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Mysteries of the Maize God Author(S): Bryan R Mysteries of the Maize God Author(s): Bryan R. Just Source: Record of the Art Museum, Princeton University, Vol. 68 (2009), pp. 2-15 Published by: Princeton University Art Museum Stable URL: http://www.jstor.org/stable/25747104 . Accessed: 09/02/2014 20:47 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Princeton University Art Museum is collaborating with JSTOR to digitize, preserve and extend access to Record of the Art Museum, Princeton University. http://www.jstor.org This content downloaded from 209.129.16.124 on Sun, 9 Feb 2014 20:47:18 PM All use subject to JSTOR Terms and Conditions i. scene. Figure Cylinder vessel depicting a mythic Maya, El Zotz or vicinity (?), Peten, Guatemala. Late Classic, A.D. 650?800. cm. Ceramic with polychrome slip, h. 21.5 cm., diam. 15.0 Gift of Stephanie H. Bernheim and Leonard H. Bernheim Jr. in honor of Gillett G. Griffin (2005-127). This content downloaded from 209.129.16.124 on Sun, 9 Feb 2014 20:47:18 PM All use subject to JSTOR Terms and Conditions Mysteries of theMaize God Bryan R. Just In 2005 the Princeton University Art Museum welcomed America. Among the Late Classic Maya, however, virtually the gift of an exquisite Late Classic (A.D. 600-800) Maya vase no evidence exists to indicate maize was prepared in this from Stephanie H. Bernheim and Leonard H. Bernheim Jr. form.4 Instead, the ancient Maya consumed maize primarily in honor of Gillett G. Griffin (cover, figs. 1,12,13).1 The ves as 'ul (atole), a gruel-like beverage, or as waaj (tamales),lumps sel, intended for drinking chocolate, ismasterfully painted, of dough stuffedwith meat or other fillings and drizzled with sure, fluid lines effortlessly suggesting graceful motion with sauce. Although standard dedicatory texts on cylinder and figural interaction and a keen sense of cylindrical com vessels prove chocolate (kakaw) was the most common position, with figural groups and hieroglyphic texts paced intended beverage, some vessels include texts specifying according to what can been seen from a particular view. theywere for 'ul, including an incised, lidded vessel that is a Moreover, it is in near pristine condition, with no restoration promised bequest to the Princeton University Art Museum and no significant change in original coloration. The slip from the collection of Gillett G. Griffin.5 In addition to decoration makes balanced use of multiple colors, including hieroglyphic references, food is also portrayed in a number accents. scenes on a orange tones, black-brown form outlines, and white of courtly Maya vessels. On drinking vessel from This palette and distinctive glyphic style is known from a Tikal in the collection, for example, a tripod plate heaped with number of extant vessels, all probably the work of a single sauce-glazed tamales rests beside a cup of frothy chocolate city or region; as has been proposed recently, the stylemay just beneath a seated lord (fig. 2).6 be associated with El Zotz, a medium-sized center near the great ancient metropolis of Tikal in northern Guatemala.2 The use of two distinct calligraphic styles for the dedicatory rim text and narrative captions, the masterful figural ren dering?imbuing figures with both a sense of mass and an effortless,subtle mobility?and a sophisticated narrative con sisting of three linked figural compositions and rarely attested "quotative" inscriptions, all contribute to the exceptional character of this singular work ofMaya art. Despite excellent preservation and a relatively naturalistic, uncluttered rendition, the subject of the vessel has eluded *nve interpretation.3Various aspects of the inscription resist ^ ferment, and the particular narrative presentation has no correlates in the known corpus ofMaya art. Still, it is clear from certain iconographic details of the characters that the vessel depicts a key episode in the robust mythological saga of theMaya maize god?one of the most important and prominent deities in ancient Maya art. Given the nov elty and complexity of this idiosyncratic vessel, this essay prefaces more detailed discussion of its subject matter with an introductory survey of the role of maize and the maize god inMaya art, drawing on examples from the Princeton University Art Museums superlative holdings of related material, several of which were also generously donated by Figure 2. Cylinder vase with palace scene, detail of seated lord with tamale and chocolate Peten, Guatemala. Late the Bernheim family. plate cup. Maya, Tikal, A.D. 600?800. Ceramic with h. 28.0 cm., the tortilla as the dominant form of Classic, polychrome slip, Today, reigns pre cm. diam. 14.6 Gift of Mary O'Boyle English in honor of maize Mexico and northern Central pared throughout Woodruff J. English and the Class of 1931 (y 1986-94). 