Serpent Gods of Mesoamerica | ANUNNAKI SECRETS 43 | The Lost Realms

Based on the book ‘The Lost Realms ‘ by Zecharia Sitchin,
Inspired by the chapter titled ‘Realm of the Serpent Gods’.

The video begins with the glory of Tenochtitlán and reverence for the city of Tula, the capital of the Toltecs, and Teotihuacan, known as the “Place of the Gods.” It describes a legend about a great calamity that plunged the Earth into darkness, except for Teotihuacan, where a sacred flame continued to burn. This led to a gathering of the gods in Teotihuacan to decide who would rule the world.

The video narrates how two gods, Tecuciztecatl and Nanauatzin, sacrificed themselves to reignite the sun and the moon, establishing the cycle of day and night. It also discusses the connection of these events with the structures of Teotihuacan, such as the Pyramid of the Sun and the Pyramid of the Moon. These structures, along with other archaeological findings, suggest that Teotihuacan was a center for celestial observation and possibly a site of advanced technological significance, with evidence of hydraulic engineering and the use of materials such as mica.

Furthermore, the video explores the connection between Teotihuacan and Tula (Tollan), the subsequent Toltec capital, highlighting the cultural and architectural wealth of Tollan. The history of Tollan is illustrated through archaeological discoveries, including the representation of the Atlantes, large statues that may symbolize more than just Toltec warriors, suggesting a connection with gods or divine beings.

The video also addresses theories about the origins of Teotihuacan, speculating whether the builders were the Toltecs, the Olmecs, or even divine beings, as suggested by the name and legends of Teotihuacan. The script concludes by questioning the identity of the early inhabitants and builders of Teotihuacan, leaving a mystery about the true purpose of these ancient structures and the civilizations that created them.

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At the zenith of Tenochtitlan’s glory, the city of Tula, once the Toltec capital, was already revered as the legendary Tollan. Earlier still, the Toltecs built their city when Teotihuacan, meaning “Place of the Gods,” was enshrined in legends as a divine site.

Legends recount a time of great calamities that plunged the Earth into darkness due to the sun’s disappearance. Teotihuacan, however, was an exception where a sacred flame continued to burn, illuminating the area. This anomaly led to a gathering of gods at Teotihuacan, deliberating on the crucial question:

“Who shall govern and direct the world,” if they were unable to reignite the sun? In this dire situation, the gods sought a volunteer to sacrifice themselves in the divine flame to revive the sun. Tecuciztecatl, a god adorned in sparkling attire, initially volunteered but hesitated at the brink of the flame.

Then Nanauatzin, another deity, stepped forward and leapt into the fire without hesitation. Embarrassed, Tecuciztecatl followed, though only reaching the edge of the flame. This sacrifice led to the re-emergence of the Sun and Moon in the sky. However, the celestial bodies stayed motionless until set into motion by either an arrow shot

By a god or the breath of the Wind God, depending on the version of the tale. This action set the Sun and Moon in motion, resuming the cycle of day and night and thereby saving the Earth. The story is deeply linked to Teotihuacan’s notable structures, the Pyramid of the Sun

And the Pyramid of the Moon. Some believe these pyramids were constructed in honor of the sacrificial gods, while others suggest they predated the event, serving as platforms from which the gods leapt into the divine fire. To this day, the Pyramid of the Sun and the Pyramid of the Moon stand tall, having transformed

From overgrown mounds to major attractions near Mexico City. Their imposing structure against the mountainous backdrop seems to connect Earth to the heavens, leaving visitors in awe of their historical significance and the power they exude. The establishment of Teotihuacan was initially thought to be during the early Christian era,

But archaeological evidence points to a much earlier date. Radiocarbon dating has pushed back the date to as early as 1474 b.c., aligning with the time when the Olmecs, possibly the original builders of Teotihuacan’s monumental structures, were active in Mexico. Teotihuacan experienced various developmental phases, and its pyramids exhibit signs of

Earlier structures within them. Some suggest the city’s origins could date back to the fourth millennium b.c., aligning with Aztec legends of the Fourth Sun. It’s believed that during the Day of Darkness around 1400 b.c., the pyramids reached their monumental sizes.

