Raul Anguiano: 2012 Mayan Prophet Painter

There are mythological or prophetic events in the life of our Lord Pakal Ahau that are so beautiful and yet so difficult to describe with plain words.

One of them was the mural painting that our Mexican master painter Raul Anguiano (1915 – 2006) made portraying the Nativity of our Lord Pakal Ahau in ‘Alumbramiento en la Selva’ (Birth in the Jungle. 1953) as the divine birth of the Mayan child king born on August 22, 1952.

Raul Anguiano was a national artist that completes the Group 5 of Mexico, the most important Mexican muralist artists of the XX Century: Diego Rivera, Rufino Tamayo, David Alfaro Siqueiros and Jose Clemente Orozco.

From our verified archives, in 1949 Anguiano was part of an anthropological and archaeological expedition, accompanied by archaeologist Dr. Ruz L’huillier’s team, to study the Lacandon Maya, a population living in the forests of Palenque, Chiapas, along the Usumacinta River. Anguiano learned from them a legendary prophecy of a Mayan solar child king, soon to be born in their land. At the time of the Spanish Conquest of the Maya region of Mexico, the Lacandon fled from their towns to escape into the forests.

The mural pictured in 1999 titled The Mayas is inspired from this expedition into the Lacandon forest. The mural was painted by Anguiano at the Bowers Museum in 1999. In the center of the composition a Maya scribe writes the history of his people in a book called a codex. At the extreme left is Kukulcan-Quetzalcoatl (the Feathered Serpent) and nearby is a large figure in profile representing either a priest or a warrior, which appears on a fresco painting at the Maya ruins of Bonampak.

To the right of the large figure in profile is the God of Death, Ah Puch, who corresponds to the Mexica Lord of Death and Reincarnation. His incorporation in the mural was inspired from representations of him found in the Dresden Codex, the finest of the Maya codices. In the lower left hand corner of the mural is an animal that is indigenous to the forest regions of the Lacandon Maya. This mural was painted on site at the Bowers Museum. There are more 2012 codes in the mural such as the date 4 Ahau 3 Kankin (December 21, 2012) in the body of the scribe, who acts as a listener, facing Ah Puch and Pakal’s reincarnation looking at Ah Puch, while embracing Underworld God Bolon Yokte Kuh.

At the right corner of the mural, the symbolic narrative continues while Ah Puch reveals to the scribe the coming vision of Kukulcan and the reincarnation appearance of Maya King Kinich Pakal in 2012 at the End of the Maya Long Count calendar. Anguiano’s mural is indeed the most beautiful portray of the 2012 Maya prophecy in modern times and clearly depicts what he learned from the Lacandon Maya people.

anguianomayas_bowersmuseum

In addition to the mysterious portrait of our Lord Pakal Ahau at 33 years old we described a time ago, we include here the fantastic mural Birth in the Jungle (1953), which is in the Museum Raul Anguiano, built and sponsored by Microsoft Mexico. We have no doubts why Microsoft decided to own this prophetic collection.

anguiano_pakalbirth

In this magnificent mural, Birth in the Jungle, Anguiano created Lord Pakal Ahau’s Birth Prophecy on August 22, 1952, with allusive natural symbols: a divine birth by the Mayan woman representing God 7 from the Lacandon tribe. A Venus-related priestess, Lord Pakal Ahau’s mother assisted by three virgins, that delivers the mythological solar child king, who in time will rule the destiny of the Lacandon people, and becoming the long-awaited Maya King at the End of the Great Mayan Cycle in 2012, according to the Chilam Balam of Tizimin’s prophecy.

NOTES FROM THE EDITOR: If you’re interested in Lord Pakal’s Child Dream, here is the Flash presentation Pakal did years ago in his trilogy website. It is a lamentation for humanity in 2012. Another interesting work is found in the Dune Trilogy, which the first book was inspired and written upon the same 2012 Maya prophecy while Frank Herbert lived in Mexico.

“They experienced real events which left real traces upon a real universe. To understand them, it must be seen that their catastrophe was the catastrophe of all mankind. This work is dedicated, then not to Muad’dib or his sister, but to their heirs – to all of us. – Dedication to the Muad’dib Concordance as copied from the The Tabla Memorium of the Mahdi Spirit Cult. (Dune Messiah, 1969).

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