who has been growing with child reaches the time when next 'day' must be born. She literally splits into two, after which the baby is being nurtured from the source ultimately derived from yesterday's sun. The journey of the new sun starts by his cradle being converted into a canoe - he must be preserved from water, he must be kept dry.

At the end of the night the new day (in the light) is born in the order toko, ragi and henua:

The henua which is being born from tôa has three bent fingers and a thumb (both female and male characteristics). Our world in the light has shadows too.

At the end of the day the henua hand is reversed:

Basically henua is female (the light on the land is not the sun) and therefore the arm is a separate unit.

The above may be regarded as a summary of what was discovered while reading the Tahua night calendar, but also some new important thoughts have been incorporated by using the stimulus from the three-legged crow.