The Pyramid of the Moon, located at the northern end of the ceremonial center, is surrounded by smaller structures and a grand plaza. A vast avenue, dubbed the Avenue of the Dead due to the believed presence of tombs, extends southward from here, leading to the Pyramid of the Sun.

This pyramid is situated to the east of the avenue, after a plaza and a series of other structures, marking a significant landmark in the ancient city’s layout. Traveling beyond the Pyramid of the Sun and venturing 3,000 feet southward leads to the

Ciudadela, a quadrangle housing the Quetzalcoatl Pyramid on its eastern edge, the third pyramid of Teotihuacan. This area, facing the Ciudadela across the Avenue of the Dead, once housed a counterpart quadrangle, mainly functioning as a commercial and administrative hub. The Avenue of the Dead stretches further south.

The Teotihuacan Mapping Project, under the leadership of Rene Millon in the 1960s, revealed that this avenue extends nearly five miles, surpassing the length of the longest runways in modern airports. Impressively, this expansive avenue maintains a perfectly straight path, showcasing a significant achievement in engineering.

At a right angle to the north-south avenue lies an east-west axis, branching east from the Ciudadela and west from the administrative quadrangle. The Teotihuacan Mapping Project team discovered a unique marker south of the Pyramid of the Sun – a cross encircled by two concentric circles carved into rock.

Another similar marker was located approximately two miles west, on a mountainside. These markers precisely align with the east-west axis, and their cross arms mirror the north-south axis’s orientation. The discovery led researchers to believe these markers were essential to the city’s original

Design plans, although they could not theorize how such accurate alignment was achieved over such distances in ancient times. Multiple indicators reveal the ceremonial center’s intentional design and layout. A notable aspect is the manipulation of the San Juan river’s course through the Teotihuacan valley.

The river has been artificially rerouted to parallel the east-west axis at the Ciudadela and adjacent quadrangle, followed by two exact right-angle turns along the westward avenue. Another clear indication of intentional design is the alignment of the two axes. Rather than aligning with the cardinal points, they tilt southeast.

This alignment was not accidental or a planning error. Some experts term this a “sacred orientation,” noting that later ceremonial sites like Tula, even in differing locations and times, followed this orientation, seemingly without practical reasons. This orientation at Teotihuacan, at the time of its construction, was likely chosen for

Precise celestial observations on specific calendar dates. Zelia Nuttal, presenting at the 1926 International Congress of Americanists in Rome, proposed that this orientation was aligned with the zenith passage of the Sun, occurring biannually as the Sun traverses from north to south and vice versa.

This celestial tracking could explain the pyramids’ design as step pyramids with staircases, presumably leading to viewing temples at their peaks. However, due to strong evidence that the current layers of the major pyramids are recent and possibly altered by archaeologists, the original purpose of these pyramids remains uncertain.

The possibility that the staircases were later additions is hinted by the misalignment of the Sun Pyramid’s grand stairway’s first stage with the pyramid’s orientation. Among Teotihuacan’s three pyramids, the smallest is the Quetzalcoatl Pyramid, situated in the “Citadel.” Partly excavated, it reveals an original step-pyramid design.

The partly uncovered facade shows sculpted decorations alternating between the serpent symbol of Quetzalcoatl and a stylized Tlaloc face set against a backdrop of wavy waters. This pyramid, attributed to Toltec times, shares similarities with other Mexican pyramids. The two larger pyramids at Teotihuacan, known for their sheer massiveness and ancient roots,

Draw a striking resemblance to the Great Pyramids of Giza. What sets these pyramids apart from others is their undecorated, robust design, believed not to be the works of mere mortals but of the “gods.” This belief is mirrored in legends surrounding the Pyramid of the Sun and the Pyramid of the Moon in Teotihuacan.

