Comments on
The Mayan Calendar
by Ken Pollinger, Ph.D.

    For many years I have been trying to integrate the works of writers such as Zecharia Sitchin, Graham Hancock, Drunvalo Melchizedek, Cavolyn Myss, Lawrence Gardner, The Urantia Book, Jim Marrs, Neal Donald Walsch, Barbara Handclow, and Solving the Greatest Mystery of Our Time: The Mayan Calendar by Carl Johan Calleman, I now feel as though he has brought much of it together helping me to make sense of the "Bigger Peicture." I can't wait to read his The Theory of Everything - The Evolution of Consciousness and The Existence of God Proved by the Time Science of the Maya.

About the Aurthor

    Carl Johan Calleman was born in Stockholm, Sweden at noon on May 15, 1950 (the exact midpoint of the month named from the Roman goddess Maia) on the day 5 Jaguar in the Classical Mayan tzolkin count. For the past seven years he has devoted himself full time to disseminating information about the Mayan calendrics and has lectured on his topic in seven different countries and among other things appeared on Swedish, Finish and Mexican television. He was one of the main speakers at the conference on the Mayan calendar organized by the Mexican chapter of the Indigenous Council of the Americas in Merida, Yucatan during the spring equinox in 1998. He has published calendars and a book, Maya-hypotesen (1994), in Swedish.
    He is also a scientist with a Ph.D. in Physical Biology from the University of Stockholm. In his capaticity he has, among other things, been a Senior Researcher at the Department of Environmental Health at the University of Washington in Seattle. As a cancer expert he has lectured around the world, from MIT to the Chinese Academy of Preventive Medicine in Beijing, and he has worked as an expert for the World Health Organization. He currently teaches Environmental Technology at Dalarna University in Borlänge, Sweden.

    His Internet address is, which publishes information in English.

Recent Mayan Find

New York Times, March 14, 2002, Thursday


Archaeologists Find Mayan 'Masterpiece' in Guatemala

Archaeologists exploring deep in the rain forest of Guatemala have uncovered what they think is the earliest intact wall painting of the Maya civilization. A depiction of scenes from mythology and ritual, the 1,900-year-old mural is being hailed by experts as a masterpiece.

Even though only part of the mural has been exposed so far, scholars said the scenes and portraits promised rare insights into the society and religion of the Maya. The paintings, dated about A.D. 100, are described as more extensive and better preserved than the only other existing piece of Pre-Classic wall art. What is known as the Maya Classic period lasted from A.D. 250 to about A.D. 900.

''It opens a window into the mythological and courtly life of the ancient Maya,'' said Dr. William Saturno, a lecturer at the University of New Hampshire and researcher at the Peabody Museum of Archaeology and Ethnology at Harvard.

Dr. Saturno led the team that found the mural in a buried room at the ruins of San Bartolo, a Maya ceremonial site that was previously unknown to archaeologists, in an uninhabited part of northeastern Guatemala. The discovery is being announced by the National Geographic Society, which supported the research, and is publishing an article on the findings in the April issue of its magazine.

Dr. David A. Freidel, an archaeologist at Southern Methodist University in Dallas, was not a team member but has studied pictures and drawings of the mural scenes. To help bring the faded mural to life and possible understanding, an artist working with the researchers has studied photographs and drawn outlines of the scenes.

''It's as fine a mural as I've ever seen painted in Mesoamerica,'' Dr. Freidel said, referring to the region of southern Mexico, Guatemala, Belize and Honduras where the pre-Columbian Maya culture thrived. ''The quality of the execution, the composition itself, the beautifully rendered faces -- this is a master at work and a masterpiece of visual art.''

Dr. Saturno said that luck and exhaustion entered into the discovery. Arriving at the San Bartolo site exhausted after a three-day journey, he sought shade in a tunnel that looters had dug near an 80-foot pyramid. He turned a flashlight on the dark tunnel wall.

''There was this Maya mural, a very rare thing,'' he recalled. ''The looters had cleared off a section and left it. I felt like the luckiest man on the planet.''

The visible part is about six feet long and more than two feet high, but this may be only 10 percent of the total painting. The archaeologists said that traces of the border and other clues suggest that the entire mural wraps around the room. Most of the room, which adjoins the pyramid, is still filled with dirt and rubble.

Joining Dr. Saturno in subsequent studies of the site were Dr. David Stuart, also of Harvard's Peabody Museum, and Dr. Héctor Escobedo of the Universidad del Valle in Guatemala. They determined the approximate date of the mural by comparing its style and content with the only previously known but poorly preserved paintings from the Pre-Classic period, those from the much grander Guatemalan site of Tikal.

In the painting, at least nine people are standing or kneeling in a scene surrounded by geometric designs. The dominant figure is a man standing and looking back over his shoulder at two kneeling women.

Dr. Karl Taube, a scholar of iconography at the University of California at Riverside, said the scene may depict an important ritual in Maya mythology, the ''dressing of the maize god.''

Dr. Freidel, a co-author of ''Maya Cosmos: Three Thousand Years on the Shaman's Path'' (Morrow, 1993), said that it was more likely that the figure was not meant to be the maize god himself, but a ruler who is impersonating the god in a ceremony of regeneration associated with the season of planting and the season of nourishing rain.

''The mural tells me that in the Pre-classic period, even before advanced writing, we see the king performing the kind of creation stories as we see later in the Classic period,'' Dr. Freidel said.

But Dr. Stuart cautioned, ''The painting is so early that we are not quite sure how to look at it.''

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