The Dancing Maize God

Vessel of the Dancing Lords (A.D. 750/800)  Photo courtesy of the Art Institute of Chicago. Maya Image Archive This vessel was produced in the Naranjo, Guatemala workshop for Lord K’ahk’ Ukalaw Chan Chaahk. At the top, above a band of symbols indicating the sky (a “sky band”), the hieroglyphs read: “His painting, (artist’s name?), artist sage, Lord Maxam, child of woman, Holy Lady Water-Venus, Lady Lord of Yaxhá (title?)(title?), child of man, Three Katun (60 year) Sacrificer, Lord Flint Face, Holy Lord of Naranjo, pure artisan.” The Classic Period name of the… Read More

Color and Symbolism

I’m standing in front of Rosalila, a life-size replica of a 6th century shrine, the centerpiece of the museum at the Copan, Honduras archaeological park. Although the structure was completely buried, it was found whole and in excellent condition with much of the original paint. Inside, there were ceramic incense burners containing charcoal, two of which were resting on sculpted, stone jaguar pedestals. There were offerings of flint knives for sacrificing, nine elaborate, ceremonial scepters wrapped in a deep blue bundle, carved jade jewelry, conch shells, stingray spines (for bloodletting rites), shark vertebrae,… Read More

Ancestor Veneration

The old men used to say that when men died, they didn’t perish, they once again began to live. . . They turned into spirits or gods. — Alfred Tozzer, American anthropologist This is likely a noble ancestor depicted on the frieze of a council house at Copan, Honduras. Among the ancient Maya, evidence of ancestor veneration shows up around the first century B.C. At that time, decisions were being made about the inheritance of land use. Land was not owned, but the right to use it was handed down. The principle… Read More

Copal Incense

The sweet-smelling blood of trees Copal (Pom) tree with bamboo growing alongside it The process of making copal incense begins by scraping the bark with a blade. When the sap comes out it’s collected on a piece of bark or corn husk. The resin, which wards off insects from the tree, is thick and sticky and has a white to yellow color. In contact with the air, it becomes hard like a shiny rock, so saliva is applied to keep it malleable. Copal was traded locally as a resin in maize husks,… Read More

K’awiil: Ancient Maya Lightning Lord

God of fertility, abundance and royal lineage   In Maya art, K’awill often appears in the form of a scepter that, when held, signifies royal lineage. Because one of his legs terminates in a serpent’s head, the Popol Vuh—the sacred book of the K’iché Maya—identifies him as Cacula Huracan, “Lightning One-Leg.” His forehead is a mirror penetrated by a smoking axe, which references ancestors and designates him as a lightning lord. The hooks in his eyes securely identify him as a deity. In Classic times, at accession events, when the kings displayed… Read More

Copal Incense

Copal (Pom) tree with bamboo growing alongside it The process of making copal incense begins by scraping the bark with a blade. When the sap comes out it’s collected on a piece of bark or corn husk. The resin, which wards of insects from the tree, is thick and sticky and has a white to yellow color. In contact with the air, it becomes hard like a shiny rock, so saliva is applied to keep it malleable. It was traded locally as a resin in maize husks, and for long-distance transport, it… Read More

K’awiil: God of Fertility, Abundance and Energy Exchange

  Drawing courtesy of Schele, Linda. Linda Schele Drawings Collection. 2000. 11-18-19. FAMSI.<http://research.famsi.org/schele_list.php?rowstart=15&search=k%27awiil&num_pages=4&title=Schele%20Drawing%20Collection&tab=schele&gt; Linda Schele, who made the above drawing from four identical, stucco-covered figurines found in Burial 195 at Tikal, spoke with a Maya ritualist who said K’awiil was a supernatural “host object.” (Schele, Maya Cosmos, p.199). This aligns with the god’s frequent appearance in Maya Art as the scepter of rulers, likely to indicate royal lineage. Rulers who are shown wearing a smoking headdress do so after death to denote royal ancestry, the most famous example being the curls of… Read More

Bloodletting

Photo courtesy of Justin Kerr The theme of the past three posts was initiation, specifically the trials an initiate goes through in order to become a “man of the community.” Following on that ceremony would have been another rite of passage for individuals who would enter the brotherhood of elites. Typically for the Maya this involved bloodletting. More than a ritual of endurance, the symbolism around blood was complex and powerful. It signified noble lineage and descent based on blood, which was perceived to be the rarified essence or “breath” of the… Read More

The Dancing Maize God

Vessel of the Dancing Lords (A.D. 750/800)  Photo courtesy of the Art Institute of Chicago. Maya Image Archive This vessel was produced in the Naranjo, Guatemala workshop for Lord K’ahk’ Ukalaw Chan Chaahk. At the top, above a band of symbols indicating the sky (a “sky band”), the hieroglyphs read: “His painting, (artist’s name?), artist sage, Lord Maxam, child of woman, Holy Lady Water-Venus, Lady Lord of Yaxhá (title?)(title?), child of man, Three Katun (60 year) Sacrificer, Lord Flint Face, Holy Lord of Naranjo, pure artisan.” The Classic Period name of the… Read More