In a remarkable architectural feat, the peaks of these pyramids in both Teotihuacan and Giza align at the same height above sea level, despite differences in their individual heights. This is due to their strategic placement on varied ground elevations. While there are unmistakable similarities, the differences are equally significant.

The Great Pyramid of Giza, constructed with meticulously matched stone blocks and an intricate network of inner corridors and chambers, contrasts with the Sun Pyramid’s simpler materials like mud bricks and adobe. Furthermore, the Giza pyramid’s height and the precise 52-degree angle of its sides,

A feature not replicated in later Egyptian pyramids, underscore its unique construction. The history of Egyptian pyramid construction sheds light on the evolution of these monumental structures. The Pharaoh Sneferu’s pyramids, for example, reveal a gradual shift from the ambitious but structurally unsound 52-degree angle to more stable angles, as seen in the Bent Pyramid

And the Red Pyramid. A key aspect of this architectural marvel is the use of the mathematical ratio Pi in determining the pyramids’ angles, a sophistication not evidenced in Mesoamerican architecture. This raises intriguing questions about the transmission of knowledge between these distant civilizations. An accidental discovery at Teotihuacan further fuels this mystery.

A subterranean passageway, similar to those found in Egyptian pyramids, was unearthed under the Pyramid of the Sun. This tunnel, with its complex construction and possible functional elements like drainage pipes, adds another layer to the intriguing parallels between these ancient cultures.

Delving deeper into the enigma, we are left pondering the purpose of this intricate subterranean structure at Teotihuacan. The remnants found within – clay vessels, obsidian blades, and charcoal ashes – cannot be conclusively linked to the tunnel’s earliest use due to previous breaches in the segmenting walls.

This discovery, along with other findings at Teotihuacan, compounds the mystery of the site’s function. Was it merely for celestial observation, or did it serve a more complex, perhaps even unknown purpose? The enigmatic subterranean structure at Teotihuacan poses many questions, especially considering the discovery of breached segmenting walls, clay vessels, obsidian blades, and charcoal

Ashes. These findings raise curiosity about the initial purpose of the tunnel. Moreover, Teotihuacan’s mysteries are deepened by additional discoveries. At Teotihuacan, the Avenue of the Dead appears to be a broad, smooth path from the Pyramid of the Moon’s plaza to the southern horizon.

However, its continuity is disrupted near the Pyramid of the Sun and the San Juan river. The descending slope from the Pyramid of the Moon towards the Pyramid of the Sun becomes steeper in this area. This inclination was intentionally created by cutting into the native rock, resulting

In a ninety-foot drop from the Pyramid of the Moon to a point beyond the Ciudadela. Six distinct segments have been formed here, marked by double walls erected perpendicular to the Avenue. The Avenue is bordered by walls and low structures, forming six semi-subterranean, open-to-the-sky compartments.

These perpendicular walls are equipped with sluices at their base, suggesting a design to channel water flowing down the Avenue. The water’s journey possibly began at the Pyramid of the Moon, circled a subterranean tunnel, and linked to the Pyramid of the Sun’s underground tunnel.

The compartments sequentially collected and released the water, ultimately diverting it to the San Juan river. This water-focused design raises questions about the Quetzalcoatl Pyramid’s facade, adorned with wavy water patterns, located far inland, away from any sea. The association with water at this inland site is further highlighted by the discovery

Of a massive stone statue of Chalchiuhticue, the water goddess and Tlaloc’s spouse, the rain god. Found in the plaza in front of the Pyramid of the Moon, the statue is now displayed at the National Museum of Anthropology in Mexico City.

The statue, adorned with a jade skirt, conch shells, turquoise earrings, a necklace of jade or other blue-green stones, and a gold medallion, reflects her typical pictorial representation, often including serpents, aligning her with the serpent gods of the Mexicans. Teotihuacan’s layout and architecture might indicate its use as a waterworks, possibly for technological processes.

