Altered Body Symbolism in Mesoamerica Charlotte AIiryn Werner ...

Altered Body Symbolism in Mesoamerica 

w 

Charlotte AIiryn Werner 

A Dissertation 

Submitted to the Faculty of Graduate Studies 

in Pa¡tial FulfiIlment of the Requirements 

for the Degree of 

DOCTOR of PHILOSOPHY 

Interdisciplinary FhD Program 

(History and Religion) 

The University of Manitoba 

Winnipeg, Manitoba 

@ April, L998

ThesisÆracticum submitted 

TIIE ITNTYERSITY OF MANITOBA 

FACULTY OF GRADUATE STUDIES 

c o PYRrcrr #*l;s s ro N pAG E 

ALTERED BODY SnÍBOLISM IN MESOÁHERICA 

BY 

CEARLO. TE ÄLICTN ITERNER 

to the Faculty of Graduate Studies of The University 

of ùlanitoba in partial fulfillment of the requirements of the degree 

of 

DOCTOR OF PEILOSOPEY 

CharloÈte Alicyn llerner @1998 

Permission has been granted to the Library of The University of ùIanitoba to tend or sell 

copies of this thesis/practicum, to the National Library of Canada to microfilm this thesÍs 

and to lend or sell copies of the filn, and to Dissertations Absfracts International to publish 

an abstract of this thesis/practicum. 

The author reserves other publication rights, and neither this thesis/practicum nor 

extensive ertracts from it may be printed or otherwise reproduced without the author's 

'. written permission.

499 

List of lllustrations 

followed by 

CATALOGI.IE of ILLUSTRATIONS

Chapter 1 Introduction 

L.L Chronological chart 

1,.2 Map of Mesoamerica 

1,.3 Map of Sites of the Maya 

500 

List of Illustrations 

Chapter Two Altered Body Symbolism--Begirurings and precursors 

2.1 Four Pottery Figurines, Early Preclassic period, Oaxaca. 

?? Pottery figurines of a dancers. Early preclassic period, T1atilco 

"Pr"lty 

?3 lady" pottery figurine, Late preclassic, Guanajuato 

2.4 Acrobat, Iatilco 

2.5 Contortionist/Acrobat. Predassic terra-cotta bottle. Tlatilco 

2.6 Female figurines symbolizing duality, Tlatilco 

2.7 Clay mask of life and deatþTlarilco 

2.8 Preclassic solid clay figurines with scarification 

29 sixteen stone figurines. olmec. La venta, Tabasco, yeracruz 

2.L0 Ball Game a¡tifacts 

2.1-t Male figurine, Xolalpan 

?.!2^ Yutg (Heye statue) with jaguàr paw vase and inverted trophy head 

2.13 Lambityeco male figurine with animal mask 

2.1,4 Male figurine (Stendahl statue) 

2-t5 Figurine resembling Xípe Totec. Teotihuac¿ín culture, Ttln-gt}- c. A.D. 

2.16 Figurine with laughing face. Cenhral Veracmz 

2.17 La Venta Tabasco. Middle Preclassic period 

2.18 Relief of armed men. Chalcatzingo, Morelos 

2j9 Anthropomorphic jagour upon a reclining human figure 

2.20 

2.21, 

2.22 

2.23 

2.24 

2.25 

2.26 

2.27 

2.28 

2.29 

Monument L, Rio Chiquito, Tenochtitlán 

Jaguar atop human. Monument 3, Potrero Nuevo 

Jaguars overcoming humans. Petroglyph relief [V, 

Chalcatzingo, Morelos. Middle Preclassic period 

Seated youth holding jaguar-Íeabured human infant (rain 

l"ity). 

Las Limas, Veracruz. Middle Preclassic period 

seated youth holding jaguar-featured human infant (details) 

Standing figure holding a were-jaguaï see p.47 

a. ceremonial axe as an olmec were-jaguaf b. were-jaguar head 

Derivation of rain gods from the Ol¡nec were-jaguar 

Were-jaguars (anthropomorphic and zoomorphic). Tabasco 

Polychrome Mural I Oxtitlan Cave, Guerrerõ, Mexico 

Standing Man and Jaguar in Sexual Interaction 

(Painting I-d), Oxtitlan Cave, Guerrero, Mexico.

2.30 

2.3t 

2.32 

2.33 

2.34 

2.35 

2.36 

2.37 

2.38 

2.39 

2.40 

2.41. 

501 

Olmec female dignitary on throne in cave 

Petroglyph 1, Chalcatzingo, Morelos. 

Rattlesnake holding olmec figure. Monument'!.9, Laventa 

Carved vessel with Vision Serpent. Late preclassic 

lgty recorded Bar and dot daie, Stela Ç Tres Zapotes 

ïh{"1fig_"Iur Ð jaws of animal (possibly the Eaith Monsrer) 

Stela D, Near Tres Zapotes 

Warrior-k{g Harvest Mountain Lord, with 465 glyphs 

Stela near La MLajalr:a, Veracrtrz 

Tuxtla Stafuette (front, lefb,Vera Cruz 

Tuxtla stafuette inscriptions (front, back, and sides) 

Tepantitla mural, or ilalocary Teotihuacan 

Decapitation Scene, Stela Z'!.,Izapa, Chíapas, Mexico 

Transitional figure between olmec *ut"-¡ugrrar and Maya deity Chac, 

Ìrolding sea creatu¡e in a basket. Stela t,lzäpa 

Danzantes, Monte AIbán. Late preclassic 

Chapter Three Creation and Emergence Myth, 

3.1 

3.2 

3.3 

3.4 

3.5 

3.6 

3.7 

3.8 

3.9 

3.10 

3.11 

3.72 

3.13 

3.I4 

3.15 

3.16 

Soverign Plumed Serpent, from the Dresden Codex 

and The Heart of Sky, Named Hurricane 

Maya Matze God, Copatr, Honduras. Late Classic 

ometecuhtli ("Two Lòrd") and omecihuatl ("Two Lady"), as a 

personified primordial creative force,codex Borbonicus 

The Earth Monster goddess destroys the foot of Tezcztlipoca 

Codex Fejéraáry-Mayer 

Quetzalcoatl and Mictlantecuhtli linked in an und.erworld dance 

Aztec Codex Borgia 

chicomoztoc, The Aztec cave of origirç Teotihuacán 

The earth goddess Tlazonlteotl (or un i-mp"rconator) wearing flayed 

skin and grving bkth to a warrior. Aztec todex Borbonicus. 

Ixchel (Goddess O ) and Chac, Madrid Codex, p.30 

chalchiuhtlicue, L6th c. AztecGodd.ess, codei Borbonicus 

Ido-" 

temple, with five images of raloc, the Tlaloc mountain, and 

females in openings representing the earth. codex Borgía 

Tlaloc seated on a mountain emltting u stream. codex Borbonicus. 

World axis tree of life. IzapaStela S (ca. 100 B.C.) 

Mixtec tree birth scene. codex vindobonensis, Late postclassic 

A tree attended by the corn god cinteotl symbolizes world. view and. 

creation in the Codex Borgia 

Mayahuel, Goddess of maguey. 

Codex Fejéradry-Mayer, Lãte Þostclassic 

The'Jauncy Vase" Late Classic Maya (Sides I and tr)

3.17 The'Jaunqy vase" Late classic Maya (sides Itr and rv) 

3.18a Goddesses known as the cihuateteä (deifie¿ women who 

died in childbirth gt"ing birth to warriors), Tenochtitlán 

3.18b Goddesses known ãs the cihuateteo (deifiãd women who 

died in childbirth grning birth to warriors), Tenochtitlán 

3.19 cihuateteo goddesses ãurround _ euetz atcóaú, codex nolrgia 

3.20 Tonacateeuhtli,_ "god of creations-and beginnings,', ,,Lordof our 

sustenance,"ard. patron oÍ cipøctli, the fiist duí. codex Borgiø o 

3.21 Pacal and an elite woman perform.the snake Dánce, 

costumed as First Father and First Mother. palenque, chiapas 

3.?2 Inscription on Dos pilas stela 2s: "The pad.dlers were born 

under the auspices of Shield God IC" a.o.TIL 

Chapter 4 Maya Cosmos and Deities 

4.1, 

4.2 

4.3 

4.4 

4.5 

4.6 

4.7 

4.8 

4.9 

4.70 

4.Lt 

4.72 

4.13 

4.1,4 

4.1.5 

4.1,6 

4.17 

4.r8 

4.19 

4.20 

4.21. 

4.22 

4.23 

Layers of the cosmos Codex Vatícanus gTTg 

3u Yuy¡ cosmos, with venus as Eveningstar (Chac-Xib-Chac) 

Tripod Plate, Late Classic, A.D. 600-g00 

Maíze Cross, Temple of the Foliated Cross, palenque 

The World Tree 

Skyband Earth Band, and Water Bands 

witz-Mountain monster, with cauac signs and the Maize God; 

wltz Monster mouth as a cave; symbols for house, ballcourt, 

502 

9*amp or lake, cenote, stone stela, sky, earthband, and cave 

Layers of the Cosmos, with witz-Molntain Monster, primordial 

waters, and a Vision Serpent 

Yugo*I facade, Th" euãArangle, Uxmal, yucatán 

Arch atLabnâ, Yucat¡ir 

Kinh and solar motifs in the universe 

l4oor goddess with rabbit consort, seated in moon sign 

Moon with rabbit consort (cast whistle figure) 

Solar deify in jaws of the Earth Monster 

Quadripartite Monster 

a. cosmic Monster (celestial Monster/Bicephalic Monster), coprín 

Altar 4L and b. Cauac ^ 

Monster from Bonampak stela 1 

Celestial Bird, Muan Bird, and Water Bird 

lÙdatze God rising from turtle shell, with Hero Twins 

Yuir" 

God emerging from turtle she[, with Chac heads 

God GI as Chac Xib Chac 

Goddess O 

Goddess O,Dresden Codex, 6Ta 

Chac 

God G[ in form of a Quadripartite Monster headdress

4.24 

4.25 

4.26 

4.27 

4.28 

4.29 

4.30 

4.31 

4.32 

4.33 

4.34 

4.35 

4.36 

4.37 

4.38 

4.39 

503 

9"4 5, part of the Manikin Scepter 

God GItr 

Toltec Warrior with Tlaloc and year-sign headdress 

Quetzalcoatl 

SLfpry representin_g_the nine Lords of the Nighr 

Nigt t Scene of God L presiding over Xibalba iórds 

God A as a death god 

Ten Gods in Xibalba: God GI wields an axe near a deer, with a 

connorant and a figure with a blowgun. 

supernaturals' Facial rypes (Dreeden codex; monuments) 

Deities wlth glyp$-c n1me9 and epithets.Dresden Codex, p. 10 

Dragon Monster, Kaminaljuyú Stäla 2g 

Prag_on Masks, Kaminaljuyú, Izapa 

The Vision Serpent 

Serpent and Reptilian Icons 

Eccentric flints 

Deities from the Dresden Codex, with their name glyphs 

Chapter Five Nature and Environment 

5.L Cenote of Sacrifice. Chichen ILtzá,, yucatán 

5.2 Caves under the pyramid of the Sun, Teotihuacán 

5.3 Aztec warrior in flayed-skin eagle costume 

Chapter Six Discourse, Text and Glyph 

6.L Hand hol{inq þ*rr,, emerging from iaws of supernaturar 

being. Incised bone 

6.2 O_ld deity instructing disciples 

Codex-style painting on ceramic vessel 

6.3 Anthropomorphic monkeys as scribes (books closed) 


6.4 {nlhropogrorphic monkeys as scribes (books open) 


6.5 Palace scene with old lord, youthful maiderç beheading, and 

rabbit scribe. Calakmul arcâ, southern Campeche 

6.6 Anthropomorphic scribes on ceramic vesseli 

6-7 S_culptors' signatures, piedras Negras area 

6.8 Variations of the glyph for "jaguãr" 

t.? ^ Çlyphic recording of the birth õr coa GI of the palenque Triad 

6.L0 Accession of Chan-Bahlum, recorded in a gþhic cotiplet, rJ"r,qo" 

6.1I Hieroglyphs associated with a Maya ruler

504 

Chapter Seven Elite Body, Discourse, Ritual 

7.1 Ruler Bac-Tul in manifested vision with deities 

Hauberg Stela, Protoclassic Period, A.D.199 

7.2 Cauac Sky on north side of Stela D Quiriguá, A.D.766 

7.3 Dates inscrib€d on Stela D Quiriguá, A.D.T66 

7.4 Pacal's Sarcophagus with ancestral portraits 

of Inscriptions, Palenque, Late Classic period. A.D.684 

lemple 

7.5 Birth of shield ]aguar: parents Lady "skull-Zéro" and "Bird- 

]aguar"Il, Yaxchilan, Lintel L3 

7.6 Flanged headdress from Copán Stela 1 

7.7 Male Ruler 3 on stela 16, Dos Pilas, petexbatrin, Guatemala 

7.8 Female Ruler from Calakmul, on stela 

7.9 a Feminine Head Glyphs and Name Glyphs 

79b Feminine Head Glyphs 

7.10 Lady Wac-Chanil-Ahau with captive Kinichil-Cab 

Stela 24, Naranio 

7.lL Lady wac-chanil-Ahau, at anniversary of her son's accession 

Stela 3, Naranjo 

7.12 Elite female ruler standing over a captive. stela 28, calakmul 

7.Lg Ruler with war captains and bound captives. Stela 12, Piedras Negras 

7.I4 Lady Xoc handing Shield ]aguar his shield and helmet 

Lintel26, Structure 23, Yaxdrilan, Late Classic, c. A.D.T?S 

7.15 Bird Jaguar dressing for battle. Lintel41, Yaxchilan. Late Classic 

7-16 Bird þguar capturing ]eweled skull, and a lord with captive 

Lintel 8 at Yaxchilan. Late Classic 

7.17 Glyphs from texts: birthday, accessiorç "Shield !agvaÍ", "Bird. 

lagiaf', prefix indicating fémale names and titles 

7.I8 Glyphs of Warfare 

7.19 Vision Serpent, and female ruler bloodletting 

Lintel 15, Yaxchilan, Late Classic, e.o.T70 

7.20 Bound Captive. Late classic altar from Tikal Guatemala 

7.21. _Stucco portrait of Chan-Bahlum. Temple L4, palenque 

Late Classic period, ca. A.D. 700 

7.22 Plaster portrait mask of an unknown noble 

Palenque. Late Classic period, ca. A.D. 700-TS0 

7.n Yuyu noble, monument from Balancan near palenque 

7.24 Jaina Figurines 

7.25 Iaina Warrior ceramic figurine, Late Classic, A.D. T0Ug00 

7.26 Jaina Captive. Late Classic, e.D. 700-900

8.1 

8.2 

8.3 

8.4 

8.5 

8.6 

505 

Chapter Eight Emblem, Badge and Scepter 

8.7 

8.8 

8.9 

8.10 

8.11 

8.12 

8.13 

8.74 

8.15 

8.1,6 

Maya King and World Tree 

Cloud-serp_ent rattlesnake presenting a Toltec warríor in its iaws 

Gold disc, Sacred Cenote, Chichen Itãá. post-Classic period 

Head of ruler in Chac-XiþChac headdress 

Variations of the ahøu $ypln 

]ester Gods on headbands, scepters, celts, pectorals and headdresses 

Ruler cosfumed as Chac-Xib-Chac and the Holmul Dancer 

Late Classic period, A.D. 600-800 

Double-Headed Serpent Bar, and Vision Serpents 

Rulers with Double-Headed Serpent Bar 

Dos Pilas rulers with Manikin Scepters 

Lords hold God K scepters. Yaxchilan, Lintel3 of structure 33 

The Quadripartite Badge, Temple of the Cross 

Bird-Jaguar in blood-scattering rite 

Lintel 2,La Pasadita, El Petén. Late Classic, e.n.T66 

]ade ear-flare. Preclassic period, pomona Rach, Belize 

Headdresses with mat-symbol woven elements 

Maya house with thatdted roof. Magdalena, Chiapas 

Gods A,B, K and D seated in thatctred buildings,Dresden codex 

and other thatched-roof elements from the coáices 

8.L7 Incense-burner as at effrw head that may be the Sun God wearing a 

helmet with I mat design. Chimuxan, Alta Verapaz 

8.18 Deities including Gods B and E shown with bees jand some other 

animals) in thatch-covered hives or temples, codex Mødríd 

8.19 Dual images of God M generating fire with sticks, codex Madrid 

8-20 scroll-Ahau-Iaguar. Earliest dated monument at Tikal 

Stela 29, A.D.2g2 

8.21 The Leiden Plaque, representing zerc-Moon-Bird. A.D.920, Tikât 

8-22 stormy-sky and "spearthrower-owl-shield" symborism 

Stela 31, Tikal, A.D.4gg 

8-23 curl-snout as spearthrower warior. stela 31, Tikal, ^.D.zgz 

8-24 Ah Cacau wearing Mosaic Monster Headdress. sD-sZ Tikal 

8.25 Ah Cacau, enthroned, wearing Mosaic Monster Head.dress 

Dedicatiory Temple 33 and Stela 31, Tikal 

8.26 Presentation of prisoner to elite captain 

Late Classic rylindrical ceramic vessel, A.D. Z00-900 

8.27 Çaptor wears Tlaloc-and-balloon headdress as captive stand.s bound. 

Polychromed ceramic vessel. Late Classic, A.D. Z0-0-g00 

8.28 Dignitary with axe, Kaminaljuyú Silhouette Relief 4 

8.29 lwo figy{es, one wearing headdress featuring a iaguar or deer 

Kaminaljuyú Stela 21

8.30 Tula-Tlaloc lord attacking fleeing Maya warriors. 

Repoussé disk (1288) from Sacred Cenote at Chichenltzá, 

8.31 Maya emblem glyphs from Classic period monurnents and 

Southern Lowlands cities 

8.32 Glyphs of specific buildings at Dos Pilas, Palenque, and yaxchitan 

8.33 Map of Glyphic Classic Maya Place lrlames 

8.34 Variations on Scroll Bøby motif 

8.35 Ruler on Stela 31, Tikal, A.D.445. Scroll Baby glyph 

8.36 "Black hole" place names 

506 

Chapter Nine Numbers, Time and Calendars 

9.7 Number gods carrying the Maya bundled 'burden of time" 

Stela D, Copán 

9.2 Possum Deity bringing in patron deities of the Solar Years on his 

backpack. Dresden Codex 

9.3 Possum Deity bringing in patron deity of the solar year on his 


9.4 Possum Deity bringing in patron deity of the solar year on his 


9.5 Sacrificial victim, footprints on Stela !1., fooerinted sash motifs 

9.6 Timekeeping: Maya abstract numbers, finger and toe counting 

Stelae 12 and L3, Monte Alban, Oaxaca 

9.7 Hand gesture signs in ancient Maya writing and modern times 

9.8 Maya numerals: bar and dot numerals and head variants 

9.9 Gtyphs representing number deities 

9.10 Glyphs representing days 

9.1L Glyphs of the months 

9.12 Glyphs of the months in the 365-day count 

9.13 Glyphs of katuns, tuns, and uinals, eind Maya calendrical periods 

9.L4 Pop - hieroglyph of first montþ on Chinikiha inscription 

9.1'5 Heiroglyphs of t]ne Pop, the first month of the Mayan calendar 

9.L6 Censer, with face of. k'in emerging from jaw of the Earth Monster 

Provenance: ïemple of the Cross, Palenque 

9.I7 K'in, the sun-time deity, Classic period 

9.18 Twenty day names on deer skin worn by Xochipilli 

Late Postclassic period Codex Borgía 

g.tg Maya dot and bar numercrs L-19, zeto or completion symbols, artd 

Mesoamerican numerals in vegesimal system 

9.20 Maya hieroglyphic calculation of 400 million years into the past 

9.21. vigesimal system Maya bar-and-dot numbers in the calendar 

9.22 Glyphs of fullfigures as time periods and heads as numbers 

Long Count date, on a limestone lintel from yaxchilan

9.23 

9.24 

9.25 

9.26 

9.27 

9.28 

9.29 

9.30 

9.31 

9.32 

9.33 

9.34 

9.35 

9.36 

9.37 

9.38 

9.39 

9.40 

507 

Interlocking cycles of the Maya calendar 

8l9-Day-Count phrase 

Initial series Introductory Gtyph calendrical long count date 

Late Pre-Classic and Classic 

Nahuatl glyphs and names for the cycle of 1,-20 days of the month 

Aztec Month glyphs 

Stone furtle with thirteen Ahau symbols on shell rim, and 

fragment of turtle sculpture with date. Mayapan 

Previous destruction of the world commemorated 

"Pecked-circle" petroglyphs 

The Aztec Cycle of fifty-two years 

Calendar fuom the Book of Chilam Balam of Kaua 

Ancient Calendar Wheel,The Florentíne Codex 

Ceremonial bundle releasing a dynamic universe. codex Borgiø 

Maya Calendar and World view. Mødríd Codex, pp.7}-76 

Cosmology, world view, directions, ilìd calendar, witrr the fire god 

Xiuhtecuhtli. Mixtec Codex Fejéruáry Mayer 

The New Fire, with the fire god Huitzilopochtli facing his pyramid 

Divinatory calendar, Aztec Codex Borbonicus (detail from þ. g¿l 

Eleventh "r /eek" ruled by Patecatl, the deity associated withþulque 

AztecCodex Borbinicus 

Aztec Calendar Stone 

Coronation stone of Moctezuma II ("stone of the Five suns") 

Tenochtitlan 

9.41, Playing of drum and rattle marking the katun 

Chapter Ten Astronomy and Body Symbolism 

1-0.L Venus and star hieroglyphs 

10.2 Venus (as Hunahpu) and Seven Macaw in a confrontation, and Venus 

with darts, Page 50 of the Dresden Codex 

Hunahpu shooting seven Macaw, scene from a classic Maya vase 

19I 

10.4 schematic diagram of two Dresden Codex venus tables 

10.5 venus (Tlauíxcalpantecuhtli) as a warrior attacks a social 

order represented by the ocelot. Codex Cospi (detait) 

10.6 Astronomical bodies in the Vienna Codex 

10.7 Astronomical bodies in the Vienna Codex 

10.8 Tzitzimitl sky demon. codex Magliabechiano, 1,6c. Aztec 

10.9 Dresden Codex, page 1,6 of Moon Goddess almanacs 

10.10 Dresden Codex, page 7T ofMoon Goddess almanacs 

10.11 Dresden Codex, Eclipse Table, page 53 

1'0-12 Dresden codex, Eclipse Table, pp.51-53. schematic diagram

10.13 

10.14 

10.15 

10.L6 

Lt.r7 

508 

Soiar eciipse, with iight and dark elen'oents anú a dragi"r 

devouring the sun. Dresden Codex, p-36 157 

Eclipse olthe Sun; eclipse of the moon; and sun, moon, and 

stars. Códice Matritense del Palacio ReøI de Madrid. 

Lunar eclipse, Florentine Codex 

Goddess Coatlicue, She of the Serpent Skirt. Aztec, Late Postclassic 

Coyolxauhqui, Dismembered Moon Goddess 

Templo Major, Tenochtitlan, c'l'454 

10.L8 Astronomer, Mødrid Codex 

1O.L9 Astronomer stargazing, musician playing a teponaztli, and_ 

individuals engaging in agricultural activity. Mendoza codex 

10.20 "crossed-stick sighting devices" from Bodley, selden, artd 

Ferndndez LeøI codices and in tlfte Lienzo of zøcatepec No. L 

10.2L Caracol observatory at Chichenltzá,, Yucat¡ín. Early Postclassic 

10.22 T'he House of the Governor, Uxmal, Yucatán. View of facade with 

Magicían's Pyramid (La Pyrámid del Adivino) in the d.istance 

10.23 Thè- House of the Governor, Uxmal, Yucatán. Central Building. Puuc 

Lt.24 The House of the Governor, Uxmal, Yucatán 

Central Building, central figural motif and bands ovef doorway 

10.25 The House of the Governor, IJxrnal, Yucatán 

Drawing of hieroglyphic serpent bars.flanking central motif 

L0.26 Astronomical symbolism, First Temple (Structure 5C) at 

Cerros, Belize. Late Preclassic Period 

L0.27 Mask panels and astronomical symbolism. 

First Temple (5C) Cerros, Belize. Late Preclassic 

Chapter Eleven Dance, Acrobatics, and Trance 

t|.l, Gods of the Underworld in a sacrificial dance, Calakmul area 

11,.2 Ritual and sacrificial dances in Xibalba 

1'1..3 Rituat in Kibalb+ and Falling human/jaguar in Xibalba on 

Maya ceramic vase 

11,.4 Bird-]aguar and Dignitary holding and dancing with live snakes 

Lintel from Site R, vicinity of Yaxchilan 

1L.5 Acrobat effigy vessel 

Colima, Western Mexico, Late Preclassic or Early Classic, 4.D.1-600 

1'L.6 Figure encircled by contortionist. 

Olmec relief the Shook Panel. Late Formative period, Guatemala 

11,.7 Acrobats performing handsprings. Maya ceramic vessel 

1-1.8 Flare Gods on Palenque Monuments 

11.9 Smoking deities in the almanacs. Codex Mødtid 

11.10 Wøyob figures of God A'

71,.1L Enema devices in a ritual scene 

Late Classic period polychrome vase, northern Petén 

11,.12 Enema ritual scene on Classic Maya vessel 

L1,.I3 Dancing lords in blood ritual. 

Cylindrical Vessel, Late Classic period, (e.n. 600-800) 

t1.L4 Room 1-, Bonampaþ Chiapas. Wall murals, Late Classic, e.o.800 

11-.L5 Bonampak, Chiapas, Mexico. Wall murals, Late Classic, A.D. 800 

L1..L6 Diagram of Bonampak Room 1, 

11,.17 Captives and sacrifice scene, Bonampak Room 2 

11.18 Xochipilli, the "Flower Prince." Late Post-Classic period 

11".19 Emperor Moctezuma's Headdress 

1.1,.20 Zapotec carved wooden Teponaztli drum 

1,1.21 Mixtec drum with flaps, and Aztec pottery whistles 

1L.22 Flageolets (small flutes - Aztec), and pottery ocarina in turtle form 

11.23 Gold bell with male figure standing on platform 

Early Postdassic period (a.o. 900-1150) 

11.24 Gold bell with owl alighting. Early Postclassic (e.n. 900-1150) 

509 

Chapter Twelve Blood, Sacrifice and Sacred Exchange 

12.1 Jaguar costume elements: mittens, boots and clubs 

Agueteca Stela 2,Dos Pilas Stela 16, Yaxchlan Lintel 6 

12.2 Warrior lords with dawed feet. Agueteca Stela 2,Dos Pilas Stela L6 

I2.3 Ruler and warrior face each other with jaguarclawed clubs 

Yaxchilan, Structure 1 Lintel 6 

12.4 Cauac Sky (or Two-Legged Sky). Stela A, Quiriguá (back face) 

Dancing Lord (clawed hands, jagour feet and inverted perforator) 

12.5 Goddess breastfeeding, with heart in blood and astronomical 

symbols. Mixtec Féjéraary-Máyer Codex 

12.6 Young }./øuze God. Stone head and torso , Copán 

12.7 Maize god in sacrificial bowl floating on blood. Cache Vessel Lid 

Early Classic period, (A.D.350-500) 

L2.8 Two deities blood-letting from their penises. Codex Madrid B2b. 

12.9 The Sun God bloodletting creates Vision of the cosmos 

Acasaguastlan pot, Guatemala, A.D. 400-600 

12.1.0 Six deities engage in ritual blood-letting from the penis 

Maya vessel, Late Classic, A.D. 600-800. Huehuetenango, Guatemala 

12.1.1. Classic Maya Perforator God 

From bloodletting scenes on Huehuetenango vase and other icons 

t2.L2 Maya lord wearing deified perforator over genitals, stela D, copán, 

Maya lord wearing god of the perforator, Stela A, Cop¡ín 

t2.1.3 Bloodletting from the genitals. 

Carved Bone, Late Classic A.D. 600-800

t2.1.4 Youth in bloodletting rite, with Ruler 3 and Lady of Cancuen 

Dos Pilas Panel L9 

L2.1'5 Mat design on carved bone tube, possibly a sacrificial knife handle 

Cuello, BelTze, Late Preclassic period, ca. 400 B.C. 

12.16 a. Blood-letting from the earlobes.codex Madrid gsa, 

b. God B drawing blood from his tongue. codex Madrid g6b. 

!2^.\7 Drawing go¡ds_$uough the tongue. Room 3, structure 1, Bonampak 

12.18 lady Xoc bloodletting, Vision Serpent, and Shield Jaguar with toich 

Lintel 24,YaxcLiLan, Chiapas. Late Classic, A.D.T\S 

12.19 Glyphic Text from Lady Xoc bloodletting scene 

Lintel 24,Yaxcl.trlan, Chiapas. Late Classic, A.D.TZí 

12.20 Lady Xoc with Vision Serpent, 

Lintel25, Yaxchilan, Chiapas. Late Classic, A.D.72S 

12.21 l-ady Balam-Ix and Bird jaguar auto-bloodletting. 

Lintel LZ Yaxchilan, ChiapaS. Late Classic, A.D.770. 

12.?2 Tula-Toltec warriors extracting the heart of Maya captive 

Repoussé disk from Cenote of Sacrificg Chichen Itzã 

12.23 Saqificial Knife 

Terminal Classic-Early Postclassic, A.D. 800-1100 

L2.24 Accession scene with heart sacrifice victim and tracking 

stela 11, Piedras Negras, Guatemala. Late Classic period, A.D.Tg1,. 

