Spiral to the Sun
Adrian Westwood
In the desert lowlands of northern Mexico, south-east of Caborca, in the state of Sonora, there lies a solitary mountain. In the late twilight it presses into the night firmament with an air of dark, brooding mystery. The mountain's spirit, that unseen but omnipotent being, watches over the nearby pueblo of Las Trincheras. The cerro is an immense, black and red volcanic outcrop in an otherwise flat landscape. A solitary monument to the forces of nature, superimposed on an amber desert, it is a prominent feature for many miles around, as it would have been in ages past. From the very bottom of the mountain to its highest point, a series of dry stone walls and terraces winds its way around. The terraces did not appear to be designed for the growing of crops, as seen in Asia and the Andes. Nor were the terraces wide enough to accommodate any substantial dwellings. They were more of a footpath. The discoveries that would soon be made on the cerro-top gave a possible answer, and a more intriguing mystery.
As I climbed to the summit, ever wary of scorpions and snakes, I found numerous rock-paintings and petroglyphs, some of which were located in the most awkward to get parts of the rock promontories. They were depictions of round and square spirals and mazes, stylised humans, snakes, figures of eight and other abstract forms. Some were in extremely good condition, especially if sited deep within rock crevices. Others were barely discernable from the native rock upon which they had been inscribed.
On the cerro-top there were many stone structures, representing individual rooms and whole buildings. Many were in a severe state of collapse, but the overall abundance of ruins was, nevertheless, still impressive. The ruins were of obvious antiquity, as indicated by the amount and depth of soil and vegetation debris which had accumulated within the walls. Small, horse-shoe shaped rooms on either side of the summit created an avenue. The open end of the horse-shoe, about four feet wide, faced outward to overlook the surrounding plain and approaches to the mountain. Their purpose was not, therefore defensive. The avenue led to the most startling, and illuminating, structure on the cerro-top - a 'spiral room.'
 Cerro de Las Trincheras, Northern Mexico. Surrounded by low concentric walls and terraces of unknown age and purpose, the cerro-top is littered with the ruins of many buildings. Photo by A. Westwood.
 the author within the spiral room, probably once deeper and roofed to represent the subterranean world of the origin myth.
The 'spiral room' was approximately thirty feet in diameter, with walls still up to five feet high and between two and three feet thick, of undressed stone. There was no evidence of mortar or plaster. It was then that it dawned on me that the terraces were a pathway - a spiral pathway - winding its way around the cerro, to culminate in the 'spiral room' at the summit. The whole mountain was one great spiral maze. Only an aerial survey will show the exact inter-relationship of the buildings on the cerro, the 'spiral room' and the pathway.
Adjoining the south-facing wall of the 'spiral room', and guarding the single entrance, was a small room or antechamber. One could imagine the newly-chosen initiate; apprehensive, and perhaps fearful, kneeling at an altar within the antechamber, the incense smoke and peyote deliberately designed to disorientate, receiving his or her final instructions before entering the room. Although there was no visible evidence to support the idea, the spiral room was probably roofed. Excavations of the floor may even show that the room was partially subterranean.
Nearby, to the east of the 'spiral room' was a triangular room with sides of approximately fifteen feet each. Only the lower foundation stones were evident. There was, however, no sign of an entrance. This would lead one to surmise that there was once a doorway higher up a side-wall, or in the roof, as is typical of Anasazi and Hopi kivas. A natural stone water-tank, and two burial pits were also found. Stone slabs of a different colour and rock type to the native, lay to one side. They were probably the lids to the graves, which were empty. Local villagers did say that burial urns and an idol had been uncovered some years before, but that their whereabouts now is unknown.
The cerro-top was very uneven and rock strewn. Towards the western edge of the cerro a large terraced section had been created to form a plaza. There were no signs of a room or building, though. The highest point on the cerro was at the extreme western end. There was a small, circular room sited on the top. It was below this point, on the cliffs facing north and west, that the majority of the rock paintings were found. While sitting on this rocky outcrop, which offered an overall view of the site, I began to ponder the reasoning behind the sky-top city. Three possible explanations immediately presented themselves:
Domestic
This is the least likely theory. The absence of potsherds, metates and manos, domestic refuse,permanent water supply and natural shade, along with the unevenness of the ground and steepness of ascent/descent, to and from the river and fields below, preclude any idea that the site was used for domestic habitation. Although the Anasazi and Pueblo peoples often lived in equally, if not more inaccessible cliff-tops, they positioned their settlements to optimise seasonal run-off from the rains, dammed springs so that the water would seep through cave ceilings, and built large water reservoirs on mesa-tops. The acquired skills learnt from years of experience and experimentation made them extremely adept at dry-irrigation. This site was definitely not used for domestic purposes.
Defence
Although the initial reaction to seeing the site from a distance is its great defensive potential, having steep cliffs on all sides, and a wall and terrace barricade completely encircling the mountain, which would appear to hinder any ascent to the top during hostilities, the opposite could equally apply. The terrace not only offers an easy, if long-winded, pathway to the top, it also acts like a giant stairway for a more direct assault on the summit. The terraced steps are no more than two feet high, and easily scaled by armed warriors. The horse-shoe shaped rooms, overlooking the cliff-face and surrounding plain, have their open ends facing outwards. Very unwise. Also, apart from the single stone tank found, there is no permanent water supply to the mountain. Any attacker would merely have to wait for the sun to do its work. And the Sun and its symbolism may hold the key.