Another intriguing find is the excavation of interconnected subterranean chambers near the third segment from the Pyramid of the Sun, revealing floors covered with thick mica sheets. Mica, resistant to water, heat, and electrical currents, is used as an insulator in various applications, including nuclear and space technologies.

The Teotihuacan mica, believed to originate from Brazil, was also found in remnants from the Pyramid of the Sun’s early 20th-century excavations. The use of this insulating material at Teotihuacan remains a mystery. The presence of the Lord and Lady of Water, the sloping avenue, the series of structures,

Subterranean chambers, tunnels, the diverted river, the semi-subterranean sections with sluices, and the mica-lined underground compartments are believed to be parts of a scientifically designed facility for mineral separation, refining, or purification. In a period likely situated around the middle of the second millennium B.C., a mysterious

Individual, evidently well-versed in pyramid construction and physical sciences, arrived in a valley. Using materials found locally, this individual established a complex processing facility. The purpose of this endeavor raises questions: was it for gold extraction, hinted at by the Lady of Water’s pendant, or perhaps for a different, even more scarce mineral?

This brings to the forefront the enigma of Teotihuacan’s origins. Could it be that the creators of this city were not humans, but rather deities, as Teotihuacan’s name and legends imply? The question of Teotihuacan’s first inhabitants and builders remains open.

Who were the ones that laid its initial stones, constructed its pyramids, managed its water systems, and operated its sluices? For those believing Teotihuacan’s origins date back only a few centuries B.C., the answer is straightforward: the Toltecs. However, a growing number of scholars, considering a much earlier inception, have started to

Consider the Olmecs, a mysterious group emerging in Mesoamerica around the middle of the second millennium B.C. The Olmecs, thought to be of African descent, challenge conventional beliefs about early transatlantic travels, a notion some find hard to accept. Despite the uncertainties surrounding Teotihuacan and its founders, it is widely believed that

Toltec tribes began settling in the area centuries before the Christian era. Initially undertaking basic tasks, they gradually absorbed the city’s culture, adopting its writing, goldsmithing techniques, astronomical knowledge, calendar system, and religious practices. Around 200 B.C., the original rulers of Teotihuacan departed, leaving it to become a Toltec city.

Teotihuacan then flourished for centuries, known for its obsidian tools, weapons, artifacts, and its wide-reaching cultural and religious impact. However, a millennium after their arrival, the Toltecs abandoned Teotihuacan, leaving it desolate, remembered only for its glorious past. The abandonment of Teotihuacan is believed to coincide with the rise of Tollan, the Toltecs’

New capital, around A.D. 700. Situated on the Tula river, Tollan, a settlement for thousands of years, was developed by the Toltecs into a smaller version of Teotihuacan. Described in codices as a legendary city of arts, crafts, palaces, and temples, adorned

With gold and precious stones, Tollan’s existence was long debated by scholars until its discovery at a site now known as Tula, approximately fifty miles northwest of Mexico City. The rediscovery of Tollan began in the late nineteenth century, largely credited to French traveler Desire Charnay.

Serious archaeological efforts, led by Mexican archaeologist Jorge R. Acosta, started in the 1940s, focusing on the primary ceremonial area of Tula Grande. Subsequent excavations, including those by teams from the University of Mississippi, further unveiled the rich history buried in this area.

The exploration of Tollan’s ruins not only confirmed its historical existence but also validated its story as depicted in various ancient records, particularly the ‘Anales de Cuauhtitlan.’ Tollan was governed by a line of priest-kings, who believed they descended from the deity Quetzalcoatl, adopting a naming practice similar to the Egyptian pharaohs.

These rulers, who were sometimes warriors and other times devout followers of faith, carried both their own names and that of Quetzalcoatl as a mark of lineage. A prominent ruler of the late 10th century, Ce Acatl Topiltzin-Quetzalcoatl, is known with certainty; his portrait, dated around 968 A.D., remains etched on a rock near the

City. During his reign, a fierce theological dispute erupted within Toltec society, centering on the priesthood’s push for human sacrifices to appease the War God. In 987 A.D., Topiltzin-Quetzalcoatl, along with his supporters, left Tollan, tracing the mythical path of the divine Quetzalcoatl, and eventually settling in Yucatan.