12-25 Heart sacrifice of human and feline; frophy head, skull racþtracking 

The Codex Nuttø\, page 69. Mixtec codãx- 

12.26 Heart sacrifice. Mixtec Féjéraary-Máyer Codex 

12.27 Aztec sacrifice on the Great Temple at Tenochtitlan 

12.28 Sacrifice scene 

Çodery from ReaI Academía de Ia Historia, Madrid, p.ZS} 

12.29 Sacrifice in a walled ceremonial center. 

Codex Matritense del Paløcio ReaI de Madríd 

12.30 chacmool figure with sacrificial blade in annband 

Tu14 Hidalgo. Toltec culture, Early post-Classic 

12.31' Chacmool figure as rain god with Tlaloc mask and early pendant 

1??? Iiq*" with trophy head. suchitepequez. stela Fragmen-ç Chocola 

12.33 Pigrytry carrying decapitated head with blood emeiging as snakes. 

Pre-Toltec stela (detail) from santa Lucia cozumahuãtpã 

12.34 Xipe Tlacacaliliztli sacrifice with scaffolds, scenes fromìodices 

CenLral Mexico, Late Postclassic period 

12.35 a. Pottery scene with ritual disembowelment 

b. Scaffold sacrifice: "graffito" image, Tikal Temple tr 

12.36 Twín shrines of the deities Tla]oc and Huitzilopbchtli, with 

tzompantli and a serpent wall. Templo Major of Tenochtitlan 

12.37 Xipe Totec Aztec god (or impersonatôr) 

wearing flayed skin with dangling hands 

510

12.38 Xipe Totec (or impersonator: detail of Fig. L2.gr, back view) 

12.39 Male priest wearing flayed skin and garmlnt of sacrificed female 

impersonator of Centeotl-Chicomeco atl, an agricultural fertility 

goddess. After Codex Borbonicus 30 

12.40 xipe Totec, Aztec. ceramic sculpfure, palma cuata,yeracruz 

t2.41, Captive Reliquary. Iaina, Campeche, Mexico 

511 

Chapter Thirteen Ballgame, Blood and Cosmos 

L3.1' God L with Muan Bird Headdress, and Xbalanque with Jaguar God 

headdress. Late Classic Limestone panels (assembled togèther) 

13.2 Tlaloc and jaguar symbolism of player vs. player in bird costume 

Late Classic ballgame scene. Limesione panel 

13.3 Ballgame and Decapitation Scene 

Relief of the Great Ballcourt, Chichen ltzâ, yucatán 

13.4 P_rotagonist preparing for Ballgame (or Venus descending to earth) 

(Panel L) Southeast panel of the South Ballcourt, El Tajrn, Yeracruz 

13.5 Reclining protagonist surrounded by musicians 

(Panel 2) Southwest panel of the South Ballcourt, El Tajín 

L3.6 Ballplayers in the cou¡t 

(Panel 3) Northwest panel of the South Ballcourt, El Tajín 

13.7 Sacrifice in ballcourt scene, 

Northeast panel of the South Ballcourt, EITajín 

13.8 Decapitated victim (fragment)Temple of the ñches, El rajín 

p_ecgpitated victim with blood as snakes, ballcourt panel, Aparicio 

I3.9 Underworld scene of supplication 

North-central panel of South Ballcourt, EI Tajín 

13.10 Granting of Pulque in the Otherworld 

South-central panel of South Ballcourt, El Tajín 

13.11 Thirteen Rabbit with decapitated and àisemboweled victim 

Column scene, EI Tajín 

13.12 Disemboweled Victim being decapitated. Column scene, El Tajín 

13.13 Dismemberment and beheadings of batlgame sacrificial victims; 

Classic period stela: Monument L, Bilbao, Guatemala 

13.1,4 Human captive bound and compressed into a ball 

Altar 8, Tikal. Late Classic e.o. T50-760 

13.15 Sacrificed ball player within aba7J, bouncing down a hieroglyphic 

stairway. Yaxchilan structtrre 33. Late Classic, ca. A.D. Ts0-760- 

13.16 North, center, and south Ballcourt Markers. Copán, Honduras 

13.17 central Marker. Toniná Ballcourt, Monument 69. A.D. TTs.

512 

Chapter Fourteen Ritual Passage, Sacred ]ourney 

1,4.1. The Sarcophagus Lid, Coffin of Pacal 

Temple of Inscriptions, Palenque, Chiapas. Late Classic a.n. 684 

L4.2 Chan-Bahlum's Dance Out of Xibalba 

Temple 14, Palenque. Late Classic A.D.705 

74.3 Quiriguá ruler (Cauac Sþ, or Sky Kul?) seated in monster iaws 

Zoomorph R Quiriguá, dedicated in A.D. 795 

t4.4 Ruler in mouth of creature, holding God K scepter and shield 

(detail from Zoomorph P) Quiriguá 

74.5 Details of sides and top of Zoomorph P, Quiriguá, Guatemala 

14.6 Cauac Sþ (Two-Iægged Sky?) in mouth of the Celestial Monster 

Zoomorph B, Quiriguá, Guatemala. 

1.4.7 Hieroglyphic names and other glyphs of the Paddlers 

1,4.8 Incised Bones, Burial tI6, Ttkal, Guatemala, Late Classic, Al.. 705 

Glyphs of the Paddlers, Paddlers, and sinking canoe 

149 Incised Bones, Burial tL6,Ttkal, Guatemala, Late Classic A.D. 705 

Paddler as ltzamma, canoe in constellatiorL Itzamma with peccary 

14.L0 The Paddlers,lllaize Goä/dead king, and animats ín sinking canoe 

14.7L Sun God Paddling a Canoe, Early Classic vessel (A.D. 20G450) 

1,4.12 The Maize God on codex-style vessels 

14.13 Matze God resurected in maw of the White-Bone-Snake l 

Altar at the base of the Hieroglyphic Stai¡s at Copán 

L4.L4 Death Godwøyob figures 

14.15 Female kneeling way hgure, andwøy as a human in a cartouche 

L4.16 Anthropomorphs in dancing positions with wayob hgtres 

L4,17 Anthropomorphic and iaguar beings dancing and performing 

Classic period vase, northern Petén 

1,4.L8 Elongatedutay iaguar in headlong descentDresden Codex (detail) 

1.4.19 GI with spear in confrontation 

Late Classic polychrome vase, northern Petén 

L4.20 Fourteen deities: four God Ns in enema ritual 

Polychrome vase, southern Campeche or northern Petén 

L4.27 Deities, Moon Goddess, and Vision Serpent emerging from the 

Celestial Monster, on a vessel as instrument to focus power 

Incised cylindrical ceramic vessel, Late Classic, 4.D.550-800 

14.22 The Deletaille Trþod, Early Classic Period 

L4.23 The Deletaille Tripod (details) 

L4.24 Temple of the Warriors, Chichen ltzá 

Man-bird-deity hybrid on upper temple facade. Early Postclassic 

1.4.25 Temple of the Warriors, Chichen Itzá 

Rattlesnakes as columns. Early Postclassic period

t4.26 Rattlesnake presenting head in jaws. 

The Quadrangle, Uxmal, Yucatán L0th c., Early Postclassic 

t4.27 Serpent head with a human head in its jaws, 

Palace at Labná, Yucatán. Late Classic period 

1,4.28 Chac, the Rain God, standing on Serpent Head. Codex Madrid, 30 

L4.29 Annex of the Nuns at Chidrenltzá., Yucatán 

L4.30 Chac masks on facade of the Palace of the Masks (Codz Pop) 

Kabáh, Yucatán. Puuc architecture, Late Classic period 

L4.3L Tzompantli, or "wall of sculls" at Chichenltzá. 

14.32 Altar of skulls (Tzompøntlí), or the 'Tomb of Time" 

Aztæ. culture, L+th-16th c. A.D. 

L4.33 Platform of the Tzompantli, Wall of Skulls, Chichen ltzá, 

Details of warior and Serpent head 

t4.U Pillar, Temple of the Warriors, Chidren Itzá, Early Postdassic 

1,4.35 Pillars featuring warriors, captives with bound wrists, and priests 

Temple of the Warriors, Chichen ltzá, Eatly Postclassic period 

L4.36 Human in feline costime, engaged with supernatural figure 

Temple of the Warriors, Chichen Itzá,Yucatán. Early Postclassic 

L4.37 Platform of the Tzompantti, Chidren ltzá 

Eagles eating human hearts, and panels of war:riors with serpents 

14.38 Platform of the Eagles and Jaguars 

]aguars and eagles eating human heatts, Chichen ltzá,,Yucatán 

t4.39 Band of feathered rattlesnakes eating human skeletons 

Carved wall behind þramid B,TuIa, Hidalgo. Late Postclassic 

14.40 Eagle eating a human heart. Detail from carved wall of 

$rramid 

513 

B, TulA Hidalgo. Late Postclassic 

14.41 Heroic figure emerging from a stylized cave-maw 

Olmec basalt carving, Tabascq La Venta, c. 800 B.C. 

14.42 Olmec Cave Mask, Chalcatzingo,í0D-4}O n.c. Basalt carving 

14.43 Inner doorway of Temple 22, Copân 

Skybearers , skulls representing the Underworld, and sky-serpent 

1,4.44 Monster-mouth mask doorvrray to a temple at Chicanna, Campeche 

t4.45 The Magician's ll¡ramid. Uxmal, Yucatán. Iâte Classic 

L4.46 The Magician's lìrramid, Uxmal 

Chac masks along stairway to the temple 

1.4.47 Enkance mask flanked by effigies of Chac, the rain god 

The Magician's þramid. Uxmal, Yucatán. Late Classic 

74.48 El Castillo (The Castle) Ilramid at ChichénItzá, Yucatán. Toltec era

914 

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l5 r9 

I2æ 

900 

óoo 

300 

AD 

BC 

300 

Lare 

Posrcrrssrc 

E,rnrv 

Posrcr¡ss¡c 

Terunrxar 

Ctassrc 

- 

La¡e 

Ct,rssrc 

1 

E.rnrv 

Crassrc 

I 

I p*oro 

Cr¿ss¡c 

LATÊ 

Fowens- 

I 

óoo J,"., 

tT*r^n". 

r 5oo 

E¡,nrv 

Fowenv¡ 

AncH¡.rc 

CENTRA.L 

MEXICO 

B Tenochtitlan 

Q Tlaxcalo 

v tqla 

F 

Xochicako 

Cocaxtla 

I 

o- 

F 

Cuîcuílco 

Tlatilco 

OAXACA GULF COAST WEST 

MEXICO 

Mixtec 

indepcndent 

kingdom 

Mitla 

Yagul 

Monte 

Älbán IIlb 

Monte 

Albán IIIa 

I 

Monte 

Albán II 

I 

I Doinru 

Monte 

Albán I 

j 

MAYA 

nrcr¡r.nNos/ 

PACIFIC 

COAST 

Aztecs Tarascans Maya 

independent 

clry-stetcs 

Mixco Viejo, 

lxímthê, Utatlán 

Huastecs 

+ 

I Classic 

,c Vcracruz 

t- Remojadas Cotzumalhuaøa 

rl] 

Ce¡o de 

las Mesas 

Kominaljuyri 

Ixtlán del 

Río 

Escuintla 

I 

al 

Tres Zapotes 

Venta 

I 

TI Søn 

Lorenzo- 

Chupkuaro 

Colima 

Xochipala 

Capacha Ocos 

Fig. 1.1 

Chronological chart, drawing from 

lvIary Ellen lvliller, 1993, The Art of Nlesoarnerica from 

LOWLAND MÂYA 

South I North 

Tayasal 

(ltzá) 

Tcocu 

Late 

Classic 

Maya 

Izapa, 

Kaminaljuyú, Cenos 

Abaj Takalik 

Tulum 

Srd Rild 

Mayapán 

Chkhen Itzt 

(Tolrec Ma' 

Puuc and 

Cenrral 

Yucatán 

Tzakol: 

Early 

Classic 

Maya Dzíbílchalt,Á 

Olmec to Aztec, 6. 

Fig.1.1

Fig.1,.2 

Map of Mesoamerica 

Drawing in 

Karl Taube,1993, Aztec and Maya Myths, The.Legendary'Past 6. 

Fig.'1.2

CHIAPAS "iI¡:ì 

I UU¡\IT\I\ 

^ 

I pe¡rìNêuu 

rffie 

v"\J'- 

GUATEMALA 

Fig. 1.3 

Map of Sites of the MaYa 

Drawing in exhibition catalogue: 

Los Maias: The NIantrcl Balbachano PoncefMayan Art Collection' 

Mayan Êxhibition Schedule 19781197911980, P' 10' 

=: 

-r-N H( 

)\ 

Fig.1.3

Fig.2.1' 

Fig.2.L 

Four Pottery Figurines 

Early Preclassic Period 

San josé iVIogote, Oaxaca. 

Found beneath a floor next to a house. Photograph as Fig' L1'9, p' 352' in 

Dfennan, tgZO,"Religi"" u"a Social Evolution irr Formative lvlesoamerica" 

in Kent V. FlanneiiuA, The Early Nlesoamerican Village, 1976,352'

Fig.2.2 

Fig. 2.2 a and b 

a.Þottery figuríne of a dancer (Ht. LL'4 cm) 

b. Pottery fi[urine of a dancer (Ht' L2 cm) 

Early Préclaãsic period, Tlatilco, Valley of Mexico' , 

Photos courtesy of American Museum of Natural History, reproduced as 

Figs. 21 and.22, p. 50 in Coe, l'990, Mexico'

Frg.2.3 

"P?etty ladY" PotterY figrrrine 

Late Preclassic p"riåa,thupícuaro culture' Guanajuato' 

Htapprox].0cm.PhotocourtesylnstitutoNacionaldeAntropologíae 

Histårîa, as Fig 25,p' 55 in Coe' 7990' NI'exico' 

Fig.2.3

Fig.2.4 

Acrobat 

Tlatilco 

Redware, 151lz" high. (Collection ìvlr' Proctor Stafford, Los Angeles)' 

Photograph (Peter lvloore) as Fig 75, p.60 in 

Coe, ig61,The lagtnr's Chitdren, Pt'c-Clnssic Central NIexico. 

Fig.2.a

Fig.2.5 

Contortionist / Acroba t. 

Tera-cotta fired red clav bottlc.. 

Iatilco. Preclassic, Ceniral \fcxico, 12th-8th centurl, B.C. 

Photograph in Pedrc¡ lì.tmírcz \,'ez,quez., 1c)68,'l'ltc NntionaL tVLuseum oJ 

Anthropologr¡: À,Icricrr; ..ir-f -,.-\ rchitacttLra-,\rcltttt:oLogv-r\nthropology, 60. 

Fig.2.5

Fig.2.6 

Female figurines symbolizing dualitv 

Clav figurines, Tlatilco. H ca. 4.5 in. 

Nliddle Preclassic period, 72th-7th c. B.C. 

The N¿rlional lvluseum of Anthropology, Nfexico, photograph in 

Pedro Ramirez Yázquez,7968, The l[ntionaL l)Ittse um oJ' Anthropologv: 

À,IEIICO, Art . Architactttrc ,.lrchncology . ,-lttthropolo¡¡t¡, 66. 

Fig.2.6

Fig.2.7 

lvlask of life and death 

Clay mask, H. 3.5 in. 

Tlatilco, lvlexico, Vliddle Preclassic period, 72th-7th c. B.c. 

The National Vluseum of Anthropology,Nlexico, photograph in 

Pedro Ramirez Yázquez, 1,968, The Nntional lt[tLscttn oJ' Anthropology: 

NIEXICO, Art . Architecture Archaeology.Anthropology, 64. 

Fig.2.7

Fig.2.B 

Preclassic solid clay figurines r,vith scarification 

lVorks in private collections. Photographs in Robicsek and Hales, 19g4, 

"Nlaya Heart Sacrifice: Cultural Perspective and Surgical Technique", irì 

Ritual Hu¡nan Sncrificc in lvlcsoamerica: A ConJct:cnce at Duinbørton 

Oøks October 73th and 74th, 7979, ed. by Benson and Boone, g4. 

Fig.2.8

'. ir 

.'..t 

Ëi

v 

c 

Fig.2.10 

Ball Game artifacts 

a. Figurine of ball-player wearing yoke and knee and arm pads 

Santa Cruz, Quiché, Guatemala.L3T crn. Photograph (from the 

lvluseum of the American Indian, Heye Foundation, N.Y. 1L213347l 

b. Palma, Veracruz. H 20 cm. Photograph (from the 

lvluseum of the American Indian, Heye Foundation, N.Y. 11.6134731. 

c. Hacha (thin stone head with tenon), H 29 cm. Photograph (from the 

lvluseum of the American Indian, Heye Foundation, N.Y. 1L613474l. 

d.. Carved stone yoke. El Tajírç Yeracruz. L 44.2 cm. Photo (courtesy of the 

ivletropolitan lvluseum of Art. The lvlichael C. Rockefeller Nlernorial Collection. 

Bequest of Nelson A. Rockefeller,1.979. [1970.206.423]. 

Photographs as Figure 6.25, p.228 in 

Weaver, 1993, The Aztecs, NIøyø, and Their Predecessors. 

I 

¡ 

j 

ì 

I

Fig.2.r1. 

Fíg.2.1.1, 

Male figurine 

Textured jerkin and sunburst headdress r,r'ith feathers 

Xolaipan, No. X-5325 from the Nation¿rl Àrluseum of Ethnography, 

Stockholm, Srveden. Photo as Figure 20 a in 

Sue Scott, 7993, Tcotihuacan Nlazapan Figm'irtes nnd tltc Xipe Totec Statue: 

A Link Betuecn thc Bnsin of Mexico nnd the Vnllaq o.f ()ttxaca.

.-:i 4 

Fig.2.12 

Fig.2.I2 

Male figure holding jaguar paw vase anct inverted trophy head. 

Heye Statue. Photo courtesy of the N.rtional Nluseum of the American 

Indian, Smithsonian Institution, reproduced ¿rs Plate 17 tn 

Sue Scott, 1993,Teotihuacan lv'Inzapnn I:igtLrincs nnd the Xipe Totec Støtue: 

A Link Between the Bnsin of iv'Icxico ttttd thc \/nllctl of Oaxaca.

Fig.2.r3 

Fíg.2.73 

Lambibyeco male figurine lvith animal mask 

Photo # 7402 from Frissell Nluseum system, reprocluced as Fig. 56 in 

Sue Scott, 1993, Teotihuøcan Nlazapan Figurines and the Xipe Totec Statue: 

A Link Betzucen thc Bnsin of Mexico and thc \/nller¡ oJ Oøxaca.

Fig.2.14 

NIale figurine 

Stendahl statue 

Photograph courtc.sv of the Stendahl Galieries, [,os 

Sue Scott, 7993,'l'cotihtmcnn lvLazapan Figurin(s ilnr.1 

A Link Betu,actt tlta Llnsin of Nlexico nnd tha Ynlit.t¡ 

Fig.2.1.4 

,-\ngelcs, as Plate L0 in 

titt Xr¡tc '['otcc Statue: 

o.f Onrrtcn.

Fig.2.15 

Early figurine resembling Xi¡te Totec 

Teotihuacán culture, 7 lh-gth c. A.D. 

Holiorv clav, FL 4 ft. 

The National fuluseum ot ,{nthropology, ìVIexico, ¡_r}rotograph in 

Pedro Ramirez Yáz.qucz., 1968,'I'ht lintional trILtst,rtnt o_f .lnfhropology: 

IIIEXICL), .lt't ,.\rcltitt,cf tLrt' .1t'cltntt¡Loi¡r¡ . .\ttlltrottolo,:tt, 72. 

Fig.2.15

Fi1.2.1,6 

Figurine with laughing face 

Central Yeracruz 

H 36 cm. Photo from the Vluseum of the American Indian, Heye 

Foundation, N.Y. 123139241, reproduced as Fig. 6.26d, p. 230 in 

Weaver, L993, The Aztecs, Mayn, and Their Predecessors. 

Fi9.2.1.6

Basalt column tomb 

Offerings with 

serpentine pavings 

Fig.2.17 

La Venta, Tabasco 

Middle Preclassic period 

a. Complexes A and C 

b. tomb with basalt columns 

c. mosaic pavement (photograph by 

in Weaver,7993, Thc .,4ztecs, Mayn, 

Fiç.2.17 

N¡Iuriel Porter Weaver) 

and Theit' Predcccssors, fig.3.17, p. 63.

Figs. 11. 12. The Chalcatzingo reliefs and detail (below) 

Fiç.2.1.8 

Relief of armed men (one ieaning against a jaguar idoi) 

Chalcatzingo, Morelos 

Drawing and photo (detail) reproduced as Figs. 1L and 72,P.18, in 

Wicke, 1971,, Oltnec: An Early Art Str¡le of Precoltttnbian NIexico. 

Fig.2.18

Fig.2.19 

Anthropomorphic iaguar upon a reclining human figure 

lVlonument 1, Rio Chiquito, Tenochtitián, 

Drawing as Fig. 19,p.34 in 

Wicke, '1.971, Olmec: An Early Art Style of Precolttmbian Mexíco. 

Fig.2.r9

Fig.2.20 

Fig.2.20 

]aguar atop human 

Monument 3, Potrero Nuevo 

(Discovery by lvlatthew W. Stirling and Phillip Drucker, in Stirling, 7947, 

"On the Trail of La Venta lvfan," in The Nntional Geographic Magazine, 

Vol. XCL No. 2, February, 1947,I37-I72, p. 158.) Drawing as Fig. 22,p.38 in 

Wicke, L97'1., Olmec: An Eørly Art Style of Precolttmbian Mexico.

i,t, 

.t:.:. 

:i+l 

::r'i¿ 

.'.: ;r,r. ',.,. 

:f Sr:l'SIr 

H'{i\i# 

Fig.2.27 

Jaguars overcoming humans 

Petroglyph relief IV, Chalc atzingo, lvlorelos. 

Middle Preclassic period 

Drawing by F. Pratt (after Cay 1972) as Fig. 18,p.33 in 

Miller, L993, The Art of Nlesoarnerica .fto* Olmec to Aztec. 

(Also see photograph and drawing in Gay,1966,61.) 

Fig.2.2't

Fig.2.22 

Fíg.2.22 

Seated youth holding a jaguar-featured human infant 

Stone figurine, Las Limas, Yeracruz. 

Photograph by lvlichael D. Coe as Fig. 2, p. 4 in 

Coe, 1.972, "Olmec Jaguars and Olmec Kings," in 

The CuIt of the Fcline: A Conference in Pre-Cttlutnbian Iconography 

October 31st and No-oember 'Lst, 1.970, ed. Elizabeth P. Benson.

a. 

b. 

Fi9.2.23 

Seated youth holding a jaguar-featured human infant (details) 

Stone figurine, Las Limas, Veracruz. 

a. Drawing showing motifs on body, as Fig. 28,p.51 in 

Wicke, 1971., Olmec: An Early Art Style of Precolumbian Mexico. 

b. God-faces on the seated figure 

Drawings as Fig. 3, p. 5 in Coe, 1972, "Olmec Jaguars and Olmec Kings," in 

The Cult of the Feline: A Conference in Pre-Colurnbian lconography 

October 31,st and Noaember 1st, '1970, ed. Elizabeth P. Benson. 

Fig.2.23

Fig.2.24 

Standing figure holding a were-jaguar. 

Jade,3s7r "high 

Photo from The Brooklyn VIuseumL47.6, as fig. 4, p. 12 in 

Coe, 1965,The laguør's Chíldren: Pre-Classic Central Mexico. 

Fig.2.24

Fig.2.25 

a. Ceremonial axe as an Oimec were-jaguar 

Stone, u,5lB " high. British Museum, London. 

b. Were-jaguar head. 

Stone, 6114,, high. 

American Ìvluseum of Natural History, Ner.v York 3019762. 

Photographs: ø ars fig. 5 and b as fig.6, onp. 6 in 

Coe, 7965, The lngurtr's Cltildren: Pre-Classic Centrnl hlexico. 

Fiç.2.25 

i' 

I 

I 

I

Fi9.2.26 

Derivation oi rain gods from the Olmec vvere-jaguar 

Drarrvirtg (lrvith cleletionl, from N,[igue'l Covarrubias,7957, Indintt Årt oJ 

À'l¿-rictr tttLd CuLtt'a! ,*narica, ¡\lt'red A. K.opi, tnc.) as ftg.7, p. 16 in 

(loc, l9(t',¡,'l'ltc lrt;¡tnr's Cltildrttt: Prt:-Cl¡ssic Cctttrnl;\lc-rico. 

Fíg.2.26

-.*iFqqrg+?.:.,y 

Fig.2.27 

Were-jaguars: anthropomorphic and zoomorphic combinations 

Tabasco. 

Height: Left7.Ts in.; right, 3l /s in. 

Dumbarton Oaks Collection. Photo reproduced as Fig. I, p. \46 in 

Furst, 1968, "The olmec were-Jaguar lvfotif in the Light of Ethnographic 

Reality," Dumbarton onks Conference on the Olmec octobcr 2ïth and 

29th,1-967, ed. Elizabeth Benson. 

Fig.2.27

-t'.- 

:t{þr 

l,:'.:,:â 

-a'.i.,-,: êilÌ'i r r 

:., ì i',r;-:; 

'.{+ii:.1* r, 

.l.ri ¡'."i l:ìl 

{ìl:jíJ.: r:ri 

ils.t¡,:'':: 

Fig.2.28 

Anthropomorphic figure seated on a iaguar-monster, with bird 

Oxtitlan Cave, Guerrero, Nzlexico 

Polychrome Nfural I, \,V3.8 m x H 2.5m. 

Facsimile painted br,' Felipe Dávalos, as frontispiece in 

Grove, 1970, The Olmec Paintings of Oxtotitlnn Caue , Guerr.ero, 

Studies in Pre-Columbian Art and Archaeology Number Six. 

headdress 

lvlexico. 

Fiç.2.28

Fiç.2.29 

Standing Nfan and Jaguar in Sexual Interaction 

(Painting I-d), Oxtitlan Cave, Guerrero, lvlexico. 

Drawing by Felipe Dáva1os, reproduced as Fig. 12, p.17 in 

Grove, 7970, The Olmec Paintíngs of Oxtotitlan Caitc, Gtrcrrero, 

Studies in Pre-Columbian Art and Archaeology Number Six. 

lvlexico. 

Fíg.2.29

Jrtritirirtrtt 

Fig.2.30 

Olmec female dignitary on throne in cave 

Petrogiyph L at Chalcatzingo, Morelos. 

Olmec Culture, Middle Preclassic period. 

Ht. 3.2 m. Drawi.g by Eric Mose reproduced as fig. 10, p. L9 in 

Coe, t965,The lagttar's Children: Pre-Classic Central Mexíco. 

Fig.2.30

Fig. 2.31 

Raltlesnake holding Olmec figure 

Nlorrument 19, La Venta 

Photo as Fig. 25,p.45 in 

wickc., 7971, olmcc: nn early art style of precolttmbian mexico. 

Fig.2.31,

Fig.2.32 

Fig.2.32 

Carved vessel with Vision Serpent 

Late Preciassic period (200 n.c. - n.o. 100) 

Stone, Diam. 12 x H. 1,4.2 clr... Dumbarton Oaks, Washington, D.C. 

Rollout photo by Justin Kerr, as Plate 67e,p.202, in schele and \zliller,19g6, 

The Blood of Kings: Dynasty and Ritual in NInr¡n Art.

a- 

b. 

Fig.2.33 

Early recorded Bar and dot date Nov. 4,291. B.C. (or 31 e.c.) 

Stela C, Tres Zapotes, Vera Cruz State 

a. Photograph by Matthew W. Stirling, in 

Stirling, t939, "Discovering the New World's Olclest 

Dated Work of Man: A klaya lvlonument Inscribed 297 B.C. is 

Unearthed Near a Huge Stone Head by a Geographic-Smithsonian 

Expedition in Nlexico," inNøf íonal Geogrnphic llngnzine, VoI.76., 

b. Lor,ver part of Long Count Date on Stela C, Drarving as Fig. 48, p.77 

Coe,1,990, Mexico. 

Fig.2.33 

212. 

in

Fig.2.34 

Th¡ee figures in jar,vs of animal (possibly the Earth lvlonster) 

Stela D, Near Tres Zapotes, Vera Cruz 

Photo in Stirling, \939, "Discovering the l.lerr' lvorld's Oldest Dated Work 

Ma1._ A_lvJaya 

9f 

Nlonument Inscribed zgr B.c. is unearthed Near a Huge 

-Stone Head by a Geographic-Smithsonian Expedition in Nzlexico," in 

Nationøl Geographic lvlngazine , vol .76.1,83--279, p.1,97. 

Fig.2.34

Fig.2.35 

Warrior-king Harvest lvlountain Lord, witin 465 glyphs 

Stela near La lvlojarra, Veracruz 

Dates.of }y'ray-?l, a.n t¿s and July 1g,1s6are recorded, predating the Maya. 

Prlyir,gbyG_eorge E. stuart, in stuart, r99}b, "New Light on t"h" olmõc," 

in NationøI Geographic Magazine, voi 1g4, No 5, Nov. 1ggg, ttt. 

Fig.2.35

a. 

b. 

Fig.2.36 

Fi9.2.36 

Tuxtla Statuette (Duck-billed hybrid, with bar and dot date of 98 a.c.l, 

San Andrés Tuxla, near La N,Iojarra, Vera Cruz State. Ht 15 cm. 

a. Front View (with bar and dot date of 98 B.C.? or A.D. 162) 

b. Left side c. Back Vierv d. Right side 

Photographs a. and b. as Figs. l and 2p.70; b. and c. as Figs.3 and 4,p.71. 

(respectively), from National lvfuseum of Natural I{istory, Smithsonian 

Institution, reproduced in Sylvia Méluzin, 1987, "The Tuxtla Statuette: 

An Internal Analvsis of Its Writing System," in '[ha Períphery of the 

Southeøstern Clnssic J[nryn Rcnlm, ed. Garv \\'. Pahi, 1987,67-113.

,r¡o, 

/vì \ì u l;! i'/ iv\. 

z-r vìl ll ¡¡J ,,'\ 

i \ i\J/r,i \ 

,,r,ffi4l, ** 

,1'w r i'-:'.; 

tlt&-,,€' :! 

