Ajuste calendárico en Xochicalco
Topic: Calendrical setting in Xochicalco
Description: Left of the stairs in ‘Mayan glyphs language’ it reads “Year IX house pulls with one hand and serving with a rope to the day 11 (eleven) monkey and moves it away from year VI cane, in addition a numeral in the form of a small circle that is equivalent to 1 (one), approaches the group of the 4 small circles that are part of the No. 9 house, the number 9 is represented with a bar = to 5 and the 4 dashes. Year 9 house / “1” day 11 monkey / year VI reed 9 house + “1” = 10 house which means a change from an ancient to a modern counting system. The scene is in the grotto, at noon, levitating shamans and sorcerers adjust the time with the sun in the zenith. All this is written on the pyramid, the reported adjustment corresponds in the Gregorian calendar to May 2.
Daniel Camacho is an artist born in October 1982 of Mexican origin. From a very young age he began his passion for painting as a means of expression and personal evolution. Daniel studied at the Academia de San Carlos de la CDMX, in the workshop of the master muralist Alfredo Nieto, and later studied in Bellas Artes [Fine Arts] de cd Nezahualcóyotl.
Inspired by the mystical and magical knowledge of the initiatory cultures, he focused his attention mainly on the past and present world of the “Anahuac” Valley of Mexico. It was central to several pre-Columbian civilizations, including Teotihuacan, the Toltec and Aztec, and became a well known site that epitomized the scene of early Classic Mesoamerican cultural development as well.
His work has become a tool to rescue, disseminate and resignify the indigenous identity and pre-Hispanic worldview. With this purpose, he has produced works for Fundacio?n Cultural Armella Spitalier (FCAS) representing different archaeological zones, capturing and embodying the teachings of the ancient Mexicans. In addition to participating in different collective and individual exhibitions, Daniel has produced murals and easel works for private collections with the theme of Mexican identity.
Daniel’s pictorial technique is rooted in Mesoamerican art and in the Flemish school of the European low countries, in addition to the Mexican School of Painting, headed by masters such as Diego Rivera, Orozco, Siqueiros, and Doctor Atl, thus making
Topic: Calendrical setting in Xochicalco
Description: Left of the stairs in ‘Mayan glyphs language’ it reads “Year IX house pulls with one hand and serving with a rope to the day 11 (eleven) monkey and moves it away from year VI cane, in addition a numeral in the form of a small circle that is equivalent to 1 (one), approaches the group of the 4 small circles that are part of the No. 9 house, the number 9 is represented with a bar = to 5 and the 4 dashes. Year 9 house / “1” day 11 monkey / year VI reed 9 house + “1” = 10 house which means a change from an ancient to a modern counting system. The scene is in the grotto, at noon, levitating shamans and sorcerers adjust the time with the sun in the zenith. All this is written on the pyramid, the reported adjustment corresponds in the Gregorian calendar to May 2.
Daniel Camacho is an artist born in October 1982 of Mexican origin. From a very young age he began his passion for painting as a means of expression and personal evolution. Daniel studied at the Academia de San Carlos de la CDMX, in the workshop of the master muralist Alfredo Nieto, and later studied in Bellas Artes [Fine Arts] de cd Nezahualcóyotl.
Inspired by the mystical and magical knowledge of the initiatory cultures, he focused his attention mainly on the past and present world of the “Anahuac” Valley of Mexico. It was central to several pre-Columbian civilizations, including Teotihuacan, the Toltec and Aztec, and became a well known site that epitomized the scene of early Classic Mesoamerican cultural development as well.
His work has become a tool to rescue, disseminate and resignify the indigenous identity and pre-Hispanic worldview. With this purpose, he has produced works for Fundacio?n Cultural Armella Spitalier (FCAS) representing different archaeological zones, capturing and embodying the teachings of the ancient Mexicans. In addition to participating in different collective and individual exhibitions, Daniel has produced murals and easel works for private collections with the theme of Mexican identity.
Daniel’s pictorial technique is rooted in Mesoamerican art and in the Flemish school of the European low countries, in addition to the Mexican School of Painting, headed by masters such as Diego Rivera, Orozco, Siqueiros, and Doctor Atl, thus making
Ajuste calendárico en Xochicalco