However, two hundred years later, the Toltecs faced severe natural disasters and attacks from rival tribes, leading to their downfall. These events were interpreted as divine anger, signaling the city’s ruin. As recorded by the historian Sahagun, the then ruler, possibly named Huemac and also known as Quetzalcoatl, persuaded the Toltecs to abandon Tollan.

Despite their deep attachment to the city, they left behind their homes, temples, and wealth, some of which remain buried treasures today. By around 1168 A.D., Tollan was left deserted, succumbing to decay. The sight of the city’s remains moved the first Aztec leader to tears.

Nature’s wrath, coupled with invasions and plundering, led to the desecration of sacred sites and the destruction of the city. Tollan was reduced to ruins, eventually becoming a mere legend. Centuries later, archaeological findings paint a picture of Tollan’s grandeur. Known as the “Place of many neighborhoods,” it spanned about seven square miles, comprising

Various communities. Its core was a sacred precinct stretching a mile in a north-south direction, surrounded by ceremonial structures aligned east-west. This layout, emulating Teotihuacan’s design, included the ‘sacred tilt,’ a feature that lost its astronomical relevance by Tollan’s time and location. In the northern boundary of a sacred area, archaeologists unearthed a unique structure.

Its front resembled a conventional step-pyramid with stairs, but the rear was circular, likely topped by a tower. This design hints at an astronomical function and may have influenced the later circular observatory pyramids in Mexico, like the Aztec temple of Quetzalcoatl in Tenochtitlan.

Roughly a mile south, the main ceremonial complex was centered around a vast square, dominated by the Great Altar. On the square’s eastern side stood a significant temple atop a large five-tiered pyramid. The northern side featured a similar, albeit smaller, pyramid supporting another temple.

This pyramid was adjacent to buildings with signs of fires, possibly used for industrial purposes. Connecting these pyramids and lining the square’s southern side were elongated structures supported by pillars. The complex was completed with a ball court for the sacred tlachtli rubber-ball game on

The western end, as depicted in an artistic reconstruction by archaeologist Salazar Ortegon. Between Tula Grande’s main compound and the sacred precinct’s northern edge, various buildings and structures, including another ballcourt, were discovered. Numerous stone statues, depicting animals like coyotes and tigers, and a reclining demigod named Chacmool, were found across the precinct.

The Toltecs also crafted statues of their leaders, typically as short-statured men, and warriors wielding the atl-atl weapon in relief on square columns. Archaeological efforts in the 1940s led by Jorge R. Acosta initially focused on the Great Pyramid, aligning with the Great Altar and serving an apparent astronomical function.

Interestingly, local Indians called the mound El Tesoro, The Treasure. This name gained credibility when gold artifacts were unearthed, leading to a halt in work due to workers’ belief in a “field of gold” beneath the pyramid. Attention then shifted to the smaller pyramid, known as the Quetzalcoatl Pyramid, named for

Its connection to the “Lord of the Morning Star,” an epithet of Quetzalcoatl. Remnants of colored plasterwork and reliefs on this pyramid suggested a Feathered Serpent motif. Archaeologists speculate that two round stone columns, carved with this motif, once marked the temple’s entrance.

The most significant discovery occurred on the pyramid’s northern side, where a ramplike structure replaced the traditional steps. Excavations revealed a trench filled with stone sculptures, including parts of the gateway columns, square columns for the temple’s roof, and four colossal humanlike statues over fifteen feet tall, named the Atlantes.

These sculptures, possibly used as caryatids, were restored and re-erected atop the pyramid by archaeologists. The Atlantes statues are intricate sculptures divided into four distinct sections. Their heads, adorned with feathered headdresses featuring star motifs and elongated ear coverings, present an enigmatic facial appearance, unique yet indistinct to any recognized racial group.