:.--¡_ 

i'\ 

/ ¡^. ':ö,-u \ 

i ffi øs \ 

i ffiF,n "\ 

: r^-m 'ñ 

tPJg 

biJ 

iE* 

i@ 

,1 

i\ 

4ìì 

I 

I 

\*-_--_.i 

'\-----__-/ 

Fig.2.37 

The Tuxtla statuette inscriptions (front, back, and sides) 

(Redrawn from Holmes 1,9h7: pls.34, 40, g6,3g, respectively, and from 

Smithsonian Institution photographs), as Fig. S p. iZ tn 

sylvia Méluzin, 1,987, "The Tuxtla statuette: An Internal Analysis of lts 

writing system," íy The Periphery of the southeastern Claásic lvlayø 

Realm, ed. by G*y W. Pahl, 6T-LIg. 

Fig.2.37

Fig.2.3B 

Tepantitla mural, or Tlalocan (Tlaloc's paradise), patio mural 

Teotihuacan, A.D. 400-600. 

Plrotograph of reproduction in N¡Iuseo Nacional de Antropología, Nzfexico 

Cig (left portion; right extension from peabody kluseunç Haivard 

university), as Fig 17,pp.50-51, in Karl Luckert, 1.976, olmec Religion. 

Fig.2.38

Fig.2.39 

Decapitation Scene 

Stela 2L,Izapa, Chiapas, rVexico. Height: 1.ZB m. 

Photograph: Instituto Nacional de Antropología, Nlexico, 

reproduced on p. 110 in Weaver, 7993, 

The Aztecs, Maya, nnd Thcit' Predecessors: ArchneoLogq of Mesoømerica. 

Fig.2.3e

Fig.2.40 

Fiç.2.40 

Transitional hgure, between Olmec were-jaguar and NIay deity Chac, 

holding sea creature in a basket. 

Stela L, rzapa. Photo (from the New world Archaeological Found,ation 

from lzapa Sculpture, Pnrt I: ALbum, by v. Garth Normãry rg7z, plate 2), 

as Image 39,p.256 in Nlarkman & IVIarkman,1992, 

The Fløyed God: The Mythology of Mesoameríca: Sacred Texts €t Images 

from Pre-Columbian Nlexico €¡ Central America.

Fig.2.41. 

Danzantes, Nzlonte Albán 

Late Preclassic period 

çllawlng (after Batres 1.902: pl. V) as frontispiece in 

Iohn F. Scott, 1,978, The Danzantes of Monte Atbrín. 

Fig.2.41

a. 

b. 

Fig.3.1 

a. Soverign Plumed Serpent, from tlne Dresden Codex 

b. The Heart of Sky, Named Hurricane 

Drawings by Karl Taube, (a) p. 64 and (U) p. 65, inTedlock, 1996, 

Popol Vuh: The Definitiae Edition of the Mayan Book of the Dazun of Ltfe 

and the Gloríes of Gods and Kings. 

Fig.3.1

Fig.3.2 

Maya Maize God 

From Temple 22, Copán, Honduras. Late Classic period 

Stone. Photograph BNt 321-1.886. lvluseum of Mankind, Londory 

Taube, 7993, Aztec ønd Maya Myths: The - Legendary - Pøst, 61,. 

Eig.3.2

Fig.3.3 

Couple named Ometecuhtli ("Two Lord") and Omecfüuatl ("Two Lady"), 

as a personified primordial creative force at the beginning of time 

Codex Borbonicus, ca. A.D. L525. Mexico, Aztec. Amate paper. 

Bibliothèque de I'Assemblée nationale français, Paris. Photo: Codex 

Borbonicus, L974, p.21, as Fig. 3, p. 188 in 

Àzloctezuma, L992, "The Aztec Main Pyramid: Ritual Architecture at 

Tenochtitlan," in The Ancient Americøs: Art from Sacred Løndscapes, 

general ed. Richard F. Townsend and ed. Elizabeth P. Bensorç 1992. 

Fig.3.3

Fig.3.4 

The Earth Mother goddess destroys the foot of.Tezcztlipoca 


Image from codex as Fig. 11,p.76 n Markman and Markmart,1994, 

The Flayed God: The Mesoamericøn Mythological Tradítíon. Sacred 

Texts and Images from Pre-Çolumbiøn Mexico ønfl Central Americø. 

Fig.3.4

Fig.3.5 

Fig.3.5 

Quetzalcoatl and Mictlantecuhtli linked in underworld dance 

Aztec Codex Borgia 

Image (from Akademische Druck u. Verlaganstalt from Codex Borgia, 

1976, p.56) as Plate 23 aÍter p.270 in Markman and Markman, L992, 

The Flayed God: The Mesoamerican Mythologícal Traditíon. Sacred Texts 

ønd Images from Pre-Columbían Mexico ønd Centrøl America.

{j'':¡'?' 

'f.,. --. 

Lt.t. 

i.'þ 

.¡,þ- . 

-"ç 

Lot! nduiá lf'ai otnzttào î-- 

-or/, t6'lo ¿E^ aui'ìl t/Lo{1t/"^ 

Fig.3.6 

Chicomoztoc, Seven Caves, Teotfüuacan 

The Aztec Cave of origin (the place of seven Caves under þramid 

sun at Teotihuacan), with twisted hill symbol of Colhuacan at top. 

shows the birth of the Aztec tribes from the mountain womb. 

Fig.3.6 

of the 

Image 

Historía Tolteca-Chechimecø codex, Mexico, Valley of Puebla, 1,ss0lT0, 

Bibliotheque nationale, Paris. Photo of codex, fol,. 1"6r., as Fig. 7, p. ITB in 

Townsend, 1992, "The Renewal of Nature at the Temple of Tlaloc," in 

The Ancient Americas: Art f"rom Søcred Landscapes, ed. by Richard F. 

Townsend, 1992.

,.ot4 

Fig.3.7 

Fig.3.7 

The earth personified as the earth goddess Tlazonlteotl (or an 

impersonator) wearing flayed skin and giving birth to a warrior. 

Aztec Codex Borbonícus, c. L525. 

Amate paPer. Bibliothèque de l'Assemblée nationale français, Paris. 

Photo: Codex Borbonicus, 1974, p.L3, as Fig. 10, p. 180 in 

Townsend, 'l-992, "The Renewal of Nature at the Temple of Tlaloc," in 

The Ancient Americas: Art from Søcred Løndscapes, ed. by Richard F. 

Townsend, 1,992.

Fig.3.8 

Fig.3.8 

Ixchel (Goddess O ) and Chac, deities associated with water 

Mødríd Codex, Page 30 

Possibly L5th century 

Upper part: Chac, the rain god, and Goddess O (Ixchel) pouring water; 

Lower part: Goddess O (Ixchel) with water emerging from her body, as 

God B sits at her left. Photograph from the American Museum of Madrid, 

in Pierre Ivanoff, 1973, Monuments of CiuíIizøtion: Maya, 89.

Fig.3.9 

ChaIchíuhtlicue 

Early colonial L6th c. Aztec Goddess of lakes, streams and birth 

Codex Borbonicus, p.5. 

Photograph: Akademische Druck-und Verlagsanstalt, in 

Taube, 1993, Aztec and Maya Myths: The . Legendøry . Past, 35. 

Fig.3.9

s, \s,.18 6 

Y? 

Fig.3.10 

rloaa 

ffi BæÉ 

Fig.3.10 

Tlaloc temple, with five images of Tlaloc, the Tlaloc mountain, and 

females in openings representing the earth 

Codex Borgia (of the Mixteca-Puebla region in Mexico, ca 1300-1_400) 

Animal hide. The VaticanLlbrary, Vatican Cify. 

Photo: Codex Borgía 1967, p.28, Gr. B. Abschnitt 12, asEig. 6, p. 77T n 

Townsend, 1992, "The Renewal of Nature at the Temple of Tlaloc," in 

The Ancient Americøs: Art from Søcred Landscapes, ed. by Richard F. 

Townsend, 1992.

Çnaa'm 

iunut4 

Fig.3.11 

Fig.3.11 

Tlaloc seated on a mountain emitting a skeam. 

Codex Borbonicus, Mexico. 

Aztec, c. 1525 (amate paper). Bibtiothèque de I'Assemblée nationale 

français, Paris. Photo: Codex Borbonicus, 1974,p.7, asFig.8, p.179 in 

Townsend, 1992, "The Renewal of Nafure at the Temple oi Tlaloc," in 

The Ancient Americas: Art from Søcred Løndscapes, ed. by Richard F. 

Townsend, t992. 

/,1-

Fiç.3.72 

Fig.3.12 

World axis tree of life 

IzapaStela 5 (ca. 100 n.c.) 

Photograph from New World Archaeological Foundation, from lzapa Sculpture, Part I: 

Album, by V. Garth Norman, 1973, Plate 10, reproduced as Image 7, p. 154 in Markman 

and Markman, 1992, The Fløyed God: The Mythology of Mesoømerica. 

Sacred Texts €t lmages fto* Pre-Columbiøn Mexico €¡ Central Americø.

Fig.3.13 

Mixtec tree birth scene 

Codex Vindobonensis, Late Postclassic period 

Reproduction as Lamina ñlf (37), p. 85 in 

Mena, Yáñez, and Núñe2,1967, Antigüdades De México: 

recopilación de Lord Kingsborough. Volumen fV. 

basadas en Iø 

Fig.3.13 

ð 

éÊ:r 

'øft 

5,Ê 

"'j

Fig.3.74 

Fíg.3.1.4 

A tree attended by the corn god Cinteotl symbolizes world view and 

creation in the Codex Borgiø, 1,4. 

Drawing by A. Flores, as Fig. II,p.12tr. 

Doris Heydery 1,981, "Caves, Gods, and Myths: World-View and Planning 

in Teotihuacan," in Mesoamerícan Sítes and World Views: A Conference 

øt Dumbarton Oaks October 1-6th ønd 17th, 1-976.

Fig.3.15 

Fig.3.15 

Møyahuel, Goddess of maguey. 


Late Postclassic period. Drawing in 

Miller and Taube,1993, The Gods and Symbols of Ancient Mexico and the 

Møya: An lllustrøted Díctioftaly of Mesoamerícan Religion, LIL.

Fíg.3.16 

Fig.3.16 

The "]aunry Vase" 

Late Classic Maya polychrome four-sided vase (Sides I and tr) 

Photo by justin Kerr, in Taube, 1.994, "The Birth Vase: Natal Imagery in 

Ancient Maya Myth and Ritual," inThe Maya Vase Book: A Corpus of 

Rollout Photographs of Maya Vases by lustín Kerr, Volume 4, 1994, eds. 

Barbara and Justin Kerr, 650-685, p.650-651,.

SIDE III 

Fig.3.77 

Fig.3.17 

The "Jauncy Vase" 

Late Classic Maya polychrome four-sided vase (Sides Itr and tV) 

Photo by Justin Kerr, in Taube, 1.994, "The Birth Vase: Natal Imagery in 

Ancient Maya Myth and Ritual," inThe Maya Vase Book: A Corpus of 

RoIIout Photographs of Maya Vøses by lustin Kerr, Volume 4, '1994, eds. 

Barbara and ]ustin Kery 650-685, p. 650-65L.

Fig.3.18a 

Fig.3.18a 

Goddesses known as the Cihuateteo (deified women who died in 

childbirth trtiog birth to warriors) 

Tenochtitlán, State of Mexico 

Ht. approx 27.5 to 30.5 inches 

The National Museum of Anthropology 

Photograph by Miguel Salgado, pp. L08-L09 in 

Ramirez Yazquez,1968, The National Musewn of Anthropology: Mexico. 

Art - Architecture - Archaeology - Anthropology.

Fig.3.18b 

Fig.3.18b 

Goddesses known as the Cihuateteo (deified women who died in 

childbirth giving birth to warriors) 

Tenochtitlán, State of lvfeúco 

Ht. approx27.5 to 30.5 inches 

The National Museum of Anthropology 

Photograph by ivliguel Salgado, pp. 108-109 in 

Ramirez Yazquez, L968, Thc Nntionnl Museum of Anthropologv: NIexico. 

Art - Architectttre - Archaeologt¡ - Anthropology.

Fig.3.19 

Fig.3.19 

Cihuateteo goddesses surround Quetzalcoatl while engaging in a dance 

Codex Borgia, 40, asEig. I27,p. 190 in 

Martí and Kurath, 1964, Dances of Andhuøc: The Choreography and 

Music of Precortesíøn Dances,

Fíg.3.20 

Tonacatecuhtli, "god of creations and beginnings," "Lord. of our 

sustenance,"and paqon of cipactlí, the first day. Codex Borgía. 

Drawing by Karl Taube, on p. 1Z3 in 

Miller and Taube, L993, The Gods and symbols of Ancient Mexico and the 

Maya: An lllustrated Díctionary of Meioamerican Religíon. 

Fig.3.20

Fi9.3.21, 

Fig.3.21 

Pacal and an elite woman perform the Snake Dance. 

In a ritual emulating creation by the deities, they wear the costumes of 

First Father and First Mother. House D pier, palenque, Chiapas 

!r11vgS 

bV Merle Greene Robertson, as Fig. 6:15 p. U+ n 

Freidel, Schele and Parker,799J, 

Møya Cosmos: Ten Thousønd Years on the Shøman's pøth. 

a 

o 

Ê 

-t o 

ú oI(, 

o 

(J 

{J 

o 

¿ 

\ lt 

Èô 

.á Bd, 

=t

they t¡vere botn 

The Paddlers 

under th€ auspices of 

Shield God K 

Fig.3.22 

Inscription on Dos Pilas Stela 25 

"The Paddlers were born under the auspices of Shietd God. K." 

4.D.7!1., date and rituals of the end of a katun. 

Drawing by Linda schele as Fig. rv.3b, p. 183, in schele and Miller, 1986, 

The Blood of Kings: Dynasty and RituøI in Maya Art. 

Fi9.3.22

ffi-Ín4ll,., 

EWÉryUI-, 

lAFå^. 

vY'#{y " 

l- -.-.-._--ã 

L-:ËHl vl 

M; [Æ 1" 

l@ l_ 

ræ_Fì 

lWIlf trr 

Eæu 

fl Æ" 

eÅ rr 

ffi_,', 

@" 

N"' 

å)g ur 

l$r vu¡ 

ø" 

Fig.4.1, 

Fig.4.1, 

Layers of the cosmos 

From t}ne Codex Vøticanus 3773 (Yaticanus B). 

The earth (I) is counted as a layer of both the nine layers of the underworld 

and the thirteen layers of the heavens. The sun (rV), moon (II), venus 

(V), and the Fire Sticks constellation (VI) occupy their own levels. 

Codíces Selecti vol. X)O(VI. Graz: Akad. Druck-u Verlag. 

Drawing as Fig. 3, p.'1.6 in Aveni, 1980, skyr.uatchers of Ancient Mexico.

Quadripartitc 

Cod, thc rcar 

hcad of thc 

Cosmic Monster 

Maw of the 

Underworld 

Vsion Serþent 

as the branches 

of the tree 

Jaguar 

Tkin 

Xib-Chac as 

the Eveningstar 

rising from the 

Underworld 

Celestial Bird Venus sign The World Thec 

bloody waters of 

thc Uñderworld 

",løWÐffi 

Xibalbans 

black waters of thc 

Middleworld 

front head of 

the Cosmic 

Monster 

Fig.4.2 

Fíg. 4.2 

The Maya Cosmos, with Venus as Eveningstar (Chac-Xib-Chac) rising 

from the Underworld 

Tripod Plate, Late Classic Period A.D. 600-800 

Drawing by Linda Schele as Fig. 2:4, p.70, in Schele and Freidel,1.990, 

A Forest of Kíngs: The Untold Story of the Ancíent Møya.

zoomorphic mask 

Water B¡rd beak 

Celest¡al Bird 

plant end view of maize 

'// 

blood and sacredness (God C) 

blood and 

sacredness 

ear ol corn as a human head 

Water-lily Monster 

Fig. a.3 

Maize Cross, Temple of the Foliated Cross, Palenque, Mexico 

Late Classic, e.o.672 

Drawing by Linda Schele, as Fig. TV.4, p.195, in 

Schele and Millet, \986, 

The Blood of Kings: Dynasty and Ritual in Mayø Art. 

Fig.4.3

Fig.4.4 

The World Tree 

Drawing by Línda Schele, as Fig. 2:'1, p.67 in Schele and FreideI,1,990, 

A Forest of Kings: The Untold Story of the Ancient Maya. 

Fig.4.4

caban signs 

Sky-Band 

Earth Band 

Fíg.4.5 

shel¡ scroll 

o oo ô ooô ". . @Jläii@)""" waleFlily 

monslef 

Waler Bands 

Fíg.4.5 

Skyband, Earth Band, and Water Bands. 

Drawings þr Li"aa lchele as Figs. 26,27, and28, respectively, on p. 47 in 

Schele and Miller, 1986, 

The Blood of Kings: Dynøsty ønd Ritual in Mayø Art.

@ 

t:T) 

ffiffi 

dotot 

house 

te-tuq 

tree-stone, 

the glyph for stela 

æ 

MpiEil 

ballcou¡t 

Wearthband, cøD 

lViz ("mountain") Monster 

oooo@"0*r"lô)ooo 

w 

nab 

swamp or 

shallow lake 

the surface of water 

@c€note or 

water hole 

cave in ea¡th 

Fíg.4.6 

- Witz-Mountain monster, with cauac signs and the Maize God 

- rlJ/itz Monster mouth as a cave 

- Symbols for house, ballcourt, swarnp or lake, cenote, stone stela, 

sky, earthband, and cave 

Drawings by Linda Schele, as Fig. 2:2, p.68 in Schele and Freidel,1990, 

A Forest of Kings: The Untold Story of the Ancient Maya. 

Fig.4.6

ear head and tail of 

¡ the Vision Serpent 

forehead of 

Wrtz Monster 

unknown upperlrzø l¡ont head of Vision SerPent 

leaf 

Witz-Mountai¡ Mcoster 

Vsion Serpent 

path 

beteen the 

human and 

supernatural 

worlds 

-gun¡ainc 

and forests 

of the land 

waters and 

fishes of 

the primordial 

sea 

Fig.4.7 

Fig.4.7 

Layers of the Cosmos, with witz-Mountain Monster, primordial waters, 

and a Vision Serpent 

Uaxactún Strucfure H-X-Sub-3 

Drawing (after ]uan Antonio Valdés, 1-988, "Los mascarones Preclássicos de 

Uaxactún: el caso del Grupo H," inPrimer Simposío Mundial Sobre 

Epigraphía NIaya, 165-181, Guatemala City: Associación Tikal), as Fig. 4:7,p. I38 

in Schele and Freidel, 1990, 

A Forest of Kings: The Untold Story of the Ancient Maya.

Fig.4.8 

Masonry facade with carved images of hut, lattice patterns, stylized 

serpents, and mask 

The Quadrangle, IJxmal, Yucatan 

Late Classic period, 9th c. e.D. 

Photograph by Charlotte Werner 

Fig.4.8

Fíg.4.9 

Arch at Labná, Yucat¿ín 

Puuc architecture, Late Classic period 


Fig.4.9

Fig.4.10 

Kinh and solar motifs in the universe 

Classic Period, Yaxchil¡ín 

Codex Vindobonensis Mexicanus l. Drawing source: 

Akademische Druck-u. Verlaganstalt, reproduced as Image 

Markman and Markman, 1,992, The Flayed God: The 

Mesoamericø. sacred rexts €¡ lmages f'rom pre-corumbian Mexico €¡ 

Fig.4.10 

10, p.158 in 

Mythology tf 

Central America.

The Moon Goddess 

moon sign 

Fíg.4.1,1, 

Moon goddess with rabbit consort, seated in moon sign 

Drawing by Linda Schele as Fig. 49,p.55 in 

Schele and Miller, L986, 

The Blood of Kings: Dynasty ønd RítuøI in Maya Art. 

Fi9.4.17

Fig.4.12 

Moon with rabbit consort (cast whistie figure). 

]aina Island, Campeche. Early Classic period, 250 e.o. - 600 e.p. 

H 13.5 cm, W 6.9 cm. Photograph as Fig. 1, p. 18 in 

Gomez, 7978, Los Mayas: The Manuel Barbachano poncel Mayan Art 

Collection, Exhibiiion catalogue, L97B I 79 I 80. 

Fig.aJZ

Fiç.4.13 

Solar deity in jaws of the Earth Monster 

Dresden Codex 4-5b 

Drawing as Fig. L8, p. 60 in 

León-Portilla, L988, Time ønd Reality ín the Thought of the Mayø. 

Fig.4.13


Fig.4.1.4 


Drawing by Linda Schele, in Schele and Freidel,1990, 

A Forest of Kings: The lrntold story of the Ancient Maya, 41.s. 

Fiç.4.L4

d¡sk and braided r¡bbon 

The Celest¡al B¡rd 

The Waler Bird 

The Muan B¡rd 

The Sacred Birds 

Fig.4.1.6 

Celestial Bird, Muan Bird, and Water Bird 

Drawings by Linda Schele, as Figs. S0, SL, and52, on p. 55 


The Blood of Kings: Dynasty and Ritual in Maya Art. 

Fig.4.76

a. 

b. 

fronl head 

cross-banded eye 

crocodile foot 

cauac sign 

Celestial Monster from Copan Allar 41 

Maize God 

Cauac Monster lrom Bonampak Stela 1 

Fi9.4.15 

Ouadripartite Badge (crossed-band 

stingray spine, shell, and bowl) 

rear head 

Fig.4.15 

a. Cosmic Monster (Celestial Monster/Bicephalic Monster), Copán AItar 41, 

b. Cauac Monster from Bonampak Stela 1 

Drawin_gs by_Linda Schele, with captions, a) as pafi of Fig. 22 and b). as Fig. 

23,p.45 in Schele and MilleL L986, 

The Blood of Kings: Dynasty ønd RituøI in Møya Art.

Fig. 4.17 

Maize God rising from a turtle shell, attended by the Hero Twins 

ffaya codex-style plate (interior), Guatemala o, -Cu*peche. 

Late Classic Period, 8th c. A.D. 

Drawing by Karl Taube, in 

Taube, L993, The Legendary Past: Aztec and Maya Myths, 77. 

Fiç.4.77

Fig.4.18 

Maue God emerging from the earth as a turtle shell with Chac heads 

Late Classic Period vessel 

Drawing by Karl Taube, in Taube, Lggg, Aztec and Maya Myths, 66. 

Fí9.4.1s

Gl/Chac.X¡b.Chac 

Ë@ffi 

Chac Xib Chac Water 

Ax.wielder lrom lhe Melropol¡lan pot 

Fig.4.19 

God GI as Chac Xib Chac 

Drawings by Linda Schele, as Fig. i2, p. 49 tn 


The Blood of Kings: Dynøsty and Ritual in Maya Art. 

slring knots 

Fish¡ng on the Ïkat Bone 

Fig.4.19

Fig.4.20 

a.boddess O with inverted ¡ar, from Dresden Codex, p.43b 

b. Goddess o, with liquid streaming from breasts and gËnitals 

Madrid Codex, Post-Classicperiod. 

Drawings as Fig. 50(d) and (g), p. L00 in 

Taube, 1992, The Major Gods of Ancient yucatan. 

Goddess O, Classic and Post-Classic periods: 

c. Goddess grasping a serpent, Tulum Structure L6 

(after Arthur G. Miller, 198i, on the Edge of the sea: Mural painting at Tancah- 

Tulum, Quintana Roo, Mexico, DumbartonOaks, Washingtory D.C.: p1.32) 

- Goddess o with inverted water vessel (featuring clawed 

feet and Ix "y"), detail from Dresden codex õTa. post-Classic period. 

Drawings as Fig. 51 (a) and (d), p. 102 in 

Taube, 1992, The Major Gods oj Ancient yucatan. 

Fig.4.20

Fig.4.21. 

Goddess O 

Goddess with tipped vessel, with clawed feet and Ix eye 

Dresden Codex, 67a, in Förstemann, Maya Handscñrift: der Sächsischen 

Løndesbibliothek Dresden: Codex Dresdensis, 46167. 

Fiç.4.21

a. 

b. 

Fig. 4.22 

Chac (sometimes called God B) 

a. Chac as a warrior with armour, axe, and lightning serpent 

(from Dresden Codex page66al4S). 

b. Chac with flaming serpent in mouth (detail from belt assemblage) 

Yaxha Stela 4,Early Classic period 

(drawing by Taube, after T. Maler, L908-L0, Explorations in the Depørtment of 

Peten, Guntemala, ønd Ad.jacent Region. Memoirs of the Peabody Museum oiAmerican 

Archaeology and Ethnology 4. Harvard university, cambridge, Mass.. pl. 16.I). 

Drawings a. and b. from Fig. 6 (a) and (d) p. Z!, jn 

Taube, 1992, The Major Gods of Ancient yucatan. 

Fig.4.22

Fig.4.23 

God GI, in form of a Quadripartite Monster headdress 

Pluryitg by Linda Schele as Fig. 3I, p.48, jn 


The Blood of Kings: Dynasty and Ritual in Mayø Art. 

Fig.4.23

god markingã 

Fí9.4.24 

God K (God tr of the Palenque Triad) part of the Manikin scepter 

Yaxchilan, Lintel 3, Late Classic period 

Drawing by Linda Schele, in 

Miller and Taube,1993, 

The Gods ønd Symbols of Ancient Mexico ønd the Mayø, II1. 

Fig.4.2a

iaguar paws and ta¡l 

c. 

d. 

Glll as The Jaguar God of the 

Under$orld (JGU) 

Glll as The Baby Jaguar 

õi' o-.e-:t 

JGU as a war shield 

b. 

W 

Fig.4.25 

Glll as The Waterlity Jagual 

God GItr 

a. as the Sungod 

b. as The Jaguar God of the Underworld 

c. as the Baby Jaguar 

d. as the Water-lily laguar 

lr_aryings 

by L. Schele, as Figs. 34,35,36 and 3Z respectively, pp. 50-5L, in 



Fig.4.25

Fig.4.26 

Toltec Warrior with Tlaloc and year-sign headdress, 

Early Postclassic Stela (Toltec) 

Tula, Hidalgo H I22 (48). 

Museo Nacional de Antopologia, Mexico. 

Photograph by Mary Ellen Miller, as Fig. lM, p.ln tn 

Mller, 1993, The Art of Mesoamerica from Olmec to Aztec. 

Fig.4.26

Fig.4.27 

Quetzalcoatl with conch shell pectoral, double-headed hybrid serpents, 

and hands as quetzal heads. 

Palma (detail), Late Classic period, Veracrrrz. 

Dt3y_llg by Karl Taube (after Theodor-Wilhelm Dänzel, 1923, Mexiko I, Germany) 

in Miller and Taube, 1993, 

The Gods ønd Symbols of Ancient Mexico and the Møyø, L41.. 

Fiç.4.27

"'mWffi *ilpwm 

*@ffiffi G6 ffi 

",m ffi ffi ",mw @ 

"-mffiffi .,ffiffiffi 

",ö@ffi 

Fiç.4.28 

Glyphs representing the nine Lords of the Night. 

Drawing by P.Dunham, as Fig. 58, p. 1,62 in 

Aveni, L980, Skywatchers of Ancient Mexico. 

Fig.4.28

Fig.4.29 

Night Scene of God L presiding over Xibalba lords in lJnderworld Palace 

Rollout of Late Classic rylindrical vase 

Probably Érom Naranjo, Guatemala, 

Drawing by Diane Griffiths Peck, reproduced as Fig. 134, p.169 in 

Coe, L988,The Maya. 

Fiç.4.29

a. 

Fig.4.30 

God A as a death god 

a. Dresden Codex, p. 13a (detail), Post-Classic 

b. Xunantunich Altar I, Classic period (detail redrawn by Karl Taube after 

Ian Graham, 1978, 2:127) 

c. Codex Borgia p. 15 (detait): Mictlantecuhtli, the Post-classic period 

central lvlexico skeletal death god 

Drawings by Karl Taube, as Figs. 1. e, f, g, selected from Fig. L, p.12 tn 

Taube, 1992, The Major Gods of Ancient Yucatøn. 

b. 

c. 

Fig. a.30

Fig.4.31, 

Fig.4.31 

God GI wielding an axe near deer; cormorant, and figure with blowgun 

Ten Gods in Xibalba, Three-part scene, 

Poiychrome vase, Northern Petén 

Height: 17.7 cm 

Text: Primary Standard, Secondary Nonrepeai. princeton text. 

Anonymous collection. Rollout photograþn uv ]ustin Kerr, in Coe, 'Lg7g, 

Lords of the Underworld: lvlasterpieces of Classic NIava Ceramics, 61-62.

4.32 a 

4.32b 

w@m 

Fig. a.32 

Fig.4.32 

Supernaturals' Facial Types, from Dresden Codex and iVIaya monuments 

God B and God D appear in each others'headdresses 

a. God B (a Long-nosed god), appears on the head of God D (Ð, and God D 

wears a headdress containing the head of God B (ii): Dresden Codex 

b. Head imagesfrom Maya monuments, including a Long-nosed God and 

Roman-nosed God (i-ia, ai and aiii) Copán; a. -palenqùe; aii. Tikal) 

Drawings (a) as Fig. 97 and (b) as Fig. 96,p.TS n 

Spinden, L957, Maya Art and Ciailization,

î7.,,# e@ @ 

.t, ; 

Fig.4.33 

Deities with glyphic text of their names and epithets 

Dresden Codex, p.10, 

Förstemann, 1962, NLava Handschrift: der Sächsischen Landesbibliothek 

Dresden: Codex Dresdensis, Berlin, Akademie-Verlag. 

ç) 

Fig.4.33

Fig.4.34 

Dragon Nlonster, Kaminaljuyú Stela 28 

H,53cm W 133 cm Dgcm 

Jorge Castillo Collectiory Nfuseo popol Vuh, Guatemala. 