Religious
The site is a massive terraced platform; albeit based on a natural rock outcrop, rather than built from scratch like the edifices of the Mesoamericans further south. It represents the outpouring of an enormous amount of labour, economic expenditure and materials, not to mention the organisational abilities that must have been present. The society that built it must have been well-established, and at peace with itself, to be able to release sufficient manpower from the more immediate tasks of tending the crops and fields, or hunting forays, to engage in more esoteric ventures. Why did these people, from one of Mexico's forgotten worlds, decide to move tons of dirt, rubble and rock hundreds of feet up a cliff-face? A glimpse from behind the veil is offered by the abundant rock-art, and the enigmatic 'spiral room'.
 Rock art from the site: left-to-right; figure with outstretched hands, concentric circles and sunflower.
The predominant rock-art motifs on the site are spirals, double spirals, mazes, figures of eight and snakes or lightning bolts. Other designs included sunflowers, wavy lines and a solitary humanoid figure with large, outspread hands. All of these symbols, throughout ancient and native cultures, have one aspect in common - they all represent the Sun.
The world-wide and time-wide, use of spiral imagery shows that there is a deep, sub-conscious attraction to it that goes beyond its simple and soothing design. All ancient and native peoples govern their lives by the changes of the seasons. They were aware of the movements of the Sun, Moon and stars, just as a sailor or shepherd would today. The farmers knew when to sow and harvest by observing the length of the days, warmth of weather, and where the sun rose on the horizon. No incredibly complicated Mayan calendar was required for this, as the people were responding to the natural rhythms of life. The precise determination of the Equinox and Solstice, and the accompanying solar imagery and lore, was purely for ceremonial use, as a means of re-uniting dissipated tribes and clans, or reaffirming titles and territories, at very special and auspicious times of the year.
Spirals and concentric circles found throughout the world have often been shown, by practical demonstration, to be designed to coincide with shafts of light from the Sun at various times of the year. The rock-spirals known as the Sun Dagger, sited on Fajada Butte, in Chaco Canyon, are a prime example. The eternal winding of the spiral, from beginning to end to beginning, is seen as representative of the Sun's journey through day and night and day again. This intrinsic idea of death and rebirth is central to all spiral and maze thought and belief. In Anasazi and Hopi belief, the spiral represents the sipapu, the mystical hole or cave, from whence they emerged into this world. Some have argued that the spiral symbolises the primordial force that controls the Solar System. Whichever way one interprets the spiral, its solar association is unequivocal.
The flower motifs bear a strong physical resemblance to the image of the Sun; the circularity and radiating lines. Flowers reflect the idea of renewal and rebirth through the Sun's regeneration of the seed.
Concentric circles also represent the Sun, whereas simple circles symbolise the other celestial bodies of the Moon and planets. They are sometimes referred to as 'eyes', especially as those belonging to the birds of the night. The owl in particular is a potent totem, and is referred to in Grail mythology as the 'Herald of the Spiral Tower', a place of initiation and beginning.
The serpent or zig-zag motif has very close affinities with solar imagery and deities. Although the designs do not evoke the physical image of the Sun or solar disc, each symbol reflects a different, though related, aspect of the Sun's character. The serpent sheds its skin and is reborn, like the daily cycle of the Sun.
 rock art motifs from the site, left-to-right; square spirals/mazes, serpent and spiral, double spiral.
 the author studying rock art on the cerro-top.
The stylised humanoid, with large, outstretched hands with only four fingers each, is well known in European prehistory as a solar image. This highly stylised human portrait has its counterpart in the American Southwest the Kachina. The kachina acts as a messenger between the people and the Gods. The petroglyph found on the site, which was inscribed next to a serpent and spiral configuration, is clearly a kachina-type figure, evoking the power of the life-giving Sun. The palms of the hands and the spread fingers resemble the orb and rays of the Sun. Many of these differing solar motifs were located in very narrow crevices, or on virtually inaccessible rock ledges. Their locations would suggest private and solitary worship and invocation; places where individuals could leave votive offerings or engage in prayer. The stone structure on the cerro-top would be used for communal worship and initiation ceremonies.
The Cerro de Las Trincheras would appear to be unique in the prehistory of North America. I have been unable to find any reference to spiral-shaped rooms or buildings, or another mountain being totally enveloped in spiral and maze imagery. There are, however, similar representations of the spiral on an equally massive scale.
Between Mexicali, Baja California, and Blythe, California, there is an area of desert known as California's Nazca. The landscape was once covered in enormous designs, made by scraping the gravel away to reveal the underlying soil, in the manner of its more illustrious namesake. Many of the desert drawings have been destroyed, but several motifs, including a giant spiral, remain.
One hundred miles further up the Rio Colorado from Blythe, is the Topock Maze. The river terrace, eighteen acres in extent, is covered with small ridges of rock and gravel, shaped into parallel lines and forming spirals. This ceremonial site is believed to have been built c. 1200 AD. The flat site may have been used for ritual dances or races, in a similar manner to the Great Serpent Mound in Ohio.
A contemporary of the Topock Maze is the Pacatnamu site, on Peru's northern shore. Pacatnamu was built c.1200 AD, but not seriously investigated until 1983; and what a discovery was made. The site is an enormous labyrinthine complex, with a spiral enclosure at the centre of one of the maze-like corridor systems. The excavations are in their early stages, but it is clear that the site was once an extremely important centre. It has been tentatively suggested that the maze and spiral design may have been constructed to house an oracle.
The Cerro de Las Trincheras would appear, therefore, to have been a spiritual centre. Whether it was for local use only, or enjoyed wider patronage and prestige is unknown. The rock-art, avenue of rooms, plaza, triangular room or kiva, and the central 'spiral room', would indicate a religious and initiation centre. The spiral pathway would have re-emphasised the life-giving forces of the Sun, to which this eerie formation was most surely dedicated. The people of this forgotten world have long since departed; their spirits still remain, in the immortality of the spiral.
Adrian Westwood, Ashford, England, 1992.