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Jaina Figures and the Figuration of Maya Social Roles: a Study of SAMA Object 64.289.94 Natalie Carrier Trinity University, [email protected]

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Jaina Figures and the Figuration of Maya Social Roles: a Study of SAMA Object 64.289.94 Natalie Carrier Trinity University, Ncarrier@Trinity.Edu Trinity University Digital Commons @ Trinity Undergraduate Student Research Awards Information Literacy Committee 2018 Jaina Figures and the Figuration of Maya Social Roles: A Study of SAMA Object 64.289.94 Natalie Carrier Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/infolit_usra Repository Citation Carrier, Natalie, "Jaina Figures and the Figuration of Maya Social Roles: A Study of SAMA Object 64.289.94" (2018). Undergraduate Student Research Awards. 47. https://digitalcommons.trinity.edu/infolit_usra/47 This Article is brought to you for free and open access by the Information Literacy Committee at Digital Commons @ Trinity. It has been accepted for inclusion in Undergraduate Student Research Awards by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. 1 Natalie Carrier Dr. Mathews ANTH/ARTH 3335 20 Nov 2018 Jaina Figures and the Figuration of Maya Social Roles: A Study of SAMA Object 64.289.94 2 Abstract The site of Jaina island, for which Jaina figures are named, is unique in comparison to the sites where other Maya ceramic figurines have been found due to the scale and specially developed burial culture involving ceramic figurines that developed there (McVicker 2011: 211). The exceptional and artistic renderings and context for these figures from Campeche, Mexico has led to problems of looting and forgeries that have created obstacles for scholars trying to understand this body of work. A careful consideration of the stylistic features and grouping of individual figurines to determine their authenticity and meaning is therefore a step that can be undertaken to attempt to chip away at this problem. Such an opportunity for study exists in SAMA 64.289.94, a Jaina figurine from the San Antonio Museum of Art’s off-exhibition collection. Considerations of style, form, burial context, ritual use, and representation in the system of Maya iconography and cosmology building off of past scholarship will be considered to come to an interpretation of this figure’s practical and more theoretical purposes of representation. In this paper, I argue that the Jaina-style figurine SAMA 64.289.94 embodies the intersection of socio-economic and ritual life symbolically centered in the figure of the Maya woman and her specific role within cosmological ideology, demonstrating the value of Jaina figurines with the potential to enrich our understanding of the ancient Maya. 3 Introduction The known body of Jaina figurines demonstrates the representation of women within ancient Maya society and offers insights into cultural practices and social norms along lines of gender and the human body, making it them a subject of fascination among collectors. The problem of many figures’ archeologically unprovenanced origins has served as an obstacle to studying the Jaina figures throughout most of the 20th century, and attention to women in ancient Mesoamerican societies is likewise a relatively recent avenue of study. Therefore, there is still much to be gained by combining these two areas of focus in the study of Jaina figures. The Jaina figurine that I am studying from the off-exhibition collection at the San Antonio Museum of Art (SAMA), accession number 64.289.94, offers such an opportunity for investigation. This figure presents the question of how gender was a significant element in the treatment and use of such figures, and a parallel line of questioning regarding the figure’s functional use in the ancient Maya social context is necessarily intertwined with its subject of female representation and ritual roles. In this paper, I will explore the representation of the female in this SAMA 64.289.94 in conjunction with the uses of Jaina figures in life and burial contexts to place these points within the broader framework of Mesoamerican symbolism of duality and ritual practice. I will move from an overview of SAMA 64.289.94 towards a more specific identification of the Jaina “type” represented here by evaluating the museum file and supplementing its shortcomings with classification systems developed by scholars (Butler and Corson’s studies) and information about the social circumstances surrounding Jaina burial culture as supported by archaeological findings (as through De Orellana’s reports) (Butler 1935; Corson 1976; De Orellana 1965). Building on this contextual information, I will then return to an analysis of the SAMA figurine’s physical 4 aspects in terms of production, its basic function as a rattle and grave good, and its representation of costume in order to come to an interpretation of who the object represents and how the object was used in a ritual function. This leads me to the argument that this Jaina-style figurine embodies the intersection of socio-economic and ritual