Photograph courtesy of the museum, reproduce d as Fíg. I.I7, 

Parsons, l9SS "Ivliraflores-Arenal Sculpture," in 

Benson and Griffith, eds., 7988, NInyn lconographq. 

p.27 in 

Fig.4.34

q 

#Þ' \_-_-tì= 

-DRÄcoN lvfASKS oF Dlv_rsIoNS r AND 2. a, Kaminalju¡r, Monument 2. b, Kaminalju¡u, 

ìliil i:Í; f."Htif¡il:'1,Í;"1',i;ffTg;r::¿t f;rj'"p",'str'" i' i, r"p;, bt"r''r.'s. úi"; 

-lf.{sKs OF DIVrSION 3 ã, Krdinrliuyu, Srela 10. ó, Kminaliu¡r, Stêla lO. c, K¡minaliurufj"lå*î;j;,flli1,åst.r. 

r. ", r*in"¡"yu,-'s,'"Ë ii.l. rcl;í;"ùöiliii;1. Nh 

à..r*i"iû",i,..i,iäl"iï. 

Fig.4.35 

Dragon Nlasks, Kaminaljuyú, Izapa 

Drawings in S.W. Miles, "Sculpture 

and Pacific Slopes" in Handbook of 

r@ 

of the Guatemala-Chiapas Highlands 

Middle Atnericøn lndians, 239, 240. 

Fig.4.35

Fig.4.36 

The Vision Serpent 

Drawings by Linda Schele as Fig. Zsa-b,p. 47 in Schele and lvliller, LgB6, 

The Blood of Kings: Dynasty and Ritttal in Maya Art. 

Fig.4.36

Fig.4.37 

Serpent and Reptilian Icons 

- Lintel 25 Yaxchilan, jaws of Vision Serpent 

- Uxmat, facade ornament 

- God K head on snake body,Codex Mødríd, gl (detail) 

Drawings as Fig. 21,:2, p.Z}g rn 

Prudence M. 1.999,'Reptiles T"? and Rulership: A Stylistic Analysis 

Peten Postclassic pottery," 

of 

in 

Word and Image 

.ín 

Møya Culture: ixplorøtions in Langtrøge, Writing, 

and Representation, eds. Hanks and i{i.", 1,ggg. 

Fig.4.37

. 

Fig.4.38 

a. Eccentric flint 

Late Classic period, a.d. 600-800 

Flint, 25x 41..1, x 2 crn. 

(Dallas Museum of Art. The Eugene and Margaret McDermott Fund, in honour of 

Mrs. Alex Spence), photograph by lustin Kerr, as plate 1,1,4, p.295, 

b. Personified eccentric flint, Tablet of the Slave, palenquä 

Drawing by Linda Schele, in Fig. ZJ, p.46. 

Photograph and drawing in Schele ãnd Miller,'J.996, 

The Blood of Kings: Dynasty ønd RítuøI in Maya Art. 

Fig.4.3s

ffi 

f 

æ æ ffi 

d 

s@ 

w4 

U b¿iJ, 

h 

M 

æ8 

@ffi 

j 

Fig.4.39 

Fig.4.39 

Deities from the Dresden Codex, along with their narne glyphs. 

a. the Death God; b. Chac (the Rain God); c. the North Star God; d. Itzamná; 

e. a l:ly4.aiz.e God; f. the Sun God; g. the Young Moon Goddess; h. Bolon 

Dzacab; i. Ek Chuah (Merchant God); and Ix Chel (old Moon Goddess and 

the Goddess of Medicine). 

Drawings (after Günter Zimmerman, '1.956, Die Hierogly[hen der Møya- 

Høndschriften, Hamburg, Tables 6,7) asEig.I32,p. 165in 

Coe, L98& The Maya.

Fig.5.1 

Cenote of Sacrifice 

Chichen Itzá, Yucatán 


Fig.5.1

Msl Ë5æG, 

ñ grrc cll¡ 

ß¡¡OO l: tiottCclo¡ ttcû t¡r& 

LOCALIZACION Y ORIEI{TACIOI¿ DÉ LA CUEVA 

SITUADA EAJO LA PIRAIIID€ CI€L gOL EN 

T€OTIHUACAN, EDO. D€ I,IEXICO 

1 

{þ..ff ffiftdl 

ou lr 

IdÐM¡LTXtruO. Eæ& 

Fig.5.2 

Fig.5.2 

Caves under the Pyramid of the Sun, Teotihuacán 

Seven caves: four-petal floral-shaped chamber, entry, chambers, tunnel. 

Instituto Nacional de Antropologia e Historia, Mexico. 

Drawing as Fig. 1., p.2, in 

Heyden, L98'l', "Caves, Gods, and Myths: world-view and planning in 

Teotihuacan," in Mesoamerican Sítes and World-Views: A Conference at 

Dumbarton Oaks October 1-6th ønd L7th, L976, €d.Elizabeth P. Bensorç 1981.

Fig. 5.3 

Aztec warrior in flayed-skin eagle costume 

Life-sized, hollow terra-cotta ceramic sculpture 

Gult Coast. Instituto Nacional de Antropologia e Historia. Photograph 

lvfary Ellen Miller, as Fig. 170, p.213 in 

Miller, 1993, The Art of Mesoamerica from Olmec to Aztec. 

Fig.5.3 

by

Fig.6.1 

Fig.6.1 

Hand holding bruslu emerging from jaws of supernatural being 

Incised bone 

Drawing (redrawnby Kay Clahassey fromCoe, lgTT,"SapernaturalPatrons of Maya 

Scribes and Artists," in Social Process in Maya Prehistory, ed. Norman Hammond, fig.3), 

as Fig. 14.2, p. 23'1,, in Marcus, L992b, "Royal Families, Royal Texts: 

Examples from the Zapotec and Maya," in Mesoamerícan Elítes: An 

Archøeological Assessment, ed. by Diane Z. Chase and Arlen F. Chase.

Fig.6.2 

Old deity instructing disciples 


Rollout photo by ]ustin Kerr @ 1981, reproduced as Vessel 56, p. 53 

Robicsek and Hales,198'J-., The Maya Book of the Dead. 

Fig.6.2

Fig.6.3 

Anthropomorphic monkeys as scribes (books closed) 


Rollout photo by Justin Kerr @ L98'1., reproduced as Vessel6J, p. 56 in 

Robicsek and Hales,I98t, The Mayø Book of the Deød. 

Fig.6.3

Fig.6.4 

Anthropomorphic monkeys as scribes (books open) 


Rollout photo by ]ustin Kerr @ 798],, reproduced as vessel 64, p. s6 in 

Robicsek and Hales,198t, The Maya Book of the Dead. 

Fig.6.a

a. 

b. 

Fig.6.5 

a. Palace scene with old lord, youthful maiden, beheading, and rabbit scribe 

recording the scene. 

Calakmul atea, southern Campeche 

Collection: The Art Museum, Princeton University, gift of the Hans and 

D-orothy Widenmann Foundation (75-17). Ht: 21.5 cm, Publication: Coe 1973 (Grolier 42) 

Photograph by justin Kerr, in coe, !978, Lords of the rrnd.erwoìId: 

Masterpieces of Classic Møya Ceramícs, IT-20. 

b. Rabbit scribe (detail), drawing by Diane Griffiths pecþ as Fig. 1.30, p. 1,42 

in Coe, 1988, The Møya. 

Fig.6.5

Vessel 69 

Fig.6.6 

Anthropomorphic scribes 

Codex-style paintings on ceramic vessels 

a. Rollout photo by ]ustin Kerr @ 1981,, reproduced as VesseL71, trL 

Robicsek and Hales,198t, The Maya Book of the Dead, 58. 

b. Rollout photo by justin Kerr @ 1981., reproduced as Vessel69 n 

Robicsek and Hales,Lg8l, The Maya Book of the Dead, 58. 

Fig.6.6

@ w 

affi 

fls 

ffi 

^ãg 

"rffi 

Fíg.6.7 

Sculptors' signatures, Piedras Negras area 

a. Throne I (drawing by Houston) 

b. Panel in Cleveland Museum of Art (after Schele and Miller'1986: pl. Ð 

c. Stela L5, Piedras Negras (drawing by Houston) 

d. Penel in New orleans Museum of Art, Accession No. 67.3L (drawing by 

Houston) 

Drawings as Fig. 5-9, p.135 in 

Stephen D. Houston, 1993, Hieroglyphs and History at Dox Pilas: Dynastic 

Politics of the Classic Møya, Austin: University of Texas Press. 

Fig.6.7

(ft rpos) 1.18.3.12.0 'slçy' 

event 

(on) 9 Ik 15 Ceh 

he experienced title 

the earth (GI) 

ffi,ffiffi ffi 

child of 

untfl he 

rrtos born 

Fig.6.9 

Glyphic recording of the birth of God GI of the Palenque Triad 

Palenque Tablet of the Cross, D13-F4 

Drawing by Linda Schele, as Fig. 33, p.4Z n 

Schele, 1982, Maya Glyphs: The Verbs. 

qncestrol goddess 

ffi 

title 

Fis.6.9

Part 1 

Part 2 

subject 

cqlendric dqta 

æffi 

ffiffi 

(it was) 12 dcys, 6 uÍnols 

since he died / the ruler 

(wttilon)8Oc/SKaYab 

Fig.6.10 

he urcs seated / name or title 

ncmes or titles 

Mah Kina / Chan-Bahlum 

he t'accededt' / offíce?? 

Lord of Polenque 

Fig.6.L0 

Accession of Chan-Bahlum, recorded in a glyphic couplet form 

Palenque Palace Tablet, 11,4-L1,1, 

Drawing by Linda Schele, as Fig. U, p.47 in 

Schele, t982, Maya Glyphs: The Verbs.

ffi 

öffi 

ffi 

ffi 

wffi 

ßffi 

ffiãffi,fl+**g.'ll':' 

ffi(¡ \) ) / J / jJ or accession-to-the-throne glyph 

vo\/ v $-5g.t68:684b:t88andt-684a: 

ffi 

w 

ffi 

6Þ 

Fig.6.11 

Hieroglyphs associated with a Maya ruler, 

based on Tatiana Proskouriakoff's work. Drawing as Fig. 1,.2, p. 4 in 

Joyce Marcus, 1976, Emblem ønd state in the Classic Maya Lo,utlands. 

Fi9.6.11 

n6f 59:.t68:t68); the associated 

date is called the "inaugural 

date." 

¿. Two forms of the "seating" glyph 

(r-644a.88 :t78 and t'6 44b.r t6: 

r3o), which are variants oíthe 

accession glyph (above). 

/. Possible "union" or "marriage" 

glyph (r-65.552:23). 

e. The "capture" glyph (t-8z.StS. 

r8r:25), seen at left, is emPloYed 

in clauses naming Prisoners taken 

by the ruler, who thereafter 

acquires a new title glYPh, seen at 

. right, which mean5 "caPtor of 

. . ." (t-t.to8:761. 

f Two death expressions: rhe 

serpent-wing over a scroll eletnent 

(t-ll:szs.tz6) at left, and the 

s crcI\-ik- ahau (r-r t'7 g. 5 q :82) on 

the right. 

g. Two expressions associated with 

ritual events commemorating 

dead rulers: at left, the "handgrasping-fish" 

glYPh (r-rr.3r4?: 

7r4), which seems to signi$ the 

apotheosis of deceased nobiliry; at 

right, a glyph $-5g.7tz:3t4:24) 

associeted wi¡h rirual bloodletting. 

This rite is often showrr 

being performed bY women, Passing 

a thorny cord through their 

tongue which then conducts the 

blood to the bowl or basket 

fìlled with papers'

5zda's(rareo 

ffi 

ffiO,I 

ln¡t¡al S€ries lnlloduclory 

Glyph 

12 [13] Xul 

G5 ol lhe Lords of the Nighls 

m 

'17 lunalions had ended 

3 Ahau 

he let 

his blood 

Bac-T'ul 

l¡tle 

of or lrom 

Emblem Glyph 

heacceded 

axis mundi 

sacrificial victim 

god contacted 

Vision Serpent 

Fi9.7.1. 

Vision Serpent 

Chac-X¡b-Chac 

Fig.7.1, 

Ruler Bac-Tul in manifested vision with deities 

Hauberg Stela, provinence unknown 

Protoclaisic Periõd, A.D. L99 (earliest deciphered date of the Maya) 

Limestone, H. 83.8 cm (John H. Hauberg Collection, seattle) 

Drawing @ Paul Macapia,L985 as Plate 66b,p.191- in Schele and Miller,1986, 

The Blood of Kings: Dynøsty ønd Ritual in Maya ArL

Fig.7.2 

Cauac Sky on north side of Stela D (Monument 4), 

Quiriguá, Guatemal a, A.D. 766. 

Brown sandstone , H L9 ft 6 in (5.9m) 

Photograph by Alfred P. Maudslay, 7885, (from the Ivlilptron 

Publishing Corporation), as Fig. 14,p.33 in 

Sharer, 1990,Quirigun: A Classic Mava Centcr t lts Suilptures. 

Eig.7.2

Fig.7.3 

Fíg.7.3 

Dates inscribed on Stela D (Monument 4), a. east side, b. west side 

Quiriguá, Guatemal a, A.D. 766. 

Drawings by ArLnie Hunter (from the Milptron Publishing Corporation), 

as Fig. t6,p.35 in 

Sharer, L990,Quirigua: A Classic Maya Center €¡ Its Sculptures.

Gcncration 6 

Lady Kanal-Ikal 

Gencration 4 

Kå¡-Xul I 

Generation 2 

Kinglist 2 

King List 3 

Kan-Bahlum-Mo' LadyT-ac'KvIr 

thc fathcr the mothcr 

-- .- ./ t 

'::.,.jr$* ':,.-... . :;:,,,ffi'1. 1,f , 

W#?,W'*,\Tfu, 

|?,{i{l!,Ã:üW':ß 

Gcncration 

Pacal thc Grcat 

Generation 7 

Generation 6 

Fig.7.4 

Pacal's Sarcophagus with ancestral portraits 

Temple of Inscriptions, Palenque, Chiapas, Nlexico 

Late Classic period. A.D. 684 

Limestone H. 372 x 277 cm 

Drawing by M.G. Robertsor¡ reproduced in Schele and Freidel, 1990, 

A Forest of Kings: The Untold Story of the Ancient NIayø, 220. 

Fis.7.4

Fíg.7.5 

Birth of Shield ]aguar: parents Lady "Skull-Zero" and "Bird-]aguar"Il 

Yaxchilan, Lintel L3, Yaxchilary Chiapas, Mexico 

Drawing by von Euw, based on plaster casts by Maudslay and Graham, as 

YAX. Lint. L3 in Ian Graham and Eric von Euw, 1977, Corpus of Maya 

Hieroglyphic Inscríptions, Vol. 3, Part L,p. 3:35. 

Fig.7.5

Fig.7.6 

Flanged headdress from Copaín Stela L 

Drawing by Linda Schele, as Fig. 1..3f . , p. 67 in 


The Blood of Kíngs: Dynøsty ønd Ritual ín Maya Art. 

Fig.7.6

Fig.7.7 

Male Ruler 3, on Stela L6 

Dos Pilas, Petexbatún, Guatemala 

Late Classic period, ca. A.D.735 

Drawing by Linda Schele as Fig. V.4, p.213 in Schele and Millet,1986, 

The Blood of Kings: Dynasty and Ritual in NIaya ArL 

Fig.7.7

Eig.7.8 

Female Ruler from Calakmul 

Stela from Calakmul (now in the Cleveland Museum of Art) 

Photo from the Cleveland Museum of Art, as frontispiece in 

|oyceMarcus, 1967,Emblem and State in the Classic NIaya Lozalands. 

Fig.7.8

':Y.t-k 

ffiD 

) 

Fig.7.9 a 

Fíg.7.9 a 

Feminine Head Glyphs and Name Glyphs 

Drawings by Joyce Marcus as Fig. 5.3 (from Stela 3 Piedras Negras, after 

Proskouriakoff 196'l,a: Fig. a) and 5.4 (after drawing by W.R. Coe, supplied 

by Linton Satterthwaite), p. 155 in 

|oyce Marcus, 1976, Emblem ønd Støte in the Classic Møya Loutlands.

Feminine head glyph rooo f 

Feminine head glyph r-toor 

Tikal woman at Narmjo (Stela 3r, I5-.¡5) 

Yaxchilán woma¡ at Bonampak (Stela z, u3-I3) 

Palenque women et Tortuguero (SIab 6, rr7-cr) 

Fig.7.9b 

Feminine Head Glyphs 

Drawings by Joyce Marcus as Fig. 5.7, p.177 1n 

Joyce Marcus, 1976, Emblem and State in the 

-Classic 

€ 

Feminine head glyph r-roozb 

Maya Lowlands. 

Fis.7.9b

Fig.7.1,0 

Lady Wac-Chanil-Ahau with captive Kinichil-Cab 

Royal woman from Tikal area, 

Stela 24, Naranjo. Limestone,'1-..92 m height above lowest carving. 

a. Photo reproduced from Maler's 1-905 negatives 

b. Drawing by Ian Graham 

Photograph and drar,r"ing in Ian Graham and Eric von Euw 1975, 

Corpus of Maya Hieroglyphic Inscriptions,Yol.2, Part L, p.2:63. 

I 

8ig.7.70

Fig.7.I1, 

Lady Wac-Chanil-Ahau, at an anniversary of her son's accession 

Stela 3, Naranjo, Limestone, i".98 m high (above lowest carving). 

a. Photo reproduced from Maler's 1"905 negatives 

b. Drawing by Ian Graham 

Photograph and drawing in Ian Graham and Eric von Euw 1975, 

Corpus of NIaya Hieroglyphic lnscriptions,Yol.2, Part L, p.2:17. 

Fig.7.7t

8ig.7.12 

Fig.7.L2 

Elite female ruler standing over a captive 

Stela 28, Calakmul 

Drawing as Pl. 49c in Karl Ruppert and Iohn H. Denison, t943, 

"Archaeological Reconnaissance in Campeche, Quintana Roo, and Peten. 

Carnegie lnstitution of Washington, Publicatíon 54, Washington, 

reproduced as Fig. 5.5, p. 161 in 

]oyce Marcus, 1976, Emblem and State in the Classic NIaya Lowlønds.

Fig.7.13 

Ruler with war captains and bound captives; 

ruler's headdress features open-jawed animal with fangs 

Stela 12,Piedras Negras, Guatemala, Late Classic period, e.o.795 

a. Drawing by Linda Schele as Fig. V.8, p. 219 in Schele and lvIiller,7986, 

The Blood of Kings: Dynasty and Ritual in NIaya Art. 

b. Photograph by T. Maler (courtesy the Peabody lvluseum, Harvard 

University) as Fig. 57,p.85 in Sablofl 1990, 

The Cities of Ancient Mexico: Reconstructing n Lost World. 

b. 

Fig.7.l3

Fig.7.1.4 

Lady Xoc handing Shield laguar his shield and helmet 

Lintel 26 of doorway of Structure 23, Yaxchilan, Chiapas, Mexico 

Late Classic period, c. A.D.725 

Museo Nacional de Antropologi4 Mexico City. 

Drawing by Ian Graham, in Graham and Von Euw, 1977, 

Corpus of Maya Hieroglyphíc lnscriptions, Volume 3 Part I, J:SZ. 

Fig.7.7a

Fíg.7.1.5 

Bird Jaguar dressing for battle 

Lintel 41, Yaxchilan, Chiapas, lvfexico. Late Classic period 

Photograph by ]ustin Kerr, as Plate 78,p.229 inschele and Mi]ler, 19g6, 

The Blood of Kings: Dynasty and Rítual in Maya Art. 

Fig.7.15

Fig.7.1,6 

Bird ]aguar capturing ]eweled Skutl (left), and a lord with captive (right). 

Lintel I at Yaxchilarç Mexico, Late Classic period 

Carved arca0.78 m by 0.87 m. 

Drawing by Ian Graham (based on photographs and on plaster cast by 

Maler), in Ian Graham and Eric von Euw ']-.977, 

Corpus of Møyø Hieroglyphic Inscriptions, Vol.3 PartI,3:27. 

Fig.7.76 

:ii:i:i1!:i 

f;i1¿::::ii

@H; 

ffi 

a@d 

Fi9.7.17 

Glyphs from texts 

a. Birthday Glyph 

b. Accession Glyph 

c. "Shield Jaguar" 

d. "Bird ]aguar" 

e. Prefix indicating female names and titles 

Drawing as fig. 1.44, p.183 in Coe, 1988, The Maya. 

W 

Fi9.7.17

a. shelYstar 

ffi 

b. star over Seib¿ 

ffi 

"the captor of" 

e. shield/flint event 

Fig.7.L8 

Glyphs of Warfare 

a. Shell/star glyph (war against a city or lineage) 

b. Shell/star glyph combined with Seibal emblem Slyph, 

tra¡slating as "war against Seibal" 

c. Verb glyph (chucøl) designating capture of a victim 

d. Axe Slyph, indicating war weaponry 

e. Shield/flint glyptu verbal copstruction indicating weaporìry 

f. Glyph specifying "the captor of.," used in a lord's title 

g. Glyph (bak), meaning "captive" 

h. Nøwa glyph, meaning "to let blood" 

Drawings by Linda Schele (and captions) as Fig. V.1, p. 210, in 


The Blood of Kings: Dynøsty and Ritual in Maya Art. 

8i9.7.78

Fi5.7.1,9 

Vision Serpent, and female ruler bloodletting 

Lintel 15, Yaxchilan, Chiapas, Mexico 

Late Classic, A.D.770 

The Trustees of the British Museum, London 

Drawing by lan Graham, in lan Graham and Eric Von Euw, 1,977, 

Corpus of Maya Hieroglyphic Inscríptions, Volume 3 Part L, 3:39. 

Fi9.7.79

Ftg.7.20 

Bound Captive 

Late Classic altar from Tikal, Guatemala 

Stone carving. 

Drawing and photograph (source: Nzlerle Creene Robinson) in 

Sablofl 1994, The Nezo Å.rchaeology and the Ancient lvlnya, 1.44. 

Fig.7.20

Ftg.7.2I à,b 

Stucco portrait of Chan-Bahlum 

Temple 14, Palenque 

Late Classic period, ca. A.D. 700 

Photographs @1985 by Justin Kerr, as Figs. 1-. a,b, p.64 


The Blood of Kíngs: Dynasty and Ritual in Maya Art. 

1n 

Fig.7.21

Fig.7.22 

Plaster portrait mask of an unknown noble 

Palenque 

Late Classic period, ca. A.D. 700-750 

Museo Nacional de Antropologiá e Historia 

Photos by Imgard Groth and Linda Schele, as Fig. 1..2a.b., p. 65 in 

Schele and lvtilier, 1.986, 

The Blood of Kings: Dynasty and Ritttctl in NIøya Art. 

Fig.7.22

Fig.7.23 

Fiç.7.23 

Maya noble 

Limestone monument from Balancan near Palenque 

Photograph'by Gene S. Stuart, in 

Gene s. stuart and George E. Stuart, 1993, Lost Kingdoms of the Maya, L09.

Fig. 7.24 a,b, c, d 

laína Figurines 

Photographs by Justin Kerr, reproduced in 

Stuart and Stuart, 1,993, Lost Kingdoms of the NIaya, 110-1.1.1,. 

Fig.7.24

Fig.7.25 

Fig.7.25 

Jaina Warrior 

Ceramic warrior figurine, H 26 cm 


The Cleveland Museum of Art, James Albert and Mary Gardiner Ford Memorial Fund. 

Photograph @1985 by Justin Kerr, as Plate 79,p.230 in 


The Blood of Kings: Dynasty and Rituøl in NIayn Art.

Fi9.7.26 

Fíg.7.26 

Jaina Captive 


Ceramic, H.19.3 cm. The Art Museum, Princeton Universiby. 

Photograph 01985 bv Justin Kerr, as Plate 93,p.240 in Schele and Miller, 

1986,The Blood of Kings: Dynasty and Rítual in tuIaya Art.

The World Ti,ee 

Fig.8.1 

Maya King and World Tree 

Drawing by Linda Schele as Fig. 2:15, p.91 in Schele and Freidel, L990, 

A Forest of Kings: The Untold Story of the Ancíent Maya. 

Fig.8.1

Fig.8.2 

Cloud-serpent rattlesnake presenting a Toltec warrior in its jaws 

Detail from a gold disc from the Sacred Cenote, Chichen Itzá 

Post-Classic period 

Drawing (after Lothrop, 1952) as Fig. L05, p. L36 in 

Coe, 1988,The Møya. 

Fig.8.2

Fig.8.3 

Head of ruler in Chac-Xib-Chac headdress with mask 

Machaquila Stela 2 

Drawing by Linda Schele as Fig. I.3j, p.68 in Schele and Miller,1986, 

The Blood of Kings: Dynasty and Rítual in Maya Art. 

Fig.8.3

alt 

ffi 

The human formof.ahau 

ffi^ffi"-""w;w w 

RP 

ah po 

The vulture f.ormof ahau 

gB__"% EIE"^ 

Ahau form derive d fr om ahpo 

Another formof.ahau 

Fig.8.4 

Variations of the ahau glyph 

Drawings by Linda Schele (with captions) as 

Schele and Freidel, 1990, 

A Forest of Kings: The Untold Story of the 

Fig. t:4, p.54 

Ancient Maya. 

Animal 

form of 

ahau 

ha- 

(ù¿õì 

-ery 

The day sign ahau 

as the title 

111 

Phonetic 

ahau 

Fig.8.a

anthropornorphíc 

p€rson¡l¡cation 

a. Jeslor God scspter 

b. 

Cerros hcadbmd 

-_______..,ñ 

@@ 

(, 

@, 

græEtole pcctoral f¡om Tital 

hsdbmd from Li¡tel 

24 at Yachilá¡ 

hadbud from thc Oval 

Palaæ Tàblet at Palcnquc 

Ww 

Jcstcr God Jcslc¡ God 

headbud oq thc hadbud on tbc 

wlturc ¿j¡ø uimal shøu 

Fig.8.5 

J€st€r God from a 

Drummajor Headdress 

Fig.8.5 

Jester Gods on headbands, scepters, celts, pectorals and headdresses 

a. Drawings by Linda Schele as Fig. 43, p.53 in Schele and Miller,1986, 

The Blood of Kings: Dynasty and Ritual in Maya Art 

b. Drawings by Linda Schele as Fig. 3:1-4, p.11.5 in 

Schele and Freidel, L990, 

A Forest of Kings: The Untold Story of the Ancient Maya.

Fig.8.6 

Ruler costumed as Chac-Xib-Chac and the Holmul Dancer 


Ceramic, 23.8 x 9.9 x 9.8 cm. Kimbell Art Museum, Fort Worth 

Photograph by Justin Kerr as Plate 2, p.86 in Schele and Vliller, L986, 

The Blood of Kings: Dvnasty and Ritual in n'Inyn Art. 

Fig.8.6

flayed area 

personified 

blood 

blood scrolls 

bloodletting 

bowlwith 

stained paper 

materialized ancestor 

Flexible Serpent Bar Rigid Serpent Bar 

Fig.8.7 

Double-headed 

Serpent 

Fig.8.7 

Double-Headed Serpent Bar (flexible and s|raight), and vision Serpents 

Drawing by Linda schele as Fig. 2.3,p.69 ln schele and Freidel, rgg0, 

A Forest of Kings: The Untold Story of the Ancient Mayø.

Double-headed serpent Bar with God K emerging form the open mouths 

Bird-Jaguar, the king of Yaxchilán, engaged in a "fish-in-hand" ritual 

Double-hcadcd Bar with God K 

drawing by lan Graham 

Ahzaenl,the cahal who governed Lacanjá for drawingbyDavid stuart 

Knot-eye-Jaguar, the king of Bonampak 

Fig.8.8 

Rulers with Double-Headed Serpent Bar 

a. Bird-]aguar, ruler of Yaxchjlán, with flexible Double-Headed Serpent 

Bar with God K in its open jaws. Yaxchilan Lintet 39 

Drawing by Ian Graham 

b. Ah zacol, the cahal governing Lacanjá, with Double-Headed Serpent 

Bar with God K. Lacanjá Lintel L. 

Drawing by David Stuart 

!.rawlSs Fig. 2:I4, 

3s p.89, in Schele and Freidel, \990, A Forest of Kings: 

The Untold Story of the Ancient Møyø. 

Fig.8.8 

Yaxchilán 

Lintel 39 

Lacanjá 

Lintel I

. The God C apron from Dos pilas Stela I 

d. Ruler from Dos Pilas Srela lZ e. Ruler from Dos Pilas Srela I 

Fig.8.9 

Dos Pilas rulers with Manikin Scepters (serpent-footed God K ) 

a. Ruler from Dos Pilas Stela L7 b. Ruler from Dos Pilas Stela 1 

Drawings by Linda Schele as Fig. L.4,p.77 lr;.sclrele and Milleg 7986, 

The Blood of Kings: Dynasty and Ritua| in Maya ArL 

Fig.8.9

F 

I 

Fig.8.10 

Lords hold God K scepters 

Yaxchilan, Lintel 3 over northwest doorway of Structure 33 

Drawing by lan Graham, in Ian Graham and Eric von Euw, 1977, Corpus 

Mayø Hieroglyphic lnscriptions, Volume 3 Part'1., 3:17. 

Fig.8.10 

tf 

IJ 

I 

2 

3

oo 

@Oa 

Fig. 8.11 

The Quadripartite Badge 

Temple of the Cross. 

Drawing (after Alfred P. Maudslay, 1889-1902, "Biologia Centrali-Americana," 

Archaeology. Yol. tV of 4 vols. London: Dulau & Co. Pl. 76), in Merle Green 

Robertson, 1974b, "The Quadripartite Badge-A Badge of Rulership," h 

Robertson, \974b,Prímera Mesø Redonda de Palenque Part I, 77. 

Fig.8.11

Fig.8.12 

Bird-Jaguar in blood-scattering rite 

Lintel 2,La Pasadita, El Petéru Guatemala 

Late Classíc, A.D.766 

Rijksmuseum voor Volkenkunde, Leiden, Holland 

Drawing by Linda Schele as Plate 76,p.L96 n schele and Miller,1986, 

The Blood of Kíngs: Dynasty and RituøI in Maya Art. 

