Zapotec Writing - Famsi

unexplored Patio F. The explorations of Caso apparently yielded several offerings associated to
the Patio Complex built over the tomb. While the spatial distribution and actual contents of
these offerings remain to be determined, Figure 4.1 presents some of the objects from the
offerings for which data has been published.
If from the perspective of architectural layout the palace is unique, in a certain sense the
tomb is atypical as well since it is located under the western rather than the eastern room of the
main Patio Complex. But it is evident that the builders chose such a location to avoid possible
landslides if the patio and the tomb would have been built closer to the eastern edge of the
terrace. This portion of the palace appears to have a single construction phase. In addition, the
tomb had the remains of a single individual that was never disturbed (Figure 4.2-A). These
characteristics suggest a short period of use for the tomb, and thus for the occupation of the
associated Patio Complex. Caso found at least two offerings in the open courtyard of Complex
C (nos. 6 and 8), and one in the courtyard of Complex D (no. 7). Unless offering 6 included
heirlooms, the contents of these caches suggest a continuous occupation of the palace from the
Niza phase (100 BCE. to 200 ACE) until the Xoo phase (600-800 ACE) (the phase to which the
object in offering 7 of Complex D can be assigned to). Equally as well, burial VI-7 found closer
to Complex F had at least the figurine of a dog that, according to Caso and his colleagues
corresponds to the ceramic assemblage of the Pitao phase (350-500 ACE). In contrast to
Complexes C and D, Patio E appears to have been remodeled at least once, enlarging the size of
the rooms bordering the central courtyard on the north and east sides. On the other hand, Caso,
Bernal and Acosta (1967: 365-378) demonstrated that the ceramic assemblage in the tomb
contained materials from both the Pitao and the Peche phases, which temporally situates the use
of the tomb between 450 and 550 after the Common Era.
The mortuary program decorating the crypt was executed in painted murals and carved
stone. In addition, the tomb had a ceramic effigy vessel embedded within a niche set in the
entablature on the upper portion of the façade, incorporating another medium in the visual
narrative (Figure 4.2-B). The slab that sealed the entrance to the crypt has three carved surfaces.
Yet, only the inscription facing towards the interior of the tomb bears any relationship with the
painted murals inside. The other two surfaces were evidently carved during prior uses of the
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