1951 (end)

From Mexico to Aztlan, by Edmund Kiss (a summary)

Posnansky published an article in 'Diario' of La Paz, Bolivia, on 16th of March, 1930, entitled, "The legendary: Aztlan of the Ancient Aztecs maybe identical with the Prehistoric Metropolis Tiahuanaco." In this article, he produces such convincing pictorial evidence of the common origin of the art and culture of the highlands of Peru and Mexico, that the relationship between them is plain even to the reader unfamiliar with the territory. "As regards the myth of Aztlan, it aquires a more serious significance in that it throws some more light upon the really distant origin of Mexican-Central American culture and civilization." "In all the myths that have been handed down , and in the ideograph notes as set forth in the numerous writings, reference to Aztlan are to be found in the corresponding and clearly given description of a far locality surrounded by water, from which came the first settlers, the culture bearers, who landed in Ancient Mexico as ambassadors of civilization." Even though many accounts some confusing and some contradictory, they all refer to a source of water that separates Aztlan from Mexico. The cultural examples are as folows between Peru and Mexico:

Sarabatana- blow pipe for poisoned arrows shown in ancient Mexico originates from South America's homeland of the Azovacs, examples of which are unknown in Mexico.

The Andes and Mexican Nobility as Ore-jones- as man like figure bear a typical 'Ojo alado" (the winged eye), and the god Yakatekuhti of the Mexicans (as being Ore-jones) .Also, had four fingers on his hand, and three toes on feet which is exactly like the Tiahuanaco Monolithic Gate image Sun God. In addition bears on his shield the true stairway glyph of Tiahuanaco, as his coat of arms. "The same symbol, with only minor local differences and in a more baroque form is also used by the Mexicans and Central Americans. There is also found among them, as in Tiahuanaco, the "Tembeta" (circular ornament for the lips) and the half moon shaped bronze knives."

"At Teotihuakan, the baroque from Tiahuanaco is still plainer, and the same applies to Mitla, Chichenitza, Palazio de las Nonjas (The Convent), Casa colorada, Quiriga, etc. The alabaster vases of Chichenitza show definite evidence of Tiahuanaco baroque. In the neotoltec ornamentation the sacred symbol of Tiahuanaco is retained almost unchanged." Volumes can be written that this may not be an accident.

"Nor is it to be expected that there are any linguistic connections between the designation "Tiahuanaco", and "Aztlan". Ti Guanaku as 'a place where Guanaku live' i.e. of Llamas'. Sykes states this maybe not exact as to Aztlan as the same word though Posnansky believed so. The fact that Tiahuanaco may have been placed originally on the Island in the middle of the Lake not 13 miles away where it was relocated? The distance of the Island in the Lake Titicaca is not however the same as the ocean or sea between for a long watery voyage. This leaves Aztlan something much older in story. In a sense Aztlan must be according to Sykes a Post-Diluvian source of a story about a name describing Atlantis.

Webmaster- The origin of Aztlan may well be a copy story of antiquity for these reasons:

1. The Sarasota region in folklore speaks of a layout of the Mexican Aztec water surrounded city in that region and that Tampa Bay may well be close in some cultural affinities with a Aztec race that invaded the region at one time.

2. The 4 cardinal directions found in the concentric circles of St. Armands in Sarasota, as well as the Mexican Ancient water surrounded city are similar.

3. The layout is based on Plato's description of Atlantis; therefore, the story must be about an agri-aqua like culture like the Mayans and the Trinidad region in the S. American Cultures. Those cultures who borrowed a succession of ancient irrigation principles handed down from a very remote period i.e. at least 7,000 B.C. or possibly older by design or by its ancient idea?

1952 (begins)

The Schliemann Mystery, Edgerton Sykes



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