Fig.8.12

HIEROGLYPHIC 

TEXT IN 

YUCATEC 

EAST 

SUN GOD 

*%flËt@ 

o o o offô14., o 

*=¡.4AYA 

FOOTPRINT Ë . . ì9-gNUMBER 8 

clypH L't-¡, 

Fí9.8.13 

", ,t: 

HIEROGLYPHIC: 

Y.UC.ATEC MAYA 

Fig.8.13 

Jade ear-flare 

Predassic period, Pomona Rach, Beltze 

Dia. L8 cm. Drawing by Alan D. Iselirç in 

Hammond, 1994, "The Emergence of Maya Civilization," in Ancíent 

Cities, Special Issue vol. 5 Number 1,, 1.994 of Scientífic Americøn, rJT. 

WEST 

GOD OF 

DARKNESS

Fig.8.14 

Fig.8.14 

Headdresses with mat-symbol woven elements: 

a. Leiden Plate (Tikal?); b. stela 6, Yaxhá; c. stela 2, Tlkal; d. stela p, 

Copán; f. stela 33, Piedras Negras; g. stela 25, piedras Negras; h. stela D, 

Quiriguá; i. Stela A, Copán. 

Drawn after Proskouriakoff as Fig. 185, p. I94 in 

Robicsek, 1975, A study in Maya Art ønd History: The Mat symbot.

Fig.8.15 

Maya house with thatched roof 

Magdalen4 Chiapas 

Photograph as Fig. 128, p.143 in 

Robicsek, \975, A Sttrdy in Maya Art and History: The Mat Symbol. 

Fig.8.15

Fig.8.16 

Gods A, B, K and D seated in thatched buildings 

Dresden Codex 

and other thatched-roof elements from the codices 

Drawings as Fig. 129 and L30, p. 1,43 in 

Robicsek, 1975, A Study in Mayø Art ønd History: The Mat Symbol. 

Fig.8.16

Fig.8.17 

Incense-burner as an effígy head that may be the Sun God wearing 

helmet with a mat design 

Chimuxan, Alta Yetapaz 

(Drawn after the photograph: Dockstader/CE-73), asEig. t27, p.1.42in 

Robicseþ 1975, A Study in Mayø Art and History: The Mat Symbol. 

Fi9.8.77

Fig.8.18 

Fig.8.18 

Deities including Gods B and E shown with bees (and some other animals) 

in thatch-covered hives or temples involving worship of the insects 

Codex Madrid 

Drawings as Fig. 137, p. L47 n 

Robicsek, L975, A Study ín Maya Art and History: The Mat Symbol.

Fig.8.19 

Fig.8.19 

Dual images of God M wearing mat-band headdresses. They are seated 

above tracking symbols while generating fire with a stick. 

Codex Mødríd 

as Fig. 126, p.742 n 

Robicseþ 1975, A Study in Maya Art and History: The Mat Symbol.

,ffrpent Bar with ctrt '- 

:;þds emerging from the 

ttcheadgear worn by 

fiproll-Ahau-Jaguar 

þSrking him ¿s ¿ 

¡trna¡ 

Scoll-Ahau-Jaguar's 

name from Stela 31 

Ch\lWayAhau 

Holy Shaman Lord 

Fig.8.20 

Scroll-Ahau-Jaguar 

Earliest dated monument at Tikal 

Stela 29, Tlkal, A.D. 292 

Drawing by Linda Schele as Fig. 4:LI, p.1.41 in Schele and Freid el,1.990, 

A Forest of Kings: The Untold Story of the Ancíent Maya. 

Fig.8.20

Fig.8.21 

Fig.8.21 

The Leiden Plaque, Zero-Moon-Bird 

Maya lord over captive, with Long Count date on reverse (e.p.320). 

]ade plaque; H 3.5 in., 21,.6 crn), Tikal 

Drawing (after Kidder, Jennings and Shook1946, fig.108) as Fig. 34, p. 68, in 

Coe, 1988, The Maya.

i;. 

Curl-Snout rccallcd by Stormy-S\¡rs bloodlettirg 

bcadd¡ess with its spearthrower-shicld mednltìon 

b 

spc¡rthroutr-owl-shicld 

gcnital hc lct 

blood- blood 

lçtting 

the Stela 31 action 

Thc actions of Grcat-Jaguar-p¡w at the 

conquest ofUaxactú¡ 

Stormy.Sþ holding his headdress aloft as 

thc holder of the spearthrower-shield title 

Fig.8.22 

Stormy-Sky and "spearthrower-owl-shield" symbolism 

Stela 3L, Tikal, 4.D.439 

Drawing of text and stela by ]ohn Montgomery as Fig. 4:23, p.1'57 1^ 

Schele and Freidel, 1990, 

A Forest of Kings: The Untold Story of the Ancient Mayø. 

Fi9.8.22

Curl-Snout's name 

Mosaic Monster 

headdress 

helmet-sgle 

headd¡ess 

spearthrower 

flexible shield 

Ttaloc image 

wearing a 

tasseled 

headdress 

Fig.8.23 

Curl-Snout as Spearthrower Warrior 

Stela 3i,, Tikal, A.D.292 

Drawing by Linda Schele as Fig. 4:25, p.161 in Schele and Freidel, L990, 

A Forest of Kíngs: The Untold Story of the Ancient Mayø. 

Fig.8.23

Fiç.8.24 

Fig.8.24 

Ah Cacau, wearing Mosaic Monster Headdress (shown with captive) 

Structure 5D-57, Central Acropolis, Tikal, Guatemala. 

Drawing by Linda Schele as part of Fig. 5:24, p.208 in Schele and Freidel, 

1990, A Forest of Kings: The Untold Story of the Ancient Møya.

a" Curl-Snout from 

the side of Stela 31 

balloon 

headdress 

spearthrower 

mask 

rpcarthrowcr 

dârts 

spcarthrowcr? 

(eroded) 

throne with 

jagrar pelt 

Mosaic Monstcr 

b. Temple 1, Lintel2 

18-Rabbit 

Ah-Cacaw 

Sþ-God K 

Divine Tïkal 

Ahau 

platform 

waterlilies 

Fig.8.25 

Ah Cacau, enthroned, wearing Mosaic Monster Headdress 

Dedication, Temple 33 and Stela 3L, Tikal, Guatemala. 

Drawing by Linda Schele as Fig. 5:25, p.209 tnSchele and Freidel,1990, 

A Forest of Kíngs: The Untold Story of the Ancient Mayø. 

Fig.8.25

Fi9.8.26 

Presentation of prisoner to elite captain 

Late Classic cylindrical ceramic vessel, 4.D.700-800. 

Rollout photograph O 1985 by Justin Kerr, as Plate 88R, p. 236lrr 



Fiç.8.26

Fí9.8.27 

Captor wears raloc-and-balloon headdress as captive stands bound. 

Late Classic period, A.D. 700-800. 

Polychromed ceramic vessel, dia. 

Fort Worth. Rollout photograph @ 

in Schele and Miller, 1986, 

The Blood of Kíngs: Dynøsty and Rítual in lvlaya Art. 

Fiç.8.27 

1-6 x H. L6 cm. Kimbell Art Museum, 

1984by Justin Kerr, as Plate 84A, p.233

Fig.8.28 

Dignitary with axe, wearing supernaturals in headdress and belt 

Kaminaljuyú Silhouette Relief 4, H LLOcm. 

(Alvaro Sánchez Collection, Guatemala). 

Photograph by Lee A. Parsons, as Fig. I.9,p.21 in 

Parsons, 1988, "Proto-Maya Aspects of Miraflores-Arenal Monumental 

Stone Sculpture from Kaminaljuyu and the southern Pacific Coast," in 

Møya lconogrøphy, ed. by Elizabeth P. Benson and Gillett G. Griffin. 

Fig.8.28

Fiç.8.29 

Two figures, one wearing headdress featuring a jaguar or deer 

Kaminaljuyú Stela 2L 

Museo Nacional de Arqueología y Etnología, Guatemala. No. 2043. 

Photograph courtesy of Joya Hairs, Guatemala, as Fig. 1.L0, p. 21" in 

Parsons, 1988, "Proto-Maya Aspects of Miraflores-Arenal Monumental 

Stone Sculpture from Kaminaljuyu and the Southern Pacific Coast," in 

Maya lconogrøphy, ed. by Elizabeth P. Benson and Gillett G. Griffin. 

Fig.8.29

I' 

, 

iK6 l 

Fig.8.30 

Tula-Tlaloc lord attacking fleeing Maya warriors. 

Repoussé disk from Sacred Cenote at Chichenltzá,. 

Disk D (1288), 22.5 cn. Drawing by Kisa Noguchi, as Fig. 22,p. 4T tn 

Lothrop, 1952, Metals from the Cenote of Sacrifice: Chichen ltza, Yucattín. 

Fig.8.30

a. 

b. lF 

:;, 

i'l 

Yaxchilán 

Seibal Copán 

oo oflì/-ì 

s sq.]Ut 

E@d 

Fig.8.31 

Fig.8.31 

a. Maya emblem glyphs from Classic period monuments: Tikal, Naranjo, 

Yaxchilán, Piedras Negras, Palenque, Seibal, Copárç euiriguá. 

Ilustration as fig. 143 in Coe, 1988, The Maya, 1-g3. 

b. Emblem glyphs of Southern Lowlands cities: 

Tikal, Yaxchilan, Palenque, Seibal, Copárç euiriguá 

Drawing of relief carvings, in 

sablofl 1994, The New Archaeology and the Ancient Maya, 92.

(a) Pa.lenque Temple of the Inscriptions, F panel: Tl ¡ 

., . _(atrer 

drawing by Linda Schele) 

(b) Palenque Tablel oithe 96 Glyphs: F6 (drawing 

by Linda Schele) 

(c) Palenque Temple'of the Cross, EastJamb: Ar 

... _(drawing by David Stuart) 

(d) Palcnque Temple of the Foiiated Cross, Alfarda: 

Hr (after drawing by Linda Schele in Lounsbury 

r98o: fig. 5) 

(c) Palenque Temple of the Foliated Cross, Dooriamb: 

137 (after drawing by Linda Schele) 

ffi 

g 

ffi 

h 

(Q Palenque Tcmple of the Sun, Alfarda: H, 1"ft., 

drawing by Linda Schele in tounrUury ,i8ã,frs'z) 

(g) Palenque Palace Tablet: el4 (after drawing by 

Linda Schete) 

ft) V3.c.!iln Hieroglyphic Stairway 3: Brb (after 

CMHI 3: ryo) 

(i) Yaxchilan Lintel z3: Mó (after CMHI z: tz6\ 

(j). Yaxchilan Lintel zr: 87 (after CMm í: +i)' 

(k) Yaxchilan Lintel 3r: 15, j5 (after CUht'íi ù. 

Fig.8.32 

Fig. 8.32 

Glyphs identifying specific buildings at Dos Pilas, Palenque, and Yaxchilan. 

Drawings, captions, and acknowledgements as Fig. L03, p. 89 in 

Stuart and Houston,1994, Classic Maya Place Names, 

Studies in Pre-Columbian Art & Archaeology Number Thirty-Three.

Fig.8.33 

Fig. 8.33 

Map 9f Glyphic Classic Maya Place Names, drawing as Fig. 't07, p. 94 n 

David Stuart and Stephen Houston, 1994, Classic Mayø pløce Names, 

Studies in Pre-Columbian Art & Archaeology Number Thirty-Three.

Fig.8.34 

Fig. 8.34 

Variations on Scroll Bøby motif: gtyphs from various sites, including 

Tikal, EI Zapote, uaxactún, and Palenque. 

Drawings by ]oyce Marcus as Figs. 2.4 artd2.S,p.40 in 

Matcus, 1976, Emblem and State in the Cløssic Maya Lowlands. 

I

Fig.8.35 

Fig.8.35 

Ruler on Stela 31, Tikal, erected in a.p.445. 

ScroII Baby glyph appears reclining upon a jaguar head represented on the 

left hip of the lord. (Photo from the lJniversity Museum, Llniversity of 

Pennsylvania Philadelphia), drawing by ]oyce Marcus as Fig. 2.J,p.38 in 

Marcus, 1976, Emblem and Støte ín the Classic Maya Lowlands.

a 

@ 

@Wæ 

Fig.8.36 

a. "Black hole" place name 

Yaxchilan Hieroglyphic Stairway 2: C6-G6 (drawing from Ian Graham, 

Corpus of Maya Hieroglyphic Inscriptions, peabody Museum of Harvard 

University, 3:160). 

b.Dresden Codex Page43a (detail) 

Drawing after Villacorta and Villacorta 1930. (C.I. Antonio Villacorta and 

Carlos A. Villacorta,Lg3l,Códices mayas.- Guatemala: Tipografía Nacional), 

Drawings (a) and (b) selected from Fig. 85 a and d, p.73, in 

Stuart and Houston, 1,994, Classic Maya PIøce Natnes, 

Studies in Pre-Columbian Art & Archaeology Number Thirty-Three. 

b 

Fig.8.36

Fig.9.1 

Number gods carrying the Maya bundled 'burden of time" 

!u:h anthropomorph represents one of the twenby numerals. 

Stela D, Copiín. 

Drawing from Maudslay, 1889-1902,I: pL.48, as Fig. 50, p. 140 in 

Aveni, t980, Skywatchers of Ancient Mexico. 

Eig.9.r

tt-z 

@ 

@ 

@ @Ø 

@ 

ø 

@ 

@ 

@ 

@ 

@ 

DNÁWINCS BY CART.oS A. VILL.{CORTÁ 

Fig.9.2 

Fig.9.2 

Possum Deity bringing in patron deities of the Solar Years on his backpack. 

Dresden Codex (details from pp.25,26,27,28). 

The glyphs at left give the names of each year-beginning day name, 

including "E or 'Tooth' (upper left), Noah or 'Thought' (upper right), 13 or 

'wind' (lower left), and Queh or ])eer.'Drawings by Carlõõ A. vfuacorta, 

in Tedlock, 1986, Popol vuh: The Definítíae Edition of the Mayan Book 

of the Dawn of Life and the Glories of Gods and Kings, !46. 

,' 

Ð 

, 

_t 

@ 

@ 

@ 

& 

@ 

@ @ 

@ 

Ø

Fig. 9.3 

g 

@ 

& @ 

J',i;ll 

Ð'{l' 

/æ 

fosgum Deity bringrng in patron deity of the Soiar year on his backpack 

T th9 to_p section (with year-beginning day as "E" or "Tooth"designãted 

the glyphs); and bottom portion includes sacrifice scene and God É with 

fooþrinted sash. 

Dresden codex, p: 54125 in Förstemann, 1962, Maya Handschrift: 

Der Sächsischen Landesbibliothek Dresden: Codex- Dresd.ensís. 

Fig. e.3 

1n

* '-J 

(:) 

CJ 

(Ð 

ø, 

6) 

6) 

Ë) 

,'@.' 

,@ 

@' 

@ 

ç@, 

,@ 

@ 

,@" 

@ @ 

,@c, 

,@l 

'@\ 

@d 

æ 

- 

a 

u@ 

Fig.9.4 

Possum Deity bringing-in patron deity of the Solar year on his backpack 

in !.he top section (with year-begi*1.g d.ay as eueh or 'Deer', desþnated 

in the_glyPhs); bottom portion inctudeã sacrifice scene and scatterin[ rites, 

as well as a tree with a footprinted sash (bottom). 

Dresden codex, p 57128 inFörstemann, 1962,NIaya Handschrift: 

Der Sächsischen Landesbiblíothek Dresden: Codex -Dresdensis. 

Fig.9.a

a. Cloth morifs from 'ascension'srelac at piedras Negras 

Sr. 14 

St. 6 

b. Trees f¡om the Dresden New year's pages 

H 

l¡¡:l 

E] 

DzSc Dz6< DZTc DzSc 

Fig.9.5 

a. Sacrificial victim and footprints Stela 1L, 

_ g.rd footprinted sash motifs on stelae at Piedras Negras 

b.Dresden Codex, details of footprinted cloth on trees 

Drawings: (a) as Fig.2L, p. 58, and (b) as Fig 21.b p.5B in 

schele and I. Miller, 1983, The Mirror, The Rabbil, and The Bundle: 

"Accession" Expressions from the Classic Maya Inscriptíons, 

studies in Pre-Columbian Art & Archaeology Number Twenty-Five. 

Sr. 25 

Sc. ll 

Fig.9.5

m 

æt 

l¡¡s¡:r-o¡o-J 

O@ 

ffi +- 

æ 

M 

Fig.9.6 

Timekeeping: Maya abstract numbers connected to finger and toe counting 

Stelae 12 and 13, Monte AlbarU Oaxaca. 

Source: P. Drucker, "Ceramic Sequences from Ttes zapotes veracruz 

Mexico," Bureau of American Ethnology Bulletin 140, 1941, and I. Marcus 

'ogsrlrs of Mesoamerican writing," AnnuøI Review of Anthropotogy s, 

1976, figs. 3 and 4. @ 1976 by Annual Reviews, Inc. 

Drawings as Fig. 6.1,p.I92 n Anthony Aveni, IgBg, 

Empires of Time: Calendars, Clocks, and Cultures. 

Fig.9.6

ffi 

ttr 

ffi 

Fig.9.7 

Hand gesLure signs in ancient Maya writing, and modern hand gestures. 

From left to right "the moon is going down; the young moon ii rising; 

the moon retains water (the dry season); the moon lets water escape (tÉe 

rainy season)." Drawings by P. Dunham (after H. Neuenswander, 

Summer Institute of Linguistics, Guatemala City, Guatemala), as Fig. 6.2 n 

Aveni, 'l'989, Empíres of Time: calendars, clocks, and cultures, 1gg. 

Fig.9.7

ffiW@ 

Fig. e.8 

tW- Em.--- ilffi- 

ilffi- f,Æ= 

m ffial 

lirl W - 

Fig.9.8 

Maya numerals: bar and dot numerals and head variants 

Drawing (from I. Erlc-.s. Tho¡ngson, L942, The ciuilization of the Møyas, 

Leaflet 25,-Chicago, Illinois: Field Museum of Natural History, 

Anthropology) as Fig 5.4,p.149 n 

Weaver, 1992, The Aztecs, Møya, ønd their predecessors.

ffi 

þ,= ) 

ffi 

Fig. 9.9 

Glyphs representing number deities 

"a. The number 4: at Copán 15, Foliated cross, palenque, Halakal j.. 

b. The number 6: ! Piedras Negras 12, euiriguá A, Þd"t q,-," 36 G 1. 

c. The number 9: Yaxchilan L 48, piedras Negras L J, Dresàen Codex 

Drawing (from I. Eric s. Thompsorç L950, Miya Hieroglyphic wrítíng 

Figure L\, p.44 tn 

León-Portilla,'1.988, Time ønd ReøIity, in the Thought of the Møya. 

Fig.9.9 

70." 

)as

ffi@ @b 

o 

@ b 

@ 

c 

(@) 

M d 

ffi@m 

Fig.9.10 

Fig. 9.10 

Glyphs representing days 

a. Cimi: Copárç breast-plate from statue; Tikal, altar 5; Dresden Codex l¿a;Landa. 

b. Oc: uaxactún, fresco G 1; Yaxchilan L; Dresden Codex 45a; Madrid Codex 45a. 

c. Eb: Leiden Plate; Quiriguá C; Dresden Codex 12a; Madrid Codex L3b. 

_ d. Ahau: copán M.; Chichén 5; Dresden Codex 24; chilam Balam of Chumayel. 

D_rawing (from ]. Eric S. Thompsory L950, Maya Hieroglyphic writing) as 

Fig. L0, p. 41 in 

León-PortiIla,1"988, Time and Reality in the Thought of the Møya.

W o 

ffi 

b 

ffi 

c 

æ 

d 

Fig. 9.11. 

Glyphs of the months 

a. zotz: copán 6; Foliated cross of palenque; Dresden Codex 47a; Landa. 

b. XuI: Tikal, altar 5; palenque 96; Dresden Codex 6db; Landa. 

c. Moan: Yaxchilan L.; Quiriguá G; Dresden Codex 4gb; Landa. 

d. Køyab: QuiriguáK.; Fores2; DresdenCodex6sb; Landa. 

Drawing (from J. Eric s. Thompson, L950, Maya Hierogtyphic wrítíng) as 

Figure 12,p. 46 in 

León-Portilla,1.988, Time ønd Reality in the Thotryht of the Maya. 

Fig.9.1'1.

@)) 

,ñ 

\ 

-ñ- 

'//,, 

ffi 

uo 

ffi 

Y,AXKTN 

ru 

cÊil 

d3 

@ÐþÉ 

öBGs 

xeyaÉ 

Fig.9.1.2 

Glyphs of the months in the 365-day count 

Drawings as Fig. 1"8, p. 48 in 

Coe, L988,The Maya. 

ffi 

zoTZ 

@gCT{ÉN 

ffi 

KAhlw1{ 

Fig.9.12

a. 

b. 

ffi@ffiw 

@ffiffi 

ffiffi ffiw 

ffi 

@ 

aÆæ 

ÆFì 

/Pl@r¡rìNl 

të@ 

@ffi 

ffiffi 

Eaktun 

6WUinal 

Katu n 

Fig.9.13 

@ffi 

Kin 

Fig. 9.13 

a. Glyphs of katuns, tuns, and uinals. Drawing (after J. Eric S. Thompsorç 

1950, Maya Hieroglyphíc Writing ) as Figure 13 in 

León-Portilla, 1988, Time and Reality in the Thought of the Maya, 4g. 

b. Maya calendrical periods in glyphs: 

introductory glyph; kí nh ('1., day);uinal (20 days, i.e., Z}kins); 

tun (18 uinals, or360 days); katun (20 tuns, or7200 days); *rd,boktur. 

_Drlwinq (from ]. Eric Thompson, 1942,'The civilization of the Mayas," 

Leaflet 25, chicago, Illinois: Field Museum of Natural History, Anthropology) 

as Fig. 5.5, p. l_50, in 

Weaver, 1,993, The Aztecs, Maya, and Their predecessors.

Fig.9.1,4 

lop 

- hieroglyph of first montþ on Chinikiha inscription 

Drawn after the rubbing by tvferie Green Robertsory as rig. 23,p.40 in 

Robicsek, L975, A stttdy in lvlaya Art ønd History: The ñú symbol. 

Fig.9.1.4

ww 

@@ 

@@ 

ii 

mffi 

il@q 

ffi@ 

ffiw 

gh 

@re 

¡l 

æÆ 

[@ 

Fig.9.15 

Fig.9.15 

Heiroglyphs of the Pop, the first month of the Nlayan carendar: 

a. Lintel 1,2, Piedras Negras; b. Palace House A, palenque; c. stela 1, 

Palenque; d. Lintel 2, Temple rV, Tikal; e. Hieroglyphic stairway, copán; 

f. stela 2, YTra (Drawn after Thompson); g. steli N, Copán; n. Altar u, 

9o!,it, _i. fgryple of the cross, Palenque (Drawn after Bowdirch); j. Lintel 

2, Temple rv, Tikal; k. Temple of the Cross, palenque; t. TempÍe of the 

Inscriptions, Palenque; m. Lintel 2, Temple IV, Tikal (Dráwn after 

$a1a9Jay); 

n-p. Dresden Codex; q. Linret 3, Temple I, Tikal; r. Temple of 

the Foliated cross, P_alenque (Drawn after Lounsbury). As Fig. 20,p. in 

Rokbicsek, 1975, A stttdy in lvlnya Art ønd History: The Mal symbol.

Fig.9.1,6 

censer, with face of kinh emerging from jaw of the Ea¡th Monster 

Provenance: Temple of the Cross, Palenque. 

National lvluseum of Anthropology, Mexico Ciry, photo as plater, p.zg n 

León-Portilla,1.988, Time and Reølity ín the Thoulht of the Maya. 

Fiç.9.76

Fi9.9.17 

Kinh, the sun-time deity, Classic period 

a. Sun in relation to eartþ witln caban glyphs 

Palenque: Temple of the Sun) 

b. Face of the sun in eclipse table, Dresden Codex S6a 

c-. lun slyph on foreheqd "{ deity emerging from crocodile jaws, copán 

d. ?y"-glyph devoured by the Earth Monstãr under celestiaÍ symboË 

Madrid Codex 25a 

Drawings as Fig. 8, p.25 tn 

León-PortrTra, Time ønd ReøIity in the Thought of the Maya, 19gg. 

d 

Fig.9.17

Fig.9.18 

Twenty day names on deer skin worn by Xochipilli 

Late Postclassic period codex Borgiø. Drawingby Karl Taube, in 

Miller and Taube,1993, The Gods and Symboll oj Ancient Mexico and. the 

Møya: An Illustrated Dictíonøry of Mesoarnerican Religíon. TS. 

Fig.9.18

-- 

----- 

----- 

waffi@W@@ 

.i¡l 

aaa 5 I I 

b 

I 20 lroo 

oJ -la 

) 

I 

I 2t lror 

.... 4 . ) - o ) 

- 

o ao ooooaoo o ao (T ooo aooo 

o a o ooo oaoo - 

-- - 

o oo ooo - 

-- 

-- 

-- 

: - 

..1 a r 

.... I q . I azl 

: -- o | ... I 

Fig. 9.19 

a. Maya dot and bar numerals 1-i.9 

b. Zero or completion symbols 

Diagrams ø andb by P. Dunham as Fig. 4B,p.Ig7 rn 

Aveni, 198A, Skywatchers of Ancient Mexico. 

c. Meso-American numerals in vegesimal system. Number 20 is shown 

"one 20 and no units"; 423 is "one (20 x 20), one 20 and three urlits". 

Diagram as Fig. 11.1 p. 1L8 in 

W. M. O'lrleil, 1978, Time and the CøIendars. 

a 

- - 

a ì 

oooo 

'oa.a._ 

5 

¡ _ | 

o . f Lo :1380 

v _, O ) 

- - 

Fig.9.79

Fig.9.20 

Vuyu 

hie-roglyphic calculation of 400 million years into the past 

Drawn after Thompsorç as Fig. 24 in 

Robicseþ 1975, A study in Maya Art and History: The Mat symbot. 

c 

0 

c 

Fig.9.20

4 .rl¡ ¿ oooo + oooo ¡ .rt i,äï.:;, 

": 

e.g 1 . ß É= äää:'. 

O O -^^,- a Oa tunor 

6J_ 4cooo 2.o o @ ;å,fl;J 

o@ o@> o@ o @ FTo. 

1- day 

35,0¿10 3?,120 29,?ß ?ß,230 

Fíg.9.21 

Vigesimal system Maya bar-and-dot numbers in the calendar 

Illuskation as Fig. 2:1.0 p.82 in Schele and Freidel, 1990, 

A Forest of Kings: The Untold Story of the Ancient Mayø. 

Fiç.9.21"

Fig.9.22 

Fig.9.22 

Glyphs of full figures as time periods and heads as numbers. 

Long Count date, on a limestone lintel from Yaxchiian 

Photograph by Otis Imboden (with permission of the National Museum of 

Anthropoiogy, lvfexico Ciby), reproduced on p. 77I ín 

George E. Stuart, 1,975, "The Maya Riddle of the Glyphs," in 

Nationøl Geographic, Vol. 148, No. 6, December lgTS.

;,ffi- 

;ilililffi 

:\t\ffi 

Fis.9.23 

Fig. 9.23 

Interlocking rycles of the Maya calendar 

260-day cycle at left (involving 20 day names on the outer wheel and 13 

days on the small inner wheel) and 365-day calendar (composed of j.g 

months, each with 20 days numbered 1--L9 or 1.-20) at right. There are S 

e¡tra "unlucky" days. As the 20 day calendar rotates together with the L3 

day circle, it will take 260 days for all combinations to ôccur. When the 

365-day wheel rotates with the 20 day circle, it witl take 52 x 365 days (52 

years, called the calendar round) for a given combination to recur. 

Drawing after ].E.S. Thompson, as Fig. 2I,p.4i. in 

Miller, 1,993, The Art of Mesoamerica from Oltnec to Aztec.

@ a 

Fig.9.24 

Fíg.9.24 

8l9-Day-Count phrase 

a. TL022 

b. Tablet of the Cross, Palenque (Schele I9rBT) 

c. Tablet of the Sun, Palenque (Schele,1,987) 

d. Tablet of the Foliated Cross (Schele, 1,997) 

e. Yaxchilan Lintel 30 (Graham and von Euw, I7TT) 

ReproductionsfromL.schele,rgBT,Notebook for the Maya Híeroglyphic Wríting 

workshop, Austin: university of Texas, and I. Graham anã'r. von Euw-, 

'J.977, Corpus of Møya Hieroglyphíc Inscriptíons, vol. 3, pt. 1, yaxchilan, 

Cambridge: _ Peabody Museum of Archaeology and Ethnology, Hãrvard University, 

reproduced as Figure &3, p.117 n 

Barbara Macleod, 1989, "The 819-Day Count: A Soulful Mechanism," in 

Word and Imøge in Mayø Culture, ed. by Hanks and Rice.

6. 

Fig.9.25 

Fi1.9.25 

Initial series Introductory Glyph calendrical long count date 

Late Pre--Classic_perigd (Maya southern regions), and Classic period (Maya 

lowlands). Following the opening Initial Series date, further glyp"hs 

recorded a "distance number". "oversize Introductory Glyph"(ióp), 

followed by a count of 9 baktuns, L katun, 0 tuns, and 9 uinfus (róws r-s)^tó 

arrive at the calendar round date of 6 Ahau i.3 yaxkin (row 4). 

Drawing courtesy of the Quirigua project of The university Museum, 

University of Pennsylvania, reproduced as Fig. 4, p. Z0 in 

sharer, 1990, Quirigua: A Classic Maya centir e its sculptures.