3 This content downloaded from 209.129.16.124 on Sun, 9 Feb 2014 20:47:18 PM All use subject to JSTOR Terms and Conditions More maize in ancient Mesoameri situate him at in commonly, appears Maya maize god key stages the botanical can art in personified form,whereby the plant assumes the cycle of sowing, maturation, and harvest. Additionally, at cos animacy and agency of a deity. Such representations first regularly paced intervals Maya kings donned lavish appear in Olmec art during the Early Preclassic period tumes associating themselves with themaize god and their (1200-900 B.C.).7 As demonstrated by murals recently dis ritual actions with future agricultural fecundity. A particu covered at San Bartolo, Guatemala, early Maya depictions larly elaborate version of maize-god costume is rendered are of the anthropomorphic maize god derived from Olmec on so-called Holmul Dancer pots, which affiliatedwith visual conventions, implementing a distinctly Olmec style scribal workshops atNaranjo and the vicinity (fig. 3). Such as of facial rendition to distinguish this character frommortals vessels present lords dressed themaize god, dancing with and other deities.8 By the Late Classic period, however, Maya immense backracks and accompanied by dwarfs.9 Presum on artists had developed not only their own conventions for ably, such vessels were produced for and used occasions depicting maize in its personified form but a rich mytho when lords performed just such ritual dances. Maya lords not logical biography for the deity as well, several moments of associated themselves with the maize god only for which enjoy frequent illustration. Most images of the agricultural ceremonies, but also to suggest that dynastic power recurred as if botanically inevitable; just as agricul ture follows a recurring cycle of life, death, and renewal, theMaya held that dynastic power flowed from interred ancestors to their progeny, as demonstrated by maize related tomb iconography, the generational recurrence of royal names, and the use of the term "sprout" (ch'ok) as a title for young princes.10 Although these themes permeate much of Maya visual culture, they find theirmost frequent and elaborate presen tation on finely painted ceramic vessels. This is no surprise, since such vessels, including cylindrical drinking cups, bowls, and tripod plates, were used in elite feasts to serve various forms of maize as well as chocolate, a comestible mythically related to maize.11 These same vessels were often placed in royal tombs, where they not only symbolically contained eternal sustenance, but also foretold the underworld travails and eventual victory over death the interredwould experi ence through progenic renewal. Both cylinder vessels for liquids and plates for tamales were involved in these varied uses and often portray themaize god. Maize-god plates, such as this fine example also fromTikal (fig. 4), most frequently present the deity in a gracefully active pose with one heal raised slightly?a conventional Maya posture indicating dance.12 The maize god is readily identifiable in such scenes by his elongated head, tonsured hairdo, and flowing feather adornments.13 The Maya believed all people were made frommaize, and their bodily aesthet ics reiterated this basic connection. Cranial modification (of still-soft infantile skulls), prosthetic nose enhancements, hairdos and headdresses, face paint and jade dental inlays all served to make Maya nobility resemble a thriving maize plant and particularly the single well-formed cob that typi near human Figure 3. Cylinder vessel with dancing maize gods and dwarfs. Maya, cally grows the top of the stalk; the elongated or Guatemala. Late A.D. 600-800. Naranjo vicinity, Peten, Classic, head mimics the ear; long, thin strands of hair frame the Ceramic with polychrome slip, h. 17.0 cm., diam. (base) 14.2 cm., diam. head as if silk surrounding the healthy cob; and jade adorn (rim) 13.5 cm. Gift of Leonard H. Bernheim Jr.,Class of 1959 (yi98i-i9). ments and iridescent blue-green quetzal plumes symbolize the verdant leaves of the growing plant. 4 This content downloaded from 209.129.16.124 on Sun, 9 Feb 2014 20:47:18 PM All use subject to JSTOR Terms and Conditions ^^B^^BM^BMiBBBBBBBBBBBBBBBIi^^ Figure 4. Plate withdancing ^^^^^^^^^^^^^^^^^^^^^^^^B^^HHHIm Maize god. Maya,Tikal,Peten, ^^^^^^^^^^^^^^^^^^^^^^^^^^^BWHw||l|w
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