Each face, while sharing a distant expression, reveals subtle individual differences upon close inspection. Comprising the torso are two parts: the upper section showcases a thick, butterfly-shaped breastplate, while the lower section’s highlight is a disk on the back. This disk, featuring a human face amidst mysterious symbols and possibly a serpent wreath, adds

To the intrigue. The bottom section completes the figure with thighs, legs, and sandaled feet, adorned with ribbons, armbands, anklets, and a loincloth. The identity of these colossal statues sparked varied interpretations. Initially labeled as idols by discoverers, they were later dubbed Atlantes, a term alluding

To their possible connection to both the Goddess Atlatona and the fabled Atlantis. While some view them as mere representations of Toltec warriors, this seems implausible. The supposed ‘arrows’ and atl-atl in their hands defy traditional design, prompting further speculation about their true nature.

One theory, proposed by Gerardo Levet in “Mision Fatal,” suggests an intriguing alternative. He points to a Toltec depiction of a figure wielding what appears to be a plasma pistol, used not as a weapon but as a tool for stone shaping. This ‘pistol,’ resembling modern Thermo-Jet torches, could have been employed in stone

Carving, similar to techniques used for Georgia’s Stone Mountain. Levet’s theory might only scratch the surface of a deeper mystery. Considering the prevalence of stone carvings throughout Mesoamerica, one could argue against the need for advanced tools for such artwork. Yet, the depicted tool might shed light on another perplexing aspect of Tollan.

Archaeologists discovered an earlier pyramid hidden beneath the visible structure at Tollan, containing inner chambers and a unique stone pipe. This pipe, intricately constructed, contradicts the simple explanation of a rainwater drain, hinting at a more complex purpose linked to the pyramid’s design and possibly industrial processing.

This leads to an intriguing hypothesis: could the mysterious tool have been a sophisticated device for ore extraction, possibly in pursuit of gold? The advanced technology suggested by these tools, dating back over a thousand years in Central Mexico, raises questions about the Atlantes’ true identity.

Their facial features, distinct from native Mesoamericans, and their colossal size, perhaps indicative of divine status, suggest they were more than mere mortals. The careful burial of these statues within the pyramid’s depths, as noted by Sahagun, further underscores their sacred significance and the awe they inspired in their craftsmanship and beauty.

Archaeological insights suggest that the representation of four Atlanteans atop the Quetzalcoatl Pyramid, seemingly upholding the temple’s ceiling, symbolizes their role in sustaining the Celestial Canopy. This imagery mirrors the Egyptian belief system where the four sons of Horus are depicted upholding the sky at the cardinal points.

As per the Egyptian Book of the Dead, these four deities, serving as a bridge between Heaven and Earth, were seen guiding the deceased pharaoh towards a mystical staircase. This staircase, a path to eternal life in the heavens, was often represented in hieroglyphs

As either a singular or dual staircase, with the latter resembling a step pyramid. Curiously, similar stairway symbols were found adorning the walls of the Tollan pyramid and became a prominent symbol in Aztec iconography. Central to these symbols and religious beliefs of the Nahuatl people was their revered deity,

Quetzalcoatl, known as “The Feathered Serpent.” This title prompts the question: was Quetzalcoatl, the “Feathered Serpent,” akin to the Egyptian depiction of a Winged Serpent that aided in the pharaoh’s journey to the divine realms? Furthermore, the Nahuatl pantheon is rich with deities linked to serpents.

Cihuacoatl was known as the “Serpent Female,” Coatlicue as “the one with the skirt of serpents,” and Chicomecoatl was revered as “Seven Snake.” Even Tlaloc, a significant god, was often depicted with a double-serpent mask. Despite potential skepticism from some scholars, the amalgamation of mythology, archaeology,

And symbolism leads to a compelling conclusion: the region of Central Mexico, and possibly the broader Mesoamerican area, was once perceived as the domain of Serpent Gods, akin to those in ancient Egyptian lore. If you liked the video, please hit the like button and share it with your friends and

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