Caso (1967): 

a. Cipactli 

(alligator) 

b. Ehecatl (wind) 

c. Calli (house) 

d. Cuetzpallin 

(iguana) 

e. Coatl (serpent) 

@a 

æ b 

Ë\ 

l+E)l 

HJ 

@d 

@ 

f. Miquiztli 

(death) 

g. Mazatl (deer) 

h. Tochtli 

(rabbit) 

i. Atl (water) 

j. Itzcuintli 

(dos) 

@@ 

@ffi 

g 

Nh 

@i 

@ 

t-;l 

rsJ 

k. Ozomatli 

(monkey) 

l. Malinalli 

(grass) 

m. Acatl (cane) 

n. Ocelotl fiaguar) 

o.Quauhtli 

(eagle) 

@P 

mq 

N 

@ 

Bt 

p. Cozcaquauhtli 

(buzzard) 

q. Ollin (quake) 

r. Tecpatl (flint) 

s. Quiahuitl (rain) 

t. Xochitl (flower) 

Fig.9.26 

Fig.9.26 

Nahuatl glyphs and names for the cycle of 1,-20 days of the month 

From Alfonso Caso, 1967, Los calendaríos prehisprínicos, Série Cultura 

Náhuat1, Monografia 6, UNAM, Mexico, reproduced in Edmonson, lggg, 

The Book of the Year: Middle Americøn CaTendrical Systems, pp.220-221,.

^w ffi ffi"æ 

B. 

P 

ffit 

ffi 

t4? 

ffi 

ñre 

4# 

s 

qrj 

1':fi{. 

.i: 

H1t 

H. 

I. 

Æ 

a. 

b. 

Fig.9.28 

Fig.9.28 

a. Mayapan stone turtie with thirteen Ahau symbols on shell rim 

b. Fragment of turtle sculpture with date 

Mayapan Structu¡e R-87. 

Drawings after T. Proskouriakoff., 1962, "The Artifacts of Mayapan i' pp.321- 

442inMayøpan Yucatan Mexico, ed. by H. E.D. Pollocþ R.L. Roys, T. Proskouriakoff, and 

A.L. Smith, Washington, D.C: Carnegie Institution of Washingtón, Publication 619, p. 333: 

(a) as fig. 1j, uld (u) 3: fig..lf, reproduced as Fig. z(a) p. 187 aÃd 3þ) p. 188 respectin"ly ir, 

Karl A. Taube, 1-9_88a, "4 Prehispanic Maya- Katun wheèI," ín iournai of 

lltthroyolggical Research, volume 44, Numbet 'J., spring 'l.ggg, ed. by 

Philip K. Bock.

\ 

'?-r-.. . 

/a'" '-r€' 

:\ 

Ei 

Fig.9.29 

Fíg.9.29 

Previous destruction of the world commemorated in cardinal directions 

marked by trees and birds (after Karl Ruppeft,"l-931, 'Temple of the wall 

Panels, Chichen Itzá," Carnegie Inst. wash. Pub. No. 403, Contributions to 

American Archaeology, v. 1, No. 3, pp.LL7-'l-40, washington), as plate Ic, 

after p. 230 in Ratph L. Roys, 1,967 (with an introduction uy y. uric s. 

Thompson), The Book of Chilam Balam of Chumayel. 

-14 

t, 

.:. '

I 

¿ 

I 

i t 

¡l 

\t 

....'--1., 

ffi':'*p 

b 

@ 

'qça_r.,,.":4{ 

åg '"^ e"i€ - 

åå -¿r* åå 

åå"o"o"""åå 

, s , o.P-o@@oocrcð-N 

c¿Éæoo@cooooõõ 

i 

\i 

-4-- 

,r$rc?i 

WL 

i 

Scale ¡n centimeters 

Fig.9.30 

"Pecked-circle" pe lroglyphs 

Drawings of designs at Teotihuacán, Tepeapulco, Cerro El Chapín, 

Uaxactún, Tlalancaleca, as Fig.71,, p.227 n 

Aveni, "1.980, Skywatchers of Ancíent Mexico. 

Fig.9.30

Uttlt t¡( dcl' 

. tlt't (,1tc. 

a 

(¡à 

q 

-co n(Jos- 

Fig.9.31 

Fig.9.31 

The Aztec Cycle of fifty-two years 

Time-space calendar in four parts, each representing thirteen years and 

each associated with a cardinal direction. 

From Dur¿ín's chronide, as Colourplate (after p. 136) and Plate 35, p.359 in 

Fray Diego Durán, The Book of the Gods and Rites and the Ancient 

Cølendør, trans. and ed. by F.Horcasitas & D. Heydery 1971.. 

t 

,ì 

aa. 

Èv 

V1 

lb 

l¡- 

.)

ù.(s 

l\- I -/. 

*"ì-;-ffi:-l-d 

-- .Í3>¡'r. q: ; 

Fig.9.32 

Calendar from the Book of Chilam Balam of Kaua (after N. Bowditctu 

1.91,0,The lrlumeration, Calendar Systems, €¡ Astronomical Knowledge 

of the Mayas, Cambridge: Cambridge University press), as Fig. Lc in 

Aveni and Hartung, 1986, Maya city Planning, and the calendar, 4. 

Fig.9.32

1., o 

//0zo 7 

:, ., . . .:.i+:,i;."iäÌ...*ti.?Í:;i 

..::.'.;--- .i.4'i:- 

/c /ø dJTn/øta:;:;::.i 

é. 

-,.lltcr 

I'tto ),'fruDcoto 

Fíg.9.33 

Fig.9.33 

Ancient Calendar Wheel 

The Florentine Codex 

Drawing "After Paso y Troncoso,"as illustr. 20 (after p. 38), in 

Sahagún, Florentíne Codex: General History of the Things of New Spain. 

Book 7--The Sun, NIoon, and Stars, and the Binding of the Years, Trans., 

notes & illushrations by Anderson and Dibble, 1953.

Fig. e.3a 

Opening of a ceremoniai bundle to release a dynamic universe 

Codex Borgia 

(Source: Codex Borgia. Codices Selecti, vol. XXXIY, Graz: 

Akademische Druck-u. Verlagsanstalt, 19T6), as Fig. 7.2,p.25g in 

Aveni, t989, Empires of Timc: Calendars, Clocks, and Ctiltures. 

Fig.9.34

Fig.9.35 

Maya Calendar and. World view 

Madrid Codex, pp.75-76 

Yucatán (from about the time of the conquest) 

(Codices selecti vol. vIII, Graz: Akad. Druck-u Verlag) as Fig. 1b, p. 3 in 

Aveni and Hartung, 1986, Maya City planning and thl Calenãar, 

Transactions of the American Philosophícal Society, volume 76,pafi7. 

I 

Fig.9.35

Fíg.9.36 

Fíg.9.36 

cosmology, world view, directions, and calendar, with the fire god 

Xiuhtecuhtli 

Codex Fejéroáry Mayer, Mixtec 

Reproduction as Lamina 1, (XLIV), in Antonio Ortiz lvlena, Agustín 

Yáñez, and José Corona Núñez, 1.967, Antigüdades De México: basadas en 

la recopilación de Lord Kingsborough. volumen rv. Secretaría de 

Hacienda y Crédito Público lvféxico IvICMLXVII, IB9.

Fiç.9.37 

Fig.9.37 

The New Fire, with the fire god Huitzilopochtii facing his pyramid 

Divinatory calendar, Codex Borbonícus (detail from p. 34). 

Screenfold manuscript,3g x 39.5 cm.; barkpaper, L 47 ft., painted both sides. 

Mexico Cify. Pre-conquest or early Colonial. (Folio 34. Bibliothèque de 

l'Assemblée Nationale, Paris), as Fig. 1,84, p.228 in 

Miller, 7993, The Art of Mesoameríca f-rom Olmec to Aztec.

.,: 

!-lÊ' :.'r::: 

.i.:L'+ 

ii,ffi.. lr- 

':iÞ4;j\......' 

'r i,lg-'t] -- 

'.;¡Í.;-:-'Y ;', ;¡; ." '.1.: 

: 

.-. 

-â' : ...-..i,. 

r*å:ÉE¡-:.ir,?Et 

i*:y,^* 

, 

Fig.9.38 

Fig.9.38 

Eleventh "week" ruled by Patecatl, the deity associated with pulque 

Codex Borbinícus, Mexico. Aztec, c.1.525. Amate paper. 

Bibliothèque de I'Assemblée nationale français, Paris. Photo: Codex 

Borbonicus, 1974, p. I1, as Fig. 4 in Boone, 1992, "Pictorial Codices of 

Ancient Mexico," in The Ancient Americas: Art from Sacred Landscapes, 

gen. ed. Richard F. Townsend.

Fig.9.39 

Fig.9.39 

Aztec Calendar Stone 

Photograph and drawing (Museo Nacional de Antropología, Mexico City), 

as Image \4,p.L64 n Markman & Markman, L992, 

The Flayed God: The Mesoømerican Mythological Tradítion. Sacred Texts 

and Images from Pre-Columbian Mexico ønd Central America.

Fig.9.40 

Fig.9.40 

Coronation stone of lvloctezuma II ("Stone of the Five Suns"). 

Tenochtitlan, Mexico. Aztec, c. 1503. 

Carved basalt stone (top view). Photograph: The Art Institute of Chicago 

(Cat. no. 3), reproduced as Fig. 1-3a, p. 58 in Anthony Aveni, \992, 

"Pre-Columbian Images of rime," in The Ancient Americas: Art from 

Sacred Landscapes, gen. ed. Richard F. Townsend.

Fig.9.41 

Playing of drum and rattle marking the katun 

Fresco at Santa Rita, British Honduras 

(After Thomas w.F. Gann, !900, "Mound.s in northern Hond.uras,,' lgth 

Annual Report, Bureau of northern British Honduras, in Bur. of Amer. 

Eth. Bull. 64, washington) as Fig.4, p.78 in Rarph L. Roys, 1967, with an 

introductign by ]. Eric s. Thompson, The Book -of ChíIøm BaIøm of 

Chumayel, Norman: University of Oklahoma Þress, Zg. 

Fig.9.41.

a. 

b. 

HÍeroglyphs denoting Venus. 

",m (.)m 

Hleroglyphs of rstar over earthr 

and rstar over Seibal'. 

rær 

,rrffi 

'star over she1l I , 

Fig.10.1 

Fig. 10.1 

a. Venus hieroglyphs 

b. Hieroglyphs of "'star over earth', 'star over shell',and 'star over Seibal"' 

Drawings (a) as Fig. L, p.'/-.67, and (b) as Fig. 2, p. L67 in F.G. Lounsbury, 

1982, "Astronomical Knowledge and its Uses at Bonampaþ lVIexico," in 

Aveni, 1982, Archaeoastronomy in the Nezo World.

Fig.10.2 

Fiç.1.0.2 

Venus (as Hunahptr) and Seven Nzfacaw in a confrontation, and Venus 

with darts. Page 50 of the Dresclen Codex 

(from the series of Venus panels Pages 24, and,46-50) 

E. Förstemann, 1.962, Mttya Handschrift: dø' Sächsischen Løndesbibtiothek 

Dresden: Codex Dresdensis, Berlin: Akademie-Verlag.

s 

Fig. 10.3 

Hunahpu shooting Seven Macaw 

Scene from a Classic Maya vase 

Drawing by Kart Taube, in Tedlock,'l.996, popol Vuh, 78. 

Fíg.10.3

Fig.1.0.4 

a. 

b. 

page 46 

AECDEÊG 

IX 

X 

vilt 

page 47 

vil 

ABCDEFG 

IV 

vl-1 

IV 

vt-2 

Fig.10.4 

schematic diagram of two Dresden Coelex venus tables: 

a. The Dresden Codex, Venus pp.46,47 

b. Diagram of labelled sections: IV (glyphs of augury); yLL (augury 

involving venus); w-2 (venus as a wãriiòr with sieair); vr-g (àpeãred 

:1ciiT); vII- (apparition .a1d .disappearance 

intervalri vni (..t*qtåtives); 

IX (ritual calendar dates); x (venuô symbols, directional glyphs, and other 

glyphs). Images as part of Fig. 63,p. tilS in 

Aveni, 1980, Skywatchers of Ancient lvlexico. 

1 

2 

3 

4 

6 

7 

I 

9 

10 

11 

12 

13 

14 

r5 

t6 

18 

ì9 

20 

21 

23

Fig. 10.5 

Venus (T lauixcalp antecuhtti) 

lhe planet as a warrior attacks a social order represented by 

Codex Cospi (detail) 

Biblioteca universitaria, B_ologna, rtary, photograph of page 

Burland and Forman, l9zs, Feathered- sàrpent" oia s*àrrîrg 

the ocelot 

in 

Mirror, 175. 

Fig.10.5

Fig. 10.6 

Astronomical bodies in the Vienna Codex: 

(a) star 

þ) serpent's tail (possibly a constellation) 

(c) to (e) sun 

(f) Venus. 

Drawings (from Akad. Druck-u. v"lhg,' cyaz) as part of Fig. g, p. 24 in 

Aveni, 7980, Skywatchers of Ancient Mexico. 

( 

a 

Ê 

T 

Fig.10.6

TIJË'-tr-urlr 

.a 

ezþ 

w 

d 

g 

# 8¡ 

ffil 

Fig.70.7 

Astronomical bodies in the Vienna Codex: 

(g) to (m) Venus. 

Drawingg (from Akad. Druck-u. verrag, Graz) as part of Fig. g, p. 25 in 

Aveni, L980, Skywatchers of Ancient llexico.' ¡ 

Fig.10.7

%@ 

Fig. 10.8 

Tzítzimitl sky demon 

Codex Magliabechíano, j.6c. Aztec 

Dllyilg (Akademische Druck-u. verlagsanstalt), in Miller and Taube, 

1993,The Gods ønd syrnbors of Ancient"Nlexico and the Maya, r7T.- 

Fig.10.8

Fig. 10.9 

Dresden Codex, page 76 of Nloon Goddess aimanacs 

E. Förstemann, l'962, NInr¡n Handschrift: dcr Sächsischen Landesbibliothek 

Dresden: Codex Dresdensis, Berliry Akademie-Verlag. 

Fig.10.9

:: . ... 

-a-,4 

"- 

Fig. 10.10 

Dresden Codex, page 17 of Moon Goddess almanacs 

E. Förstemann, L962, lvlaya Handschrift: der Sächsischen 

Dresden: Codex Dresdensís, Berlin: Akademie-Verlag. 

Fí9.10.10 

Løndesbibliothek

Å'*'i* 

:ôa o a 

E ;1'. 

-E 

Fig.10.11 

Fig. 10.11 

Dresden Cod.ex, Eclipse Table, page 53 (selected from pp. S1-S3). 

E. Förstemann, 1962, Maya Handschrift: der Sächsischen Landesbíblíothek 


lnstructions and Correction Table 

(a) 

(ö) 

r0 

1l 

vilt 

IX 

vil 

51 

il 

ilt 

2 

3 

5 

6 

7 

I 

I 

0 

I 

2 

I 

VI 

lt 

ilt 

I vilr 

Fiç.10.12 

Dresden Codex, Eclipse Table, pp. 51-53. 

Diagram of schematic breakdowrL showing 

"fV. Augural and other glyphs 

VI. Eclipse picture 

VII. t77- and 148-day intervals 

VIII. Cumulatives 

IX. Rifual (260-day) calendar dates" 

Schematic and caption list selected from Fig. 62, p.I7S 

Aveni, 1980, Skywatchers of Ancient Mexico. 

(Þ) 

b 

IX 

vil 

(Þ) 

7 

5 

7 

I 

9 

Begin Table ot Eclipses 

53 

ñ-l llñ- 

IX IX 

vil vil 

IV 

vilt I"; 

IX IX 

vlt vil 

m 

Fig.10.12

+ 

t- 

).ao - 

Fig.10.13 

Fig. 10.13 

Solar eclipse symbolized by tight and dark elements and â dragon 

d.evouring the sun 

Dresden Codex, p.36 157 

E. Förstemanrt,1962, NIaya Handschrift: der Sächsischen Landesbibliothek 


1 

I I 

I 

t. 

È,7 

'þ'.Vtal 

1tølì rforb.r iul[t i co-t ul. yî ¡^ì icí,n,ofi r{. 

-' ¡,,,. .- ¡rtr r:r1", r t !.,il','t : r. t i t i ní o;¿ l: rc & tLwt+. 

\'1r,.¡.,.r,. 

hlliq. 

Ur/rr'¡rr¡n,rri'n.¡Ë,,¡r jfg'lr.r.r..r.[rqn ¿úalona(u 

)J#iiil,";¡, gX¡ :í,i f:ì,'; t1i:t -!::"tfrìi,;i i;:,lj i,t',i:l-."j Z 

t ;., c tÐ ilt. ¡.rl t: ; 

Þ À t rr í c'. ¡' ì,1 r ;r i n r r t p an HJ h' tt.th\ l\. i c n 

J L|...- ^ 

| - " ¡J í r o.. lo n iä t t-í. J n ; c..t,. i 1' t t..; n :; d ú:1,iu í tô n tiutt ttttoJr-.,a cte.l|tti" rI^þI.t: tnIf ntthùtt 

^ 

' ú3ti .¡ui n tt ìu' rí.tJ u i n.ral t.un,o ^' 

.\ ø u du f' .u,' If¿ t Ã . @t ê n ¿ J L. ft t; Í o'1 

", 

ø i to 

- ^ 7n 

t il 

" -".i ¡i..m i,' t ¡ 

" t i q t + h: n t I i ttr, .r[ ti.l ñ 4.t r'lÞt l l 

| i,r,, ^ 

¡- ., -iii-,J, -' ¡ ]n t' î n ti li rn n t,irjt; ;1 l|{,Tl'r'; t 

.r r, /¡' rir i -¡ r, r r. .d" ìl -.'_"{ -_ " :7 ii i'"'i i à: - å,il.i¿¿ 

. -,..-','-:r;i¡, t.dtl ñt7ê7-\ 

{.-,.ï ;,ïj;:; ;,¡Ë' 7 a * tû"n n*irii; 1' ;JÎil; 

'iu ruu¡';i ,tto L't;í tl¡:^,t nt ¿'l 

-/"rJ.-,,.uÂvå : 

mc li ¡þ nr.rffo. . n.rri il:Íiat etqÞ 6 au6 ¡¡o1 

ê- 

6 ilttitoø 

i:i,li::ì:jii:^¡:[il*,,t?i:iiot;;*":!'"'t';l'*, 

trrtrh rl¡¡!unq t'ltl'4t' l-' -'- \ . 

''.', '::rÃri: 

';" 

¿rro.u Jt1o9,ctt'-prafic ,ctt''ilaËc rttl"ñlttPtttoþi rtt.l'tñtttÞtt toþ^ t'1oFY4 ñoÃm4 | 

Jlîiii;..' t' n t n 4 ttì i'¡ ¿/'isJmo ñ r 7i 

"'L",1, t í @ "ai 

ât'i Jti; i'l'iDi i¡rrrr¡'ta'r"-r' 

J' 

:' i,:::,r! :"r!'.! ; :x;..: ì â':3ì'i'*,,¡ vi' !:1.:4it',i; 1'r, 

Ïd;,i'äiu[]iii'4riñ;rii'ii",iii." 

:ilt"Ç,"[. 

ilÀttrFt;^l 

o an * an ayel'af\n o ga uT 

,'i fl.,Îí. p¿ p t ø' i ¡1mi 

\ - u ¡ t t'', n o'h i.i aJ .t d o @'\ :è\ 4v ¡1 4 P f t t t t ñt 1t'51 

"t 

Èlin i, À"r, J n n. a nro r rc*y¡ i¡-a *p ar,6 tt ; qn o ^ rhi 

.l'i ;rt.¡u;tnt\ta thc ntok-¡ o-tiil't amoqsa!þ 66 

&¡ t- i u ít ¡ n o.tt¡i ^ \r réc -c.lili -',t, i t tsj Ji-. q í;+; - 

ffi 

@ 

*?'* 

ø' 

ø 

e#ffi 

9---.-q 

qj o@o@o .l 

f @o@oo I 

b,¿ 

@', 

ruo: 

@f- 

J r¡r 

'I 

. . .,!ì 

-tl 

,1.;1 

. rnL 

'i.". . 

:":l#! îi. -lt 

. ,si Âi : 

. . . .;-:::l'. 

lCridicc 

r.lcl 

I'¡hciu Rc¡l 

Fiç.1.0.1,4 

Eclipse of the Sun; eclipse of the moon; and sun, moorL and stars 

Códice Matritense del Pølacío Real de Madríd, fol. p. 2B2r tn 

sahagún, 1993, Prímeros Memoriales, aftet Francisco der pasy y 

Troncoso's edition of the Primeros Memoriales, [Vol. 6] of the Hístoría 

General de las Cosøs de Nueaø España. 

lol.281rl 

Fig.10.14

lo 

l. Sun 

l. Ifoon 

3. Thc rahhit in rhc moon 

{. Ecli¡rsc oi thc r,oon 

5. Conrcr 

6. Conrct s t¡il 

7. St¡rs 

f. Thc \\'inds 

I.ll). i-irhrnins 

IL Cloutls 

Il. I{ri¡rlx,r 

lo¡o ¡ T¡oaco¡o 

-,11t¡r 

Fig. 10.15 

Lunar eclipse 

Illustration by Anderson and Dibbre, after paso y Troncosq as Fig. 1-4 in 

Sahagún, trans. by Anderson and Dibble, 'l,g1g, 

Florentine codex : General History of the Thíngs of New spaín. 

Book 7--The sun, Moon, and. stari, and the nirïain! of the yuorr. 

Fig.10.15

Fig.10.16 

Fig. 10.16 

Goddess Coatlicue, She of the Serpent Skirt, 

with blood in form of snakes emerging from her throat and severed arms. 

Stone, Aztec, Late Postdassic perioã 

Museo Nacional de Aniropologia, Mexico City, 

Photograph by Irmgard Gioth-Kimball in 

Karl raube, 1993, Aztec and Maya Myths: The.Legendøry . past, 46.

Fíg.10.17 

Coyolxauhqui, Dismembered Ndoon Goddess 

volcanic stone relief from the foot of the twin temples 

Templo lvlayor, Tenochtitlary circa 1454. 

H 340 cm (133 7ls in.¡ 

Photograph: smithsonian Institution, reproduced as Fig. 166, p. 209, ín 

fuIiller, 7993, Thc Art oJ lvlesoarnerica from otmec to ,4ztec. 

Fig.10.17

Fig.10.18 

Fig. 10.18 

Astronomer, Madrid Codex 

from Codex Madrid (Tro-Cortesíanus Troano). N,Iuseo de América, 

Madrid. Codices selecti vol. wII. craz: Akad. Druck-u verlag. 

Photograph as frontispiece in Aveni, 1980, Skyittntchers of Aniíent Mexico.

Fig.10.19 

Fig. 10.19 

An astronomer stargazing, a musician playing a teponaztli while 

announcing the time, and individuals engaging in agricultural activity. 

Scenes from the Mendoza Codex 

Eo9lqi* Llbrary, oxford, Nds. Arch. seld. A.i Gn¡ruCensus no.Le6), also see 

I.C. Clark, ed. and trans. 1938. Codex Mendoza: The Mexican manuscript 

known as the Collection of Mendoza ønd preseraed in the Bodleian 

Líbrary, Oxford. 3 vols. London. 

Images reproduced as Fig.4, p.IT in 

Aveni, 1980, Skywatchers of Ancient Mexico.

[¡&¡rr¡a.U*d¡Era*.r 

oaac}as 

f 

( 

f-ùt'i 

Fig. 10.20 

"Crossed-stick sighting devices" from Bodley, 

codices and in tllte Lienzo of Zacatepec No. L 

from Akad. Druck-u. Verlag, Graz). as Fig. 5, 

Aveni, 1980, Skywatchers of Ancient Mexíco. 

I 

J 

1 

Fig.10.20 

Selden, and Fernández Leal 

Drawings a,b, d, e, f., g,h 

p. L9 in 

\ It 

G 

{

Fíg.10.21 

Caracol observatory at Chichenltzá, Yucatán 

Early Postclassic period 


Fig.10.21,

Fig.70.?2 

Fig.1,0.22 

The House of the Governor, Llxmal, yucatán 

Puuc Strucfure. View of facade with lvlagician's Pyramid (La pyrámid del 

Adivino) in the distance 

Photograph by Charlotte Werner

Fig.10.23 

The House of the Governor, Uxmal, yucatán 

Facade of Central Building 

Puuc strucbure with a corunemorative dedícation to a 


10th c. reign 

Fiç.70.23

Fi1.1,0.24 

The House of the Governor, Uxmal, yucatán 

Central B{lding, detail of central figural motif and bands over doorway 


Fig.10.24

Fig.10.25 

Fig. t0.25 

The House of the Governor, IJxmal, Yucatán 

Central Building, detail of hieroglyphic serpent bars flanking central motif 

Drawing (after Eduard Seler, 7917, "Die Ruinen von Lfxmal", in 

Abhandlungen der Königlich Preussischen Akademíe der 

Wissenschaften, Phil.-Hist. Klasse, Nr. 3, Berlin: abb. 1-20a) as Fig. ll4, p. 

L53 in Kowalsþ \987, The House of the Goaernor: A Møya Pølace at 

Uxmal, Yucatøn, Mexico.

Ê2* .!it ôE 

i rE. ru.âr, 

Fig. 10.26 

Astronomical symbolism, First Temple (Structure 5C) at Cefros, Belize. 

Late Frectassic Period. 

Projection drawing as Fig. 154, p. ?3,8, in 

Freídet and Schele, "Dead Kings and Living Temples," inWord €t lmage 

in Maya Cultute: Explorations in [-anguage, Writing, ønd Representøtion, 

ed. by WiIIiam F. Hanks and Don S. Rice, 1989.

Eveningstæ 

Setting Sun 

sþ frame 

Fig.10-27 

Astronomical symbolism, First Temple (Structure 5C) at Cerros, Belize. 

Late F¡edassic Psioel, 

Mask panels from the First Temple (5C) at Cerros. Drawings as Fig. 3:12 in 

Schele and Freid.el, I99t, 

.A. Forest of Kings: The Untold Story of the Ancient Møya, tl}ædL1ï. 

Eig.10,27

Fig. 11.1 

Gods of the Underworld in a sacrificial dance, with 

GI as executioner about to sacrifice Xbalanque, the |aguar God 

Underworld as an infant with jaguar features. 

Calakmul area, southern Campeche. Height: L4.0 cm. 

Collection: lvfuseum of Primitive Art, New York [I/PA 68.7]. 

Roll-out photo pp. 37-38 by Justin Kerr, from Coe, 1.973 [Grolier 45], 1n 

Coe,7978, Lords of the Underutorld, 

Fig.11.1 

of the

@ Kerr 1988 

HL t9 Dia. 13.5 Clr. 37.5 cm CX 

@ Ken 1988 

Ht. 15 Dta. 10.5 Cir.3i cm CX 

Fig.t1..2 

Flle No.40ll 

Fig. t1,.2 

a. Ritual and sacrificial dance in Xibalba 

}j.t.19, dia. 13.5, cir.37.5 cm. 

b. Ritual and dance in Xibalba 

Ht. 15, Dia L0.5, Cir.31 cm. 

Photographs by justin Ker:r: (a) @ 1988, File No. 40L3, p. 450; (b) @ L988, File 

No.40LL, p.451,; inJustinKerr, 1992,The Maya Vase Book: A Corpus of 

RoIIout Photographs of Møya Vases, Volume 3.

a. 

b. 

@ Kerr 1988 

Ht. 14 Dta. 14.3 Clf. 38.5 crn CX 

@ Kerr 1989 

Ht. 9.5 Dta. lO Cfr. 28 cm CX 

Fig.11.3 

F[e No. 4385 

Fig. 11.3 

a. Ritual in Xibalba 

b. Falling human/jaguar in Xibalba 

Maya cerarnic vase/ Ht. 9.5, Dia. 10, Cir.28 cm. 

Photographs by Justin Kerr: (a) @ 1988, File No. 4056, p. 459; (b) O 1989, File 

No. 4385, p. 485, in ]ustin Kerr, 1992,The Maya Vase Book: A Corpus of 

RoIIout Photographs of Møya Vøses, Volume 3.

Fig. 11.4 

niia-¡aguar and Dignitary holding live snakes/Dancing with Snakes. 

Lintel from Site R, vicinity of Yaxchilan, 

Drawingby Peter Matthews as Fig. 6:L4inFreidel, Sdrele, and Parker, 

Møya ðot*ott Three Thousønd Years on the Shamøn's Pøth, 273. 

È 

o 

6 

¿ 

o ù 

À >l 

¡ÞD 

q 

.E 

ó 

å 

Fig.rt.4 

1993,

Fig. 11.5 

Acrobat efhgy vessel 

Colim+ western Mexico, Late Preclassic or Early Classic, A.D. 1-600. 

tay,91/4". Photograph from Museum of Primitive Art, New yorþ 

as Fig. 93 in Nelsorç 1971., Cerømícs: A Potter's Handbook, SL. 

Fig.11.5

Fig. 11.6 

Figure encircled by contortionist. 

Olmec relief, the Shook Panel. 

Late Formative period, Guatemala. 

Drawing by Karl Taube in Miller and Taube,1993, 

The Gods and Symbols of Ancient Mexico and the Maya: An Illustrated 

Dictíonary of Mesoamerícan Religion, 39. 

Fig.11.6

@ Kerr 1989 , 

Ht. 15.8 Dta. 12.8 Cir.42.5 cm BW 

Fig. 1,L.7 

Acrobats performing handsprings 

Maya cerarnic vessel Ht. 15.8, Dia. t2.8, Cir. 42.5 cm BW 

Photograph by Justin Kerr, File No. 4386 in Kerr, t992, The Maya Vøse 

Book: A Corpus of Rollout Photographs of Maya Vases, Yo1.3,486. 

Fig.t!.7

Fig.11.8 

Fig. 11.8 

Flare Gods on Palenque Monuments 

(a-b) Sarcophagus Lid, Temple of the Inscriptions; (c) Temple 14; 

(d)Temple of the Sun; (e) Tablet from Dumbarton Oaks; (f) Palace, Flouse 

Au Pier b ; (g) Palace, north sub-structure; Tier 3." 

Drawings by Linda Schele as Fig tl,p.51 in 

Sclrele, t974, "Observations on the Cross Motif at Palenque," in Prímera 

Mesa Redonda de Palenque, Part I: A Conference on the Art, Iconography, 

and Dynastic History of Palenque, ed. by Merle Greene Robertson.