life symbolically centered in the figure of the Maya woman and her specific role within cosmological ideology, demonstrating the value of Jaina figurines with the potential to enrich our understanding of the ancient Maya. Formal Description of the SAMA Figure The basic interpretive information provided by the museum file for SAMA 64.289.94 provides the basis of my study and has guided the line of questioning that follows in this paper. As seen in Figure 1, the piece is an anthropomorphic ceramic figurine representing a standing woman. The item description states that the object is a hollow rattle figurine, and observation shows that there is a small hole at the base of the object perhaps related to the technical necessities of this form (SAMA file 2018). As a ceramic piece with white glazing on the frontal side decorated with incised lines to draw in detail and an untreated backside, its construction as two mold-made pieces joined together is apparent. It is attributed to the Maya culture of Campeche, Mexico dating from 600-900 AD and falls within the category of Jaina figurines (SAMA file 2018). In terms of iconographic interpretation, the figure is identified as a priestess or high-ranking individual based on her elaborate dress and headdress or tocado (SAMA file, 2018). This basic identifying information provides a starting point for my exploration of the functional and representational aspects of the SAMA piece, as it leads me to focus on previous 5 scholarship pertaining to Jaina figurines and Jaina-style figurines along the coast of Campeche during the Classic Maya period. However, some information from the museum records is incomplete, out of date, or must be elaborated upon. For example, the file suggests that Jaina was solely a necropolis, while sources detailing excavations refute this misconception by describing evidence of homes, ceremonial complexes, and other signs that the island was an important commercial site (SAMA file 2018; De Orellana 1965: 28; McVicker 2011). So, the observations of style and form provided by the object itself and the SAMA file must be taken together with other sources that provide arguments supported by archaeological data, as follows. Classification within the Corpus of Jaina Figures The SAMA file shows that the object was a gift to the San Antonio Museum of Art’s collection and lacks specific provenience, as is common in the many Jaina and Jaina-style figures on display in museums (SAMA file 2018). As my following analysis is predicated on the assumption of the object’s ancient date, the question SAMA 64.289.94’s authenticity must be considered. Because of the popularity of Jaina figures among collectors, looting and an industry of fakes that began in the 1900s are problems that scholarship still seeks to address. While details such as the specific posing of the outturned arms at first seem questionable (as described later), I ultimately believe the piece to be an authentic Classic Maya period artifact based on its consistencies with well-established stylistic conventions. As support, a figurine apparently created from the same mold was recently exhibited as reputable by the Museo Nacional de Antropología (Figure 2) while the SAMA figure fits into the stylistic and temporal categories presented by previous scholars (Gallegos 2015: 64-5, Butler 1935; Corson 1976). 6 The classification of Maya figurines to address unreliable provenance has been the object of several studies aiming to better understand their features and chronology, and to resolve the confusion caused by the preponderance of unprovenanced and forged figurines resulting from the figures’ popularity among collectors (Butler 1935: 636; Corson 1976). The first of these studies was Mary Butler’s 1935 overview of mold-made human figures from throughout the Maya region, in which style was the primary consideration followed by the subject matter or type of subject shown (Butler 1935: 641). Butler’s work helps confirm the most general classification of the SAMA object as an object from the Campeche or Tabasco region of the Gulf Coast due to its squat shape and other details of representation (Butler 1935: 654-655). A comparison of SAMA 64.289.94 (Figure 1) to Butler’s drawings of Campeche style Maya mold-made figurines (Figure 3) demonstrates that its form fits into this section (Butler 1935: 655). Butler describes the Campeche figures as squat and heavy shaped, with a broad, flat, expressionless face (see Figure 3a-b for examples) with hands that may be raised or down-stretched and resting slightly bent at the sides (Butler 1935: 654). However, the SAMA figure’s pose is more consistent with Butler’s Tabasco style—which she describes as a slightly less squat and heavy modification of the Campeche style—since this category also includes figures with hands turned out and resting at the sides (as in Figure 3e) (Butler 1935: 654). Despite this posing, though, the SAMA piece fits more firmly within the Campeche style overall based on its overall shape and costume with detailed textile designs (Butler 1935: 654).
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