4.¡ 

tñ 

.,Ï i,, 

A- 

Æ.E'u 

9.,:* 

ti 

l{ = 

;d 

H 

-1¿ 

F*Ëü.-ì 

-=@@ 

.$ä øe 

p-i;El@ 

.a¡a.rt 

5A_ i 

Fi9.11.9 

DõiUes performing the act of smoking in the almanacs 

Codex Madrid (Codex Tro-Cortesianus) 

0.4. Vitlcorta and C.A. Villacorta, 1930, Codices Mayas: Reproducidos 

desurrolíados, Guatemala City: Tipografia Nacional') 

Pages assembled together as Fig. L30, p. 115 inRobicsek, L978, 

The smoking Gods: Tobacco in Maya Art, History, and Religion. 

rl 

dr 

.ír 

It 

Fig.11.9

a- 

c. 

I 

L- ì=¿ 

Wuøtræ) 

fffi3lgf 

Fig.11.10 

Fig. 11.10 

Wayob figures of God A' 

a. God A'with enema pouch and syringe 

Drawing from Coe, L982:60 (as Fig. 46 p.708, Grube and Nahm , 1994) 

b. God A' dancing with stone in his hand 

Drawing by Nikolai Grube (as Fig. 47, p.709, Grube and Nahm, 1994) 

c. God A' severing his own neck 

Drawing by Linda Schele (as Fig. 45 p.708, Grube and Nahm , 1994\ 

These figures are in Grube and Nahm, 1994, "4 Census of Xibalba: A 

Complete Inventory of Way Characters on Maya Ceramics," in The Maya 

Vase Book: A Corpus of Rollout Photogrøphs of Maya Vases by lustin 

Kerr, Volume 4, text eds. Barbara and Justin Kerr, L994. 

b.

Fig. 11.11 

Enema devices in a ribual scene 

Late Classic period polychrome vase, northern petén 

Drawing as Fig. 25,p.22, in Robicsek, ITTB, 

The smoking Gods: Tobacco in Maya Art, History, and Religion. 

Fig.11.11

O Ken I98l 

Ht. 17.5 Dta. 13.3 Cir38.5cm CV 

Fig.1.1,.12 

Enema ritual scene 

Classic lvlaya vessel 

Photograph by ]ustin Kerr, as No. L550 in Jusbin Kerr, 

Vnse Book: A Corpus of Rollout Photographs of n-Iøyn 

Fi.le No. 1550 

Fig.1t.72 

1990, The Maya 

Vases, Vol. 2, 348.

Fíg. 11.13 

Dancing lords in blood ribual. 

Cylindricai Vessel, Late Classic period, (e.o. 600-g00). 

Polychromed ceramic. Diam. ri.i x H. zz.j cm. 

Kimbell Art lvluseum, Fort worth. Rollout photograph No. 1452 

Justin Kerr @ Lggs, as plate 71a p.20s in schèle utä tøiuur,.L9g6, 


by 

Fig.11.13

Pure JBc. South wall 

Fig.11,.1,4 

Room L, Bonampak, lvlexico 

Wall murais, Late Classic, A.D. 800 

Polychromed stucco 

Pnotographs by Justin Kerr @ L985 reproduced as Plate 38 b-d, p. 158 in 



Fig.11.14

Fig. 11.15 

Bonampak, Mexico 

Wall murals, Late Classic, A.D. 800 

Polychromed stucco 

(Copy by Filipe Dávalos. Photograph from the 

Florida State Museum, Gainesville) as Fig. 11.3 p. 321 in 

Miller, 1988, "The Boys of the Bonampak Band," in 

Maya lconography, ed. by Benson and Griffin, t988. 

Fig.11.15

Fig. 11.16 

Diagram of BonamPak Room 1-, 

drawing by Otto van Eersel on p. LL0 

Leonard, 1967, Ancient Ameríca. 

Fi9.77.76

Fig.11.77 

Fig.11.17 

Bonampak Room 2, north wall: captives displayed before Ki.g Chaan- 

Muan, apparently to commemorate a young heir. 

Polychrome wall painting, Late Classic period, ca. A.D. 800. 

Watercolour copy by Antonio Tejeda, photo from the Peabody Museum of 

Archaeology and Ethnology, Flarvard University, as Fig. Y.6,p.217 in 


The Blood of Kings: Dynasty and Ritual in Maya Art.

Fig.11.18 

Fig. 11.18 

Xochipilli, the "Flower Prince" deiby of games, pleasure, spring, love, 

dance, poetry and theake. Late Post-Classic period. H. ca. 3ft 9in. 

The National Museum of Anthropology. Photograph by Irmgard Kimball, 

p. 100 in RamírezYázquez,1968, The National lvluseunt of Anthropology: 

Mexico. Art - Architectttre - Archaeology - Anthropology.

Fig. 11.19 

Headdress presented as a gifi to Cortés 

I'v 175 cm (69 in). \luseum ftir votkerkunde, !'ienna, Austria. 

Photograph as Fig. 96,p. I29 tn 

sablofl 1,990, The Cities of Ancient Mexico: Reconstrttcting a Lost World. 

Fig.11.19

Fig.11.20 

Fig. 11.20 

Zapotec carved wooden Teponaztli drum, featuring the image of. a Zapotec 

warrior holding a weapon in form of a swordfish. 

Museo Nacional de Antropologia, Mexico City. Photograph p- 2f in 

Burland and Forman, 1,975, 

Feathered Serpent ønd Smokíng Mirror: Gods and fate in ancient NIexico.

a. 

b. 

Fig.11.2L 

a Mixtec drum with flaps, and carved scene of confrontation 

b. Aztec pottery whistles used in festival dances 

Photographs originally from British lVIuseum, London, England, in 

Cottie Burland and Werner Forman, 1,975 

Feathered Serpent and Smoking NIirror, p. 84. 

Fiç.1L.2L

a. 

Fi1.1,I.22 

a. Flageolets (small flutes), Aztec. 

b. Pottery ocarina (turtle form--tail is the mouthpiece) 

Photographs originally from British Museum, London, England, in 

Cottie Burland and Werner Forman, L975 

Feathered Serpent ønd Smoking Mirror, p.8a. 

b. 

Fis.17.22

Fig.11.23 

Fig. t1.23 

Cõt¿ bell with male figure standing on platform 

Cenote of Sacrifice at Chichenltzá,,Éarty fostclassic period (e.o. 900-1150) 

Peabody Museum 10-71-201C766I, H' 5'9 cm' 

Photograph as Fig. 92,p.92 rn,:. CogBTs an{ S$ne, !984, 

Crnoå oi Sacrifiä, iuioyo Treasurãl fto* the Sacred WeII øt Chíchén ltzá'

Fig.77.24 

Fig.11..24 

Gold bell with owl alighting on the top 

Cenote of Sacrifice at Chichenltzá, Early Postclassic period (a.p.900-1150) 

Peabody lvfuseum 70-73-201C7727. H. 4.6 cm. 

Photograph as Fig. 97, p. 94 ín Coggins and Shane , IgB4, 

Cenote of Sacrifice: lvlaya Treasures from the Sacred Wett at Chichen ltzd.

A 

.i:.¿,;1¡-; 

!:l!l,t 

tr!rr / 

tu 

Qn/ 

.n¿ 

t, 

i#*H 

l'"ål 

B-.rx 

L^ --^v \ 

sW 

c 

Fig.r2.7 

Fig.12.1. 

a. ]aguar costume elements: mittens, boots and clubs 

"(A) Agueteca Stela 2, c.9.15.4.6.f.2 Chuen 4Pax. 

(B) Dos Pilas Stela t6, c.9.L5.4.6.1.2 Chuen 4 Pax. 

(C) Yaxchilan Lintel 6, c.9.f1,6.L8.6 I Cimi 14 Mac" 

Illustrations (alt after Ian Graham) as Fig. 18, p. 74 n 

Rocicsek and Hales,1984, "Maya Heart Sacrifice," in 

Ritual Human Sacrifice in Mesoømeríca, ed. by Benson and Boone, 1984. 

B

a 

Fiç.12.2 

Warrior lords with clawed feet 

a. Agueteca Stela 2 (drawing by Ian Graham) 

b. Dos Pilas Stela L6 (drawing of upper sections by Ian Graham; lower 

section by Peter Matthews) 

Both drawings reproduced as Fig. 15 (a) and (b), p.26 in 

Linda Schele, "Human Heart Sacrifice Among the Classic Maya," in 

Ritual Human Sacrífice in Mesoameríca, ed. by Benson and Boone,1984. 

b 

Fig. t2.2

A 

t 

Fig.12.3 

Ruler and wa¡rior facing each other with jaguar-clawed clubs 

Yaxchïan, Structure 1 Lintel 6 

Drawing by Ian Graham, as Fig. 3:23 tn Graham and Von Euw, 1977, 

Corpus of Mayø Hieroglyphic Inscríptions, Volume 3 Part 1-, vAXCHILAN. 

Fig.l23 

B 

I 

3 

1 

5 

ó

Fig.12.4 

Cauac Sky (or Two-Legged Sky) 

Stela e, Quiriguá þack face) 

Dancing Lorð(with clawed hands, jaguar feet anct inverted perforator) 

(Redrawn from A.P. Maudslay, 1889-1902, Biologia Centrali-Americana: 

Eig.t2.4 

Archaeology. 1 vol. text and 4 vols. plates. London: R.H. Porter and Dulau & Co. II: PL 8) 

as Fig. 4.45, p. L37 n 

Marcus, L976, Emblem and State in the Maya Lowlands.

' . j-i 

:rr:l::'o 

Fí9.12.5 

Fíg.12.5 

Goddess breastfeeding, with heart in blood and astronomical symbols 

Mixtec Féjéraary-Móyer Codex (four-panel page) 

Reproduction Lamina XXXIX (XVI), in Antonio Ortiz lvfena, Agustín Yáfle2, 

and José Corona lrlúñez, 1967, Antigädades De NIéxico: basadas en la 

recopilacíón de Lord Kingsborough. Volumen \Ì,245. 

o 

9 oc

Fi9.12.6 

Young Maize God 

Stone head and torso, Copán 

Ht.28 in (71 cm). 

Photograph (from American lvluseum of Natural History, New York) 

as Fig. 59, p.95 in 

Michael D. Coe, 1988, The lvlaya, 95. 

Fig.t2.6

Fíg.12.7 

lvlaize god in sacrificial bowl floating on blood 

Cache Vessel Lid 

Early Classic period, (A.D.350-500), 

Incised ceramic, Diam.35.90 x H. 5.7 cm. 

The Art Museum, Princeton University. Photograph by ]ustin Kerr as 

Plate 75,p.207 in Schele and Miller,1.986, 

The Blood of Kings: Dynasty and Ritual in lvlaya Art. 

Fig.12.7

;Effi) 

, 

J\, 

ll 

Fig.12.8 

Fig.I2.8 

Two deities blood-letting from their penises 

Codex Madrid 82b. 

Drawing (after C. Villacorta, and ]. Antonio and C.A. Villacorta, 1930, 

Codices Mayas. Dresdensis-Peresianus-Tro-Cortesianus, Guatemala) as Fig. 8, p. 64 in 

David |oralemon,1974, "Ritual Blood Sacrifice among the Ancient Maya: 

Part l" in Prímera Mesa Redonda de Palenque Part II: A conference on 

the Art, lconography, and Dynastíc History of Palenqtte, Palenque, Chiapas, 

Mexico, December L4-22, L973, 59- 75, ed. by Merle Greene Robertson.

Fi9.72.9 

Fig.12.9 

The Sun God bloodletting creates Vision of the cosmos 

Acasaguastlan pot, Guatemala, A.D. 400-600 

Photograph by Justin Kerr, as Plate 73A, p.207 n Schele and Miller,1986, 

The Blood of Kíngs: Dynasty and Ritual in Maya Art.

Eig.t2.l0 

Fig. 12.10 

Six deities engage in ribual blood-letting from the penis 

Maya polychromed ceramic cylindrical vessel 

Late Classic Period, A.D. 600-800 

Huehuetenango, Guatemala 

Rollout scene (after G.B. Gordon and J.A. lvlason 1.925-28, Examples of 

Maya Pottery in the Museum and Other Collections, University Museum, 

Philadelphia: Plate XXVII), asfig. 12,P.65 in 

Joralemory t974, "Ritual Blood Sacrifice among the Ancient Maya: Part f," 

ín Prímera Mesa Redonda de Palenque Part II: A conference on the Art, 

Iconography, and Dynastíc History of Palenque, Palenque, Chiapas, Mexico, 

December 14-22, 1973, 59-75, ed. by Merle Greene Robertson.

Skta D, CoFd. 

Pø.lr Íô; tA. ¿oot jdñõr,Î¿ry|. 

of tA. Folíd¿Ctú, Pal.dqùe. 

ffi 

Linato¡c Pa¡¿If¡o¡ thc Ro¡anpøI 

;t. 

LíñaroE Po^. I f¡o ñ tAê I o Mñpo k 

Plfly"ne nt'4lre^ 

4!!' ' 

Huchucrcuaso l'ue 

rÀc ch"m,* 

Hucàuctcøn6o Yuc, 

I :; r 

. ,':! ,:;:.,1 

S¡.ld A, CoP¿d- .': ..: 

c 

labkt oI À¿ Fotíok¿ Croe. Pak^- 

.t.' : 

ffi 

,l 

Huthtctcno¡to vu¿- 

Eig.72.17 

æ 

Æ 

\@ 

Liú¿ 14, Y@chilù. 

r;''!.ii.'MX 

Mæ*l --" )ll 

Fíg.12J,1, 

Classic Maya Perforator God 

Details from bloodletting scenes on Huehuetenango vase and other icons 

Drawings by David ]oraleman, selected from Fig.24, pp.70-71 rn 

Joralemon, 1974, "Ritual Blood Sacrifice among the Ancient Maya: Part 

I," in Prímera Mesa Redonda de Palenque Part Il: A conference on the 

Art, Iconography, and Dynastic History of Palenque, Palenque, Chiøpas, 

Mexico, December 1,4-22, L973, 59-75, ed. by Merle Greene Robertson. 

.1'zz. ' 

uóbhh.t- 

TiLaI Stcla 2ó.

a. b. 

Fig.12.12 

Fig. t2.12 

a. Maya lord wearing deified perforator over genitals, Stela D, Copárç 

(from Maudslay Vol L: Plate 45) 

b. Maya lord wearing god of the perforator on geometric ornaments 

Stela A, Copiín. 

(from Maudslay Vol. L Plate 26) 

Both drawings after Alfred P. Maudslay, 1889-L902, Biologiø Centrali- 

Americana, Archaeology.5 vols. London: Dulau & Co., 

reproduced as Figs. 2I and 22 respectively, on p. 72 n 

]oralemon, 1974, "Ritual Blood Sacrifice among the Ancient Maya: Part I," 

in Primera Mesa Redonda de Palenque Part lI: A conference on the Art, 

Iconography, ønd Dynastic History of Palenque, Palenqtrc, Chiapas, Mexico, 

December 14-22, L973, 59-75, ed. by Merle Greene Robertson.

Fig.12.13 

Bloodletting from the genitals 

Carved Bone, Late Classic A.D. 600-800 

Museum of the American Indian, Heye Foundation, New York. 

Drawing by Linda Schele as Fig. 61e, p.1"86 in Schele and Miller,1.986, 


Fig.t2.l3

Fig.72.L4 

Fig.12.1'4 

Youth in bloodletting rite, with Ruler 3 and Lady of Cancuen presiding 

Dos Pilas Panel L9 

H. .64m. Drawing by David stuart and stephen Housto+ inking-ry'David 

Stuart, f rom petexUa íun Re gional Archae olõgÌ cal- ProþcÇ _Vanderbilt 

University, reproduced as FiS. 4.]?, P' 115 in Stephen D' Houston' 1993' 

A¡iro|typh} oà¿ History at D"os Pilas: Dynøstíc Politics of the Classic Møya'

Fig. L2.1,5 

Mat design on carved bone tube, possibly a handle of a sacrificial knife 

Cuello, Beltze, Late Preclassic period, ca. 400 B.C. 

Photograph by Norman Hammond, in 

Hammond, 1994, "The Emergence of lvlaya Civilization," in 

Ancient Cities, Special Issue, Scíentifíc American, 128-137, 135. 

Fig.72.15

a. 

b. 

Fig.12.t6 

Fig.12.L6 

a. Blood-letting from the earlobes. 

Codex Madrid 9Sa,Drawing after Villacorta and Villacorta 1930, 

b. God B drawing blood from his tongue 

Codex Madrid 96b. 

Drawings after Villacorta and Villacorta, !930, 

Codices Mayas: Dresdensis-Peresianus-Tro-Cortesianus, Guatemala. 

(a) as Fig. 3 in ]oralemon, !974, fuç.3, p, 62 and (b) as Fig. 4, p. 62, in 

Joralemorç L974, "Ritual Blood Sacrifice among the Ancient Maya: 

Part I," in Primera Mesa Redonda de Palenque Part II: A conference on 

the Art, Iconograph!, and Dynastic History of Palenqtte, Palenqtte, 

Chiapas, Mexíco, December 14-22, L973, ed. by Merle Greene Robertson.

Fig.12.77 

Fig.12.17 

Drawing cords through the tongue 

Room 3, Structure 1-, Bonampak. 

Drawing (after K. Ruppert, J.E.S. Thompson and T. Proskouriakoff, t955' 

"Bonampãk, Chiapas, Mexico," Carnegie Instittttion of Washington, Publication 602, 

Washington, Fig. 29), as Fig. 6, p- 63, in 

|oralemory 1974, "Ritual Blood Sacrifice among the Ancient Maya: Part I," 

in Primera Mesa Redonda de Palenque Part II: A Conference on the Art, 

Iconography, and Dynastic History of Palenqtte, Palenque, Chiapøs, Mexico, 

December L4-22, 1,973, ed. by Merle Greene Robertson.

Fig. 12.18 

Lady Xoc bloodletting, Vision Serpent, and Shield ]aguar with torch 

Lintel 24, Yaxchilaru Chiapas, lvfexico 

Late Classic, e,.o.725 

Drawing by lan Graham, in Graham and Von Euw, 1977, 

Corpus of Maya Hieroglyphic lnscríptíons, Volume 3 Part L, 3:53. 

Fig.12.78

ffiffiwffiffiffi 

5 Eb 15 Mac he is lelling blæd ? ? 4 Katun Lord 

9.13.17.r5.12 

Oct.28, a.o. 709 

ffiAh 

Ahaual 

@ 

Shield Jaguar 

lhe captor ol 

Lord of Yaxch¡lan 

Fig.I2.t9 

Glyphic Text from Lady Xoc bloodletting scene 

Lintel 24, YaxchiTan, Chiapas, Mexico 


Drawing by Linda Schele and captions as Plate 62c, p.187 in 



ffi 

ffi 

ffi 

w 

Fi9.12.19 

she ¡s 

letl¡ng blood 

name or lilles 

Lady Xoc 

Lady Barab

Fig. 12.20 

Lady Xoc with Vision Serpent, 

Lintel 25, Yaxchilan, Chiapas, Mexico 


The Trustees of the British Museum, London 

Drawing by Ian Graham, in Graham and Von Euw, 1977, 

Corpus of Maya Hieroglyphic lnscriptions, Volume 3 Part L, 3:55. 

Fig.t2.20

AB 

I 

2 

3 

4 

5 

Fig. 12.21, 

Lady Balam-Ix and Bird Jaguar auto-bloodletting. 

Lintel 17, YaxchTlan, Chiapas, Nlexico. 

Late Classic Period, a.d.770. 

Limestone. Drawing by Ian Graham, in Graham and Von Euw, L977, 

Corpus of Maya Híeroglyphic Inscriptions, Volume 3 Part 1',3:43. 

Fig.12.2t

\ 

\ 

Fi9.12.22 

Tula-Toltec warriors extracting the heart of lvlaya captive 

Repoussé disk from Cenote of Sacrifice, Chichen Itza 

Drawing by Tatiana Proskouriakoff, as Fig. 1, P. 2 in Samuel 

Lothrop (with sections by W.C. Root and Tatiana Proskouriakoff), 

Metals fro* the Cenote of Sacrifice: Chichen Itza, Yucatan. 

Fig.12.?2 

Kirkland 

1952,

"a4 

Fíg.12.23 

Sacrificial Knife, 

Terminal Classic-Early Postclassic, A.D' 800-LL00, 

"Blade: chert, haftin resin; red pigment; copal"; "Bifacially flaked" 

"Handle: wood; dark coating; paraffin impregnated"; "Carved" 

Total L. 34.5 cm.; Est Biface L 19.0 cm., W. 7.L cm." 

Peabody Museum L0-71-20lCîzzs;Photo as Fig' 26,P' 51' in 

Coggins and Shane, t984, 

Ctätt of Søcrifice: Maya Treasures from 

Fig.72.23 

the Sacred WeII at Chíchén ltzá.

Celestral B'r'J 

rolled curlarn 

Reed effigy of carman 

front head of 

Celestial Monster 

bloodY cloth 

ladder scaffolding 

blood stream 

ñrt' 

.C 

blood stream 

I 

I 

I 

I 

Fig.12.2a 

ff;JrrÎå scene with heart sacrifice victim and tracking 

sì;ilil; Þiedras Negras' Guatemala 

¡*-tg6 fffiÍ;}J* :l Eis. tt.4, p..rt2 .in schere and M'Ie r, 1e86, 

The Blood o¡ Xiigl,-Dynasty lnd Ritual in Maya Art'

#H+o 

Fig.12.25 

Frg.12.25 

Heart sacrifice of human and feline; trophy head; skull rack; and tracking 

The Codex Nuttø|, Page 69, 

Mixtec codex 

Zels.aNuttal, 1975,The Codex l'{uttal, 69'

':E¡r 

#t' 

8i9.72.26 

Fig.12.26 

Hea¡t sacrifice 

Mixtec FéjéraarY-MóYer Codex , ^ 

Lamina II (XLIII), in Ántonio Orttz Mena, AgustÍn Yáñez, and ]osé Corona 

lrtrúñez, 196T, Antigüctacles De México: basãdas en Ia recopilación de Lord 

Kigsb|rough. Välumen IV. Secretaría de Hacienda y Crédito Público 

México MCMLXW,I9l.

Fig.72.27 

Fig.12.27 

Cõdex scene of. Aztec Sacrifice on the Great Temple at Tenochtitlan 

Source: (Scala, Florence: Biblioteca Nazionale Centrale, Florence. 

Photographic material from I.N.A.H., S.E.P., the National Institute of Anthropology and 

History, Secretariat of Pubtic Education), reProduced in 

Dickey, Muse, and Wiencek, L982, The God-Kings of NIexico, p-L52.

' f1w mn{uä nomlrr. 

ii".;".,*1",.1'; o,l e':v.yy", ;ô,i ;. *;;r';; 

^.¡¡lEmc .'-r.-,¡¡G , ¡n1úrfr$rthhc¡4 iniincuv¿ fal 

xrgulrqt ' ,--_!. 

tlñò¡ã 

"L"l-,^ --üil^*ilj": 

,',1ur¡mllrrnrc¡4 tÍrrCEV¿ v¿ù . 

IT:1fr , ; ft;if 1ti{oye_e.vil-1clUli.'nø[ 

'*N-+*"mgl,*ffrffi¿,.i 

;:.iYå,;'ii:å'îJåî;,:Ui:ä'åiti#['Ë^L 

i::iifå'lilr'#r#ïti,i''Ë-F"ï'SlË 

(r..ìP.\ 

t.cdmotJ(üJloryc y:arafl', 

¡¡cli( 

rid¡^-;u,81,..- 

\¡ r¡1.¿rrc, ro.r-o¡lc¡¡ôa 

"V.,crlÀ"Lil, ",iÈ 

iå*'',"';..+úïtsirHî#îr#;Pi,ä 

iis,ìi,:Íiil'*;ilffi,,1åif üil#;l{, 

rdtÉli¡ihi¡ ),'iúyolt".ê ah.f.Ã, ñe.h;ú4rcú, í

ti; 

tr 

F 

Êi 

:l 

H 

I 

ri 

É 

þ H 

F 

r ! 

t .: 

i I 

Fíg. t2.29 

Sacrifice in a walled ceremonial center. 

Codex Matritense del Palacio ReaI de Madríd, fol. p. 269r in 

Sahagú+ L993, Primos Memoriales (after Francisco del Pasy y Troncoso). 

Fi9.12.29

Fig.12.30 

Chacmool figure with sacrificial blade in armband 

Tu1a, Hidalgo. 

Toltec culture, Early Post-Classic period. 

Photograph by Michael D. Coe as Fig. 98, p.129 in Coe, 1990, Mexico. 

Fig.12.30

Fig.12.31 

Fig.12.31, 

Chacmool figure portrayirrg the rain god n'ith a Tlaloc mask and early 

pendant. H. 123 (483/8) 

Museo Nacional de Antropologia, Mexico. 

Photograph by Mary Ellen Miller as Fig. I72, p.215 in 

M1ler, t993, The Art of Mesoamerica from Olmec to Aztec.

Fiç.72.32 

Fig. L2.32 

Figure with trophy head. 

Stela Fragment, Chocola, Suchitepequez 

Present widest dimension ca. 60 cm. 

The University Museum, University of Pennsylvania 

Photograph courtesy of the museurn, as Fig. 1.19, p.30 in 

Parsons, 1988, "Proto-lvlaya Aspects of Mirafiores-Arenal Monumental 

Stone Sculpture from Kaminaljuyu and the Souther Pacific Coast," in 

NIaya lconogrøphy, ed. by Elizabeth P. Benson and Gillett G. Griffin, 1988.

Fig,t2.33 

Fig. 12.33 

Dignitary carrying decapitated head with blood emerging in form of snakes 

Stela (detail) from Santa Lucia Cozumahualpa 

Pre-Toltec. (Museum ftir Völkerkund, Berlin, Germany), photograph in 

Burland and Formart,7975, Feøthered Serpent and Smoking Mírror: 

Gods and fate in ancient Mexico, 69.

a. 

b. 

Fig.12.34 

Fíg. t2.34 

Xipe Tlacacaliliztli sacrifice with scaffolds 

Central Mexico, Late Postclassic period 

a. Mixtec Tlacaxipehualiztli ceremony (detail from Nuttal Codex) 

Drawing by Taube 

b. Carved and gilded atlatl, with conch-blower and figure in jaguar mask. 

(Museo Nazionale ed Etnografico L.rigt Pigorini, Roma. Redrawn by 

Taube after Easby and Scott 1970: hg.293.) 

c. Mixtec Tlacaxipehualiztli ceremony (detail). 

Codex Becker I, p. !0. 

Drawings by Karl Taube as Fig. 12.1", p.332 tn 

Taube, 1988, "Ancient Scaffold Sacrifice Among the Maya," in Mayø 

Iconogrøphy, ed. by Elizabeth P. Benson and Gillett G. Griffin, t988, 

{ 

ll 

c

Fig. 12.35 

a. Pottery scene with ritual disembowelment 

b. Scaffold sacrifice: "graffito" image, Tikal Temple tr (from W.R. Coe) 

Drawings as Fig. 4, p.lL, in Schele, 1984, "Fluman Saaifice Among the 

Classic Maya," inRitual Human Sacrifíce in Mesoamerica, ElizabethP. 

Benson, Organtzer, and Elizabeth H. Boone, Editor. 

Fiç.72.35

Fig.12.36 

Twin shrines of the deities Tialoc (left) and Huitzilopochtli (right) 

Templo Major of Tenochtitlan 

Tzompantli (skull rack) for display of sacrificial victims' skulls are to 

right, and a serpent wall surrounds the courtyard 

Colourplate following 232v in Durán, 197'l.,The Book of the Gods and 

Rites and the Ancient Calendar by Fray Díego Durdn, trans. and ed. by 

Fernando Horcasitas and Doris Heydery t97t. 

Fig.12.36

Fig.12.37 

Fig.12.37 

Xipe Totec, Aztec god (or impersonator) wearing a victim's flayed facial 

and body skin with dangling hands 

Seated figure, stone. lvluseum für Volkerkunde und Schweizerisches 

lvfuseum für Volkskunde, Basel: Basel, Switzerland. Photograph in 

Bu¡land and Forman,7975, Feathered Serpent and S¡nokíng Mirror: 

Gods and fate in ancient lvlexico, 81,.

Fig.12.38 

Fig. 12.38 

Xipe Totec god (or impersonator). Detail of Fig. t2.37: Back view, 

showing flayed skin tied behind head and torso of figure) 

H. 40 (\s 3l 4) 

lvluseum für Völkerkunde, Basel, photograph as part of Fig. 169, p.212 n 

Miller, 1993, The Art of Nlesoamerica from Olmec to Aztec.

'?,,1 

,.1 

rþ 

Fig.t2.39 

Fig. t2.39 

Male priest wearing flayed skin (along with queckquemitl garment) of 

sacrificed female impersonator of Centeotl-Chicomecoatl, an agriculfural 

fertilify goddess. Dancers represent corn maidens and helpers of the 

Huastecs (GuIf Coast ethnic group). 

After Codex Borbonícus 30, L974, Codex Borboniuts. Bibliothèque de 

L'Assemblé Nationale-Paris (Y 1-20), Karl Anton Nowotny and ]acqueline 

de Durand-ForesÇ eds., Akameische Druck-u Verlagsanstalt, Graz, 

as Fig. 9, p. t73 in Patricia Rieff Anawalt, 1984, 

"Memory Clothing: Costumes Associated with Aztec Human Sacrifice," 

in Ritual Human Sacrifice in Mesoamerica: A Conference at Dumbarton 

Oaks October L3th and 14th, L979, €d. by Ebzabeth P. Benson (organizer) 

and Elizabeth H. Boone (editor), 1'65-193.

Fi5.72.40 

Fig.1,2.a0 

Xipe Totec, Aztec 

Ceramic sculpture from Palma Cuata, Veracruz 

Probably from Postclassic period 

Photo as Image 19, p.206 in lvfarkman & lvfarkman,.l'992, 

The Flayed God: The Nlythology of Mesoarnerica. Sacred Texts €t Images 

from Pre-Columbian lvlexico €¡ Central Americn.

a. 

Fig.12.41 

Caplive Reliquary 

Jaina, Campeche, Nlexico 

Late Classic period, A.D. 700-900. Ceramic, H. 13.6 cm. 

The Baltimore N{useum of Art, Gift of Alan lVurtzburger 

a. Front vier.v: Photograph by Justin Kerr as Plate 94, p.240 

b. Back vier,v: Pholo by Justin Kerr as Plate 94a, p.228 

Photographs in Schele and lvtiller, 1.986, 

The Blood of Kings: Dynasty ønd Rítual in Møya Art. 

b. 

Fig.12.41.

Fig.13.1 

Fig. 13.1 

Ballgame Scene: God L with Muan Bird Headdress, and Xbalanque with 

jaguar God headdress 

Late Classic period Limestone panels (assembled together),27.6 x 38.1" cm 

a. Museum of the American Indian, Heye Foundation, New York, and 

b. Private collection 

Drawing by L. Schele as Fig. lv.12 and Plate 1.04, p.258 in Schele and Miller, 

I986,The Blood of Kings: Dynøsty and Rítuøl in Maya Art.

Fig.13.2 

Tlaloc and jaguar symbolism in play vs. player in bird costume 

Late Classic ballgame scene 

Limestone panel, 26.7 x 43.2x7.6 cm 

The Art Institute of Chicago, The Ada Turnbull Hertle Fund, 

Drawing by L. Schele as Plate 10Ia, p.257 in Schele and Miller,1986, 

The Blood of Kings: Dynasty and Rítual in Mavø ArL 

Fiç.13.2

Fig. 13.3 

Ballgame and Decapitation Scene, 

Relief carving, Relief of the Great Ballcourt, Chichen ltzá" Yucatán. 

Photo from the Boneche archive, in 

GerardoBustos, 1992,Yucatan and Its Archaeological Sites, 56. 

Fig.13.3

Fig. 13.4 

Protagonist preparing for Ballgame (or Venus descending to earth) 

(Panel L) Southeast panel of the South Ballcourt, El Tajín, Veracruz. 

Drawing by Michael E. Kampen, as frg. 20 in Catalogue after p. 9I, 

Kampen, 1972, The Sculptures of EI Tajín. 

Fig.13.4 

in

Fig. 13.5 

Reclining protagonist surrounded by musicians 

(or scene with actions of Venus) 

(Panel 2) Southwest panel of the South Ballcourt, El Tajín, Veracruz. 

Drawing by Michael E. KamperL as fig. 2L in Catalogue after p. 9L (and 

50), in Kampen, L972, The Sculptures of EI Tajín. 

Fig.13.5 

p.

Fig. 13.6 

Ballplayers in the court (Underworld ball game) 

(Panel 3) Northwest panel of the South Ballcourt, El Tajín, Veracruz. 

Drawing by Michael E. Kampen, as hg.22 in Catalogue after p. 9L 

in Kampen, 1972, The Sculptures of EI Tajín. 

Fig.13.6

Fig.13.7a 

Ballgame Decapitation Scene 

Ir,lortheast panel of the South Ballcourt, El Tajírç Yeracntz. 

Drawing by Michael Edwin Kampery in 

Kampen, 1972,The sculptures of El Tøjín, ftg.23, inCatalogue after p.gr. 

Fi9.13.7 a

Fig.13.7b 

Sacrifice in ballcourt scene, 

Northeast panel of the South Ballcourt, El Tajrn, Veraauz. 

Photograph by M.D. Coe, as Fig. 69, p.95 in 

Miller, L993, The Art of Mesoømericø from Olmec to Aztec. 

Eig.13.7 b

. 

Fig.13.8 

Fig. 13.8 

a. Decapitated Victim (fragment) 

Ballgame scene from the Temple of the Niches, El Tajín, Veracruz. 

Drawing by Michael E. Kampen, in Kampen, 1972, 

The Sculptures of EI Tajín, Fig.19a, inCatalogue after p.91 

b. Ballcourt Panel, Decapitated Victim with Blood as Entwined Snakes 

Aparicio, Veracruz. Drawing as Fig. 3.6, p.57 1 Wilkersorç 1991., 

"And Then Th"y Were Sacrificed: The Ritual Ballgame of Northeastern 

Mesoamerica Through Time and Space," irt The Mesoamerícan 

Ballgøme, ed. by Vernon L. Scarborough and David R. Wilcox,1.991..

Fig. 13.9 

Underworld scene of supplication 

North-central panel of South Ballcourt, El TajrU Veracruz. 

Drawing by Michael Edwin Kamperç Íig.25, in Catalogue after p.91, in 

Kampen, 1972, The Sculptures of El Tajín. 

Fig.13.9

Fig. 13.10 

Granting of Pulque in the Otherworld 

South-central panel of South Ballcourt, El Tajín, Veracruz. 

Drawing by MicLrael Edwin Kamperç as fig. 24tr. Catalogue after p. 91, in 

Kampen, L972, The Sculptures of EI Tajín. 

Fig.13.10

Fig.13.11 

Fig. 13.11 

Thirteen Rabbit with decapitated and disemboweled victim 

Column scene, El Tajín, Yeracrsz. 

Rollout drawing of column scene, by Richard Schlecht, 

National Geographic Society, reproduced as Fig.3.4, pp. 52-53 in 

@ National Geographic Society, reproduced as Fig.7, pp. 114-115 in 

Wilkerson, 1984, "In Search of the Mountain of Foam," in 

Ritual Humøn Sacrifice ín Mesoameríca: A Conference at Dumbarton 

Oaks October 1"3th and 14th, L979, Elizabeth P. Benson (organizer), and 

Elizabeth H. Boone (editor).

Fig.13.12 

Fig. 13.12 

Disemboweled Victim being decapitated 

Column scene, El Tajín, Veracruz. 

Photograph by David Fliser, as Fig. 10 p. 119 in 

Wilkerson, 1984, "In Search of the Mountain of Foam: Human Sacrifice 

in Eastern Mesoamerica," in Ritual Human Sacrifice in Mesoamerica: A 

Conference at Dumbarton Oaks Octrober 73th and L4th, L979, Elizabeth P. 

Benson (organizer), and Elizabeth H. Boone (editor).

Fig.13.13 

Fig. 13.13 

Dismemberment and beheadings of ballgame sacrificial victims; 

Classic period stela: Monument 1, Bilbao, Guatemala. Drawing (after 

Christopher L. Moser, 1973, Human Decapitation in Ancient Mesoamerica, 

Dumbarton Oaks Studies in Pre-Columbian Art and Archaeology no. 11, 

Washington, D.C. [FiS. 16]; Lee A. Parsons, 1969, Bilbao, Guatemala: An 

Archaeological Study of the Pacífic Coast Cotzumalhuapø Region, vol. 2, 

Publications in Anthropology 12, Milwaukee: Milwaukee Public Museum 

[P1. 3aa]) as Fig. 1.6.5, p.335 in Susan D. Gillespie,1991., 

"Ballgames and Boundaries," in The Mesoømerican Ballgame, ed. by 

Vernon L. Scarborough and David R. Wilcox, L991..

Fig.13.t4 

Human captive bound and compressed into a ball 

Late Classic period A.D.750-760 

Altar 8, Tikal, Guatemala, drawing by Linda Schele as Fig. YI.9a, p. 251 in 


The Blood of Kings: Dynøsty and Ritual in Møya Art. 

Fig.13.14

Fig.13.15 

Fig. 13.15 

Sacrificed ball player within abalJ,, bouncing down a hieroglyphic stairway 

Yaxchilan Structure 33. Late Classic period, ca. A.D. 750-760. 

Drawing by lan Graham, as Fig. W.7, p.250 in Schele and Miller,1986, 

The Blood of Kings: Dynøsty and RituøI in Maya Art.

a. 

b. 

Fig.73.16 

Fig. 73.1.6 

Ballcourt Markers 

a. North Marker, Ballcourt II-8, Copán, Honduras 

Late Classic,4.D.731.-751., as Fig. VI.10, p.252. 

b. Center Marker, Ballcourt II-8, Copiín, Honduras 

Late Classic period A.D.731-75L, Stone, dia. 74x9.5 crn 

(Instituto Hondureño de Antropologia e Historia,Tegucigalpa, Honduras), 

as Plate 702,p.252 (and257), 

c. South Marker, Ballcourt tr-B, Copán, Hunduras, as Fig. VI.11, p.252, 

Drawings by Barbara Fash, in Schele and Miller,1.986, 

The Blood of Kings: Dynøsty ønd Ritual in Mayø Art. 

c.

\ 

Fig.13.17 

Fig. L3.17 

Central Marker 

Toniná Ballcourt, Monument 69 

Dia 70 cm 

Dedicated A.D.775. 

Chiapas Museum of Tuxtla Gutierrez. 

Drawing (Pierre Becquelin and Çlaude F. Baudez 1,979-Bz, Tonina: lrne 

Cité Møya du Chiapas. Coll. Etudes Mésoøméricaines, Tome 1-, ueerM 

Tomes 2 and 3, antr. Editions Recherches sur les Civilisations, Mexico and Paris, [3], 

Fig. L4l), as Fig. 1.4.1.1., p. 273 in 

Marvin Cohodas, 1,991,, "Ballgame Imagery of the Maya Lowlands: History 

and lconography," inThe Mesoamerican Bøllgame, ed.by 

Vernon L. Scarborough and David R. Wilcox,199L.

Fig.t4:t 

Fig. L4.1 

The Sarcophagus Lid, Coffin of Pacal 

Temple of Inscriptions, Palenque, Chiapas, Mexico 

Late Classic period. A.D. 684 

Limestone H. 372 x 217 crn 

Drawing by Merle Greene, reproduced as Fig. 5.29, p.200 in 

Sbuart, L988, "Blood Symbolism in Maya Iconography," in 

Maya lconography, ed. by Elizabeth P. Benson and Gillett G. Griffi& L988.

Chan-Bahlum 

Fig. 1.4.2 

Chan-Bahlum's Dance Out of Xibalba 

Temple L4, Pa1enque, Chiapas, Mexico 

Limestone tablet, Late Classic A.D. 705 

Drawing by Linda Schele, as Fig. VII.2, p.272 in Schele and Miller,1986, 


Fig.1.4.2

Fig.1,4.3 

Quiriguá ruler (Cauac Sky, or Sky Kul?) seated in monsier jaws 

Zoomorph P, Quiriguá, Guatemala, dedicated in 795 

Sculpted brown sandstone boulder, photograph by Steirlin, ^.D. as Fig. 6g in 

Stei¡lin, 1981., The Art of the Maya, 69. 

Fig.14.3

\ì 

\ 

+1 - t ! 

4i I >-'./ nl-;,3 

J_ -_/ 

Fi9.1.4.4 

Fig.I4.4 

Ruler in mouth of creature, holding God K scepter and shield 

(detail selected from Zoomorph P). 

Quiriguá, Guatemala. 

Drawing by Annie FIunter, in lvlaudslay 1889-1902, vol.2: pL. 62, 

reproduced on p. 207 n 

Stuart, 1988, "Blood Symboiism in lvlaya IconograPhY," inlvlayø 

Iconography, ed. by Elizabeth P. Benson and Gillett G. Griffin, 1988.

Fig. 14.5 

Details of sides and top oÍ. Zoomorph P, Quiriguá, Guatemala. 

a. South and east sides 

Photograph by Alfred P. Maudslay (Milptron Publishing Corporation) 

b. South side 

c. Top 

d. North side 

Photo and drawings as Fig. 37, p. 6L in 

Sharer, 1,990, Quirigua: A Classic Møya Center €t lts Scttlpttrres. 

Fig.14.5

Fig.14.6 

Fig. t4.6 

Zoomorph B, Quiriguá, Guatemala. 

Cauac Sky (Two-Legged Sky?) in the mouth of the Celestial Monster 

Drawing by Andrea Stone, reproduced as fig. 5.33, p. 205 in 

Stuart, 1988, "Blood Symbolism in Maya lconography," in Maya 

lconography, ed. by Elizabeth P. Benson and Gillett G. Griffin.

. 

@ffi 

Fi5.1.4.7 

Fig.1.4.7 

a. Hieroglyphic names of the Paddlers 

Top: on Jimbal Stela L; bottom, on Sacul Stela L. 

b. Other glyphs for the Paddlers 

Drawings by David Stuart, (a) as fig. 5.L8, p.189 and (b) as Fig. 5.19 p. 190 in 

Stuart, L988, "Blood Symbolism in Maya lconography," in 

Mayø lconogrøphy, ed. by Elizabeth P. Benson and Gillett G. Griffin, L988.

l0 11 

Ak'bal 

15 star- 

Sak overea¡lh 

the 

Paddlers' 

narne 

Maize God 

Fig. 14.8 

Incised Bones, Burial 1,1,6,Ttkal, GuatemaTa, Late Classic Period, A.D.705 

a. Glyphs of the Paddlers with star-over-earth verb 

b. Stingray Paddler, Jaguar Padder, Maize God/dead king, and animals 

in the Sky Canoe 

c. Stingray Paddler, Jaguar Padder in the sinking canoe 

Drawings by Linda Schele (assembled with captions), as Fig. 2:25 p.90 in 

Freidel, Schele & Parker, 1993, 

Maya Cosmos: Three Thousand Yeørs on the Shaman's Path. 

///^ 

Fig.14.8

Pa¡â+' 

a. crocodile canoe from the Tikal bones 

b. the sky canoe 

¿@r@Çer 

c.Itzamna riding the 

peccary of Gemini 

Fig.749 

Fíg.14.9. 

Incised Bones, Burial LL6, Tikal, Guatemala, Late Classic ¡.o.705 

a. Paddler as deity Itzamma in canoe with crocodile head bow 

b. Canoe shape in sky constellation 

c. Itzamma with peccary 

Drawings by Linda Schele (assembled with captions) as Fig. 2:26, p.9L in 

Freidel, Schele & Parker, 1993, 

NIaya Cosmos: Three Thousand Years on the Shaman's Pøth.

Stingray Paddler Jaguar Paddler 

i0@lllffiffiìitäJäffiffi 

:'@iflt wf. ø 

Fig.14.10 

Fig. 14.10 

a The Paddlers, Maize God/dead king, and animals 

b. Two images of sinking canoe. 

Drawings by Linda Schele as Fig. VII.L, p.270 in Schele and Miller,1986, 

The Blood of Kíngs: Dynøsty and Ritual in Mayø Art.

Fig. 14.11 

Sun God Paddling a Canoe 

Early Classic vessel (¡,.o. 200-450) 

Photo O ]ustin Kerr, 1,986, as colourplate in Schele and Freidel, L990, 

A Forest of Kings: Dynnsty and Ritual in NIayn Art. 

Fig.74.\1

d 

lUüi¿c God dresscd by two nudo 

Eomeil ¿s he stÂ¡rds undep¿ter 

The Hero Tsln carries the infant Maize 

Cod rnd h¡s clothes in sn oflcrlnß plôte 

Ìvla¿e God sreps out ofthe 

crôcked tunle ø¡¡psce 

Chakob breÂk open the rudle shetì with llghhtng so 

thÂt tle ¡íôize Cod on emergc 

Thc Pûdd¡crs lul,r rlrc llaizc God ro lhc llücc of 

Crerllon 

Môlze God ls rebom ¡n the sea 

from thê moulh of the snake 

The lifa¡¿e God is dressed by a woman ag 

hê sbnds ln the sea. 

and the Jðtuôr Paddlcr convey lhe Mai¿e God 

The Hero Tlins øvon ûround Lhe 

K'ôn-cross W¿terl¡ly Monsler 

Ftg.1,4.12 

The lvlaize God, on codex-sfyle vesseis 

a. The Maize God born in a serpent mouth, emerging in the sea, and 

transported by The Paddlers to the Place of Creation 

b. Maize God as an infant, and standing in the sea 

c. Maize God conveyed by Chak and the Jaguar Paddler, and emerging 

from a turtle shell 

d. Resurrection of the lvlaize God from a turtle shell 

as the Hero Twins dance 

Roll-out drawings by Linda Schele (with captions), as Fig. 2:27a-d in 

Freidel, Schele, and Parker,1993, 

Maya Cosmos: Three Thottsønd Yesrs on the Shaman's Path, 93. 

Fig.74.12

White-Bone- 

Snake portal sprouting tree 

6è=\ 

Fig. 14.13 

Maize God resurrected in the bony maw of the White-Bone-Snake 

Top of altar at the base of the Hieroglyphic Stairs at Copán. 

Drawing as Fig. 8:25 c, p.37L, in Freidel, Schele, and Parker,1993, 

Mayø Cosrnos: Three Thousand Years on the Shaman's Path. 

Fig.1.4.13

c. d. 

Fig.1,4.74 

Fig. L4.1,4 

Death Godzaayob: 

a. "Deer death" figure blowing on a conch shell 

(Fig. 38a, p.705, Grube and Nahm,1994) 

b. Skeletal "deer death" figure (Fig. 38b, p.705, Grube and Nahm, 1994) 

c. Skeletal "fire center death"way (Fíg.39a,p.706, Grube and Nahm,1994) 

d. Skeletal "stinking death" wayt with deaths eyes and perforated penis 

(Fíg. 43, p. 707, after Coe t9B2:60, in Grube and Nahm , 1994) 

Drawings by Nikolai Grube, in Grube and Nahm, 1'994, "A Census of 

Xibalba: A Complete Inventory of Way Characters on Nzfaya Ceramics," in 

The NIaya Vase Book: A Corpus of Rollout Photographs of Mayø Vases by 

lustin Kerr, Volume 4, text eds. Barbara and Justin Kerr, L994.

a. 

b. 

Fig.14.t5 

Fig. 14.1s 

a.-Female Icneeling way figure (Fig. 48, p.709 in Grube and Nahm, 1994) 

b.Way as a human in a cartouche of. a day sign, ball or bundle, 

(Fig. 53a, p.7LL in Grube and Nahm,1994) 

Drawings Uy Nitotai Grube, in Grube and Nahm, 1'994, "A Census of 

Xibalba: A Complete Inventory of Way Characters on Maya Ceramics," in 

The NIaya Vase Book: A Corpus of Rollout Photographs of Maya Vases by 

lustin Kerr, Volume 4, text eds. Barbara and ]ustin Kerr, 1994.

Fig. t4.L6 

Anthropomorphs in dancing positions with tnayob figures' 

Musician, dancing lords, and jaguar on scaffold. 

Polychrome vase, Classic Period, Northern Petén. 

Painted by the "Altar de Sacrifícios Artist, I." 

H:20 cm, D: L6 cm. 

Rollout photo by ]ustin Kerr, 7981, as Fig. 22A, p. \21 in 

Robicsek and Hales,198I, The Maya Book of the Dead. 

Fig.74.t6

t 

Eig.L4.l7 

qaa.d-- 

.- tr'¡rtîlt- rl ..', T4'7. 

Fi9.1.4.17 

Añthropomorphic and jaguar beings dancing and performing in ritual 

Classic period vase, northern Petén 

Painted by the "Altar de Sacrifícios Artist, II." 

H: 23.5 cm, D: 12.4 cm. 

Rollout photo by fustin Kerr, 1981', as Fig. 23A' p- 122 in 

RobicseÈ and Hales,1981, The Maya Book of the Dead.

Fig.14.18 

Fig.14.1,8 

Elongatedway figure jaguar in headlong descent 

Dresden Codex (detail) 

Drawing as Fig. 1!, p.691, tnGrube and Nahm, 1994, "A Census of Xibalba: 

A Complete Inventory of Way Characters on Maya Ceramics," in 

The Maya Vase Book: A Corpus of RoIIout Photographs of Maya Vøses by 

lustin Kerr, Volume 4, text eds. Barbara and ]ustin Kerr, L994.

Fí9.1,4.19 

GI with spear, con-fronting figure held in serpent-dragon jaws 

Polychrome vase, northern Petén 

Late Classic Period 

Photograph by Justin Kerr, at November Corporation, Ltd., as Fig. 13 in 

Robicsek and Hales,1981., Maya Book of the Dead, 1I2- 

Fig.74.t9

Lt 

.9 

\ 

{ 

tl 

t. ì 

'.( 

Ì'. 

Ç 

' 

---e 

Fig. 1,4.20 

Fourteen deities: four God Ns in enema ritual 

Polychrome vase, southern Campeche or northern Petén. 

Heighh 24.0 cm. Collection: Mr. and Mrs. Jay \alhipple, Chicago. 

Photograph by ]ustin Kerr, reproduced as Vase LL in 

Coe,1,978,Lords of the Underworld, 79-80. 

Fig.14.20

the godol lhetrump€l æ@¡cing 

ùeariÉlof lñe visi@ porlallo the uncferrcdd 

(lhe lorehead ol theCauac Monsler) 

kont head ol ùe 

Celeslìal Moñsler 

Fig.14.21 

Fig.14.21, 

Deities, Moon Goddess, and Vision Serpent emerging from the Celestial 

Monster, on a vessel as instrument to focus Power 

Incised cylindrical ceramic vessel, Diam. L5.2 x H. 15.5 cm 


Deparhnent of Anthropology, American Museum of Natural History, 

New York. Rollout drawing and selected details by Linda Schele as Plates 

1.20a and 120b, p. 308, in Schele and Miller,L986, 

The Blood of Kings: Dynasty and Ritttøl in Maya Art.

Fig.14.22 

Fig. 1.4.22 

The Deletaille Tripod 

Early Classic Period 

Rollout drawing (in two sections) by Lin Crocker, as Fig. 4.2, L54-L55 in 

Hellmuth, "Eatly Maya Iconography on an Incised Cylindrical Tripod," in 

Mayø lconogrøphy, ed. by Elizabeth P. Benson and Gillett G. Griffin, 1988.

Fig.la.23 

Fig. 1.4.23 

The Deletaille Tripod (details from Lin Crocker drawing) 

a. The Musician (as Fig. 4.3 p.156, Hellmuth) 

b. The Dismembered Musician (as Fig. 4.4 p.156, Hellmuth) 

c. Head of the Young Bearded Lord (as Fig. 4.I0, p.159, Hellmuth) 

d. Acrobat (at left in rollout, as Fig. 4.18 p. L65, Hellmuth) 

e. Dismembered Acrobat (at right in rollout, as Fig. 4.1,9 p.165, Hellmuth) 

Details in Hellmuth, "Early Maya Iconography on an Incised Cylindrical 

Tripod," in Mayø lconography, ed. by Elizabeth P. Benson and Gillett G. 

Griffin, 1988, 756, I59, 165.

Fig.1,4.24 

Temple of the Warriors, Chichen ltzá 

Ivfan-bi¡d-deity hybrid on upper temple facade 


Photograph inBustos, 1992,Yucatan and Its Archaeological Sites, 

Fig.74.24 

40.

Fig.1,4.25 

Temple of the Warriors, Chichen Itzá 

Rattlesnakes as columns 


Photograph in Bustos,1.992, Yucntan snd 

f -+'.!:;iii 

-:11 -ì 

tì.3 

Fiç.74.25 

Its Archneological Sites, 34 &.37.

Fí9.1,4.26 

Rattiesnake presenting a head in its jaws. 

The Quadrangle, Uxmal, Yucatán. l,0th c., Early Postclassic Period 

Photograph by Cha¡lotte Werner 

Fi9.74.26

1,4.27 

Serpent head with a human head in its jaws, 

Palace at Labnâ, Yucatán 

Late Classic period 


Fig.t4.27

Fig.1,4.28 

Chac, the Rain God, standing on a Serpent Head 

Codex Mødrid, 30 

Drawing as Fig. 21.9, p.31,4n 

Prudence M. Rice, L989 "Reptiles and Rulership," iÍr Word and Image ín 

Maya Culture, ed. by William F. Hanks and Don S. Rice. 

Fig.t4.28

Fig.1,4.29 

Annex of the Nuns at Chichenltzá, Yucatán 


Fig.74.29

Fig. L4.30 

Chac masks on facade of the Codz Pop (Palace of the Masks) 

Kabáh" Yucatán 

Puuc architectu¡e, Late Classic period 


Fig.14.30

Fig. 14.31 

Tzompantlí, or "wall of sculls" 

Chichen [tzá., large masonry platform 

Photographs from Boneche Archive, on p. 51 in 

Bustos, \992, Yucatan ønd lts Archaeologícal Sites. 

Fig.74.31

Fig.14.32 

Altar of skulls (Tzompantlí), or the "Tomb of Time" 

Aztec culture, 14-th-16th c. A.D. Carved monument, about 3 ft. 

Photograph by Miguel Salgado, on P. L08 in 

Ramón Pina Chan, "Aztec Art and Archaeology," in 

National Museum of Anthropology: Art- Architecture - 

Anthropology, by Pedro RamÍrez Yázquez,1968. 

Fig.t4.32 

Mexico: The 

Archaeology -

Fig. 1a.33 

Platform of the Tzompantli, Chichen ftzá,, Yucatán 

Warrior with snakes, eagle eating hearts, and serpent motifs 


Fíg.14.33

Fig.14.34 

Pillar, Temple of the Warriors, Chichen [tzá,, Yscatân 



Eig.t4.34

a. Colum¡ 17:'!ffa¡riors 

c. Colum¡ 37: Captives with bound wrisrc 

-ræ- 

W 

ffi 

lBwKqt 

W( 

&W 

@l 

tt< ¿ i I 

d. Colunn 60: Priests carrying offcringp 

Fig.14.35 

Fig. 14.35 

Drawings of pillars individually featuring warriors, 

captives with bound wrists, and priests carqring offerings 

Temple of the Warriors, Chichen ltzá,, Early Postclassic period 

Drawings by Schele, alter Earl H. Mor:ris, Iean Charlot, and Anrt Axtell 

Morris, L931, "The Temple of the Warriors at Chichén Itzá, Yucatátt," 

Vols. 1 and 2, Carnegie Institution of Washíngton Ptù. 406, Washingtory 

D.C., as Fig. 9:18, p.366 in Schele and Freidel,1990, A Forest of Kings: The 

Untold Story of the Ancient Møyø.

Fig.1.4.36 

Human in feline costime, engaged with supernatural figure 

Temple of the Warriors, Chichen Itzá, Yucatân 



Fig.14.36

Fíg. 1.4.37 

Platform of the Tzompantli, Chichen Ítzá, Yucatán 

Eagles eating human hearts, alternating with panels of warriors 

with serpents 

A.D. L050-1200, after Toltec intrusion. 


Fig.t4.37

Fig. 14.38 

Platform of the Eagies and jaguars 

Jaguars and eagles eating human hearts 

Chichen Itzá, Yucatán 


Fig.14.38

Fig.1,4.39 

Band of feathered rattlesnakes (disguise of the god Quetzalcoati), 

eating human skeletons 

Carved watl behind þramid 

B, Tula, Hidalgo 

Late Postclassic period 

Photograph by lrmga¡d Groth-Kimball, as Fig. 79, p.1'L0 in 

Sablofl I990,The Cities of Ancient lvl.exico: Reconstructing a Lost 

Fig.t4.39 

World.

Fig.14.40 

Fig.1.4.40 

Eagle eating a human heart 

Detail from carved wall of Pyramid B, Tula, Hidalgo 

Late Postclassic period 

Photographby Irmgard Groth-Kimball, as Fig. 77, P- 111 in 

Sablofl t990, The Cities of Ancient Mexico: Reconstructing a Lost World.

Fig.74.4t 

Fiç.1,4.41, 

Heroic figure emerging from a sbylized cave-maw 

"Altar" (or throne) monument 

Olmec basalt carving, Tabasco, La Venta, c. 800 B.C. 

Parque Arquelógico La Venta Villahermosa, Tabasco, Mexico. 

Photograph by Beatnz de Ia Fuente, as Fig. 4, p.124tn 

Beatriie ãe 1ã Fuente, 1,992, "Order and Nature in Olmec Art," in The 

Ancient Americas: Art from Sacred Landscapes," ed. by Richard F. 

Townsend.

Fig.14.42 

Fí9.14.42 

Olmec Cave Mask 

Chalcatzingo, 500-400 B.c. Basalt carving. 

Munson-Williams Proctor Institute, lvluseum of Art, Utica, New York, cat. 

no. 2LL. Photograph by Justin Kerr, as Fig. 1, p.121. tn 

Beatrice de la Fuente, 1992, "Order and Nabure in Olmec Art," in 

The Ancient Americns: Art from Sacred Landscapes," ed. by Richard F. 

Townsend.

Fig.t4.43 

Fig.1.4.43 

Inner doorway of Temple 22, Copán 

Skybearers on skulls representing the Underuvorld hold up a two-headed 

sky-serpent. Photograph by Kenneth Garrett, pp. 142-143 in 

George E. Stuart, L993, "Religion and Ritual," in Lost Kingdoms of the 

Nhaya, ed. by Gene S. Stuart and George E.Stuart.

Fig. 14.44 

lvIônster-mouth mask doorway to a temple at Chicanna, Campeche 

Photograph by George E. Stuart and NGS stafl pp- 124-125 in 

ceorge E. stuart, 1993, "The Builders," in Losf Kingdoms of the Maya. 

Fig.L4.M

Fig.1,4.45 

The Magician's Pyramid (La Pirámide del Adivino) 

uxmal, Yucatán 



Fig.14.45

G' 

-: ._{: 

Fig.1,4.46 

The Magician's þramid (La Pirámide dei Adivino) 

Chac masks along stairway to the temple 

Uxmal, Yucatán 



Fig.74.46

Fig.1.4.47 

Entrance mask flanked by efÍig¡es of Chac, the rain god 

The Magician's Pyramid (La Pirámide del Adivino) 

Llxmal, Yucatán 



Fig.'t4.47

Fíg.14.48 

El Castillo (The Castie) --Pyramid at Chichenltzá,, Yucatán 

Toltec era 


Fig.14.48

Altered Body Symbolism in Mesoamerica Charlotte AIiryn Werner ...

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