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Maya Art As Narrative of Myth and Kingship

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Maya Art As Narrative of Myth and Kingship MAYA ART AS NARRATIVE OF MYTH AND KINGSHIP A Thesis Presented to the Faculty of California State University Dominguez Hills In Partial Fulfillment of the Requirements for the Degree Master of Arts in Humanities by Laura Lingenfelter Spring 2016 Copyright by LAURA LINGENFELTER 2016 All Rights Reserved DEDICATION ACKNOWLEDGMENTS Thank you to Anthony, my husband and staunchest supporter and to my thesis mentor, Dr. Kirstin Ellsworth, for her patience, encouragement and guidance. iii TABLE OF CONTENTS PAGE COPYRIGHT .......................................................................................................................... ii ACKNOWLEDGMENTS ..................................................................................................... iii TABLE OF CONTENTS .......................................................................................................iv LIST OF FIGURES ................................................................................................................vi ABSTRACT .......................................................................................................................... vii 1. INTRODUCTION ............................................................................................................. 1 2. STATE OF THE RESEARCH.......................................................................................... 6 Friar Diego de Landa ................................................................................................... 6 Early Explorers ............................................................................................................ 8 Early Scholars .............................................................................................................. 9 Major Developments in Decipherment .................................................................... 12 Other Developments and Accomplishments ............................................................ 14 3. HISTORY AND CULTURE .......................................................................................... 20 Setting ......................................................................................................................... 21 Counting and Calendars ............................................................................................ 23 Script........................................................................................................................... 24 Social Structure .......................................................................................................... 25 Scribes ........................................................................................................................ 29 Religion ...................................................................................................................... 30 Maya Court................................................................................................................. 31 Women ....................................................................................................................... 32 Conflict and War ........................................................................................................ 36 The Ball Game ........................................................................................................... 38 4. MYTHOLOGY ................................................................................................................ 40 Cosmogony ................................................................................................................ 41 Maya Myth ................................................................................................................. 43 The Popul Vuh ........................................................................................................... 46 Contemporary Celebration of Myth ......................................................................... 58 5. ICONOGRAPHY OF DIVINE KINGS AND QUEENS ............................................. 60 iv Sacred Beings and Blood .......................................................................................... 61 Sacred Beings and the Night Sky ............................................................................. 62 Sacred Beings and Artistic Representation .............................................................. 63 Sacred Being—The Maize God: Male and Female ................................................ 65 Women at Court ......................................................................................................... 68 Yaxchilan ................................................................................................................... 69 Female Imagery ......................................................................................................... 80 Lord Shield Jaguar and Lady Xoc—Male and Female Complementary Roles ..... 81 Conclusion.................................................................................................................. 83 WORKS CITED ..................................................................................................................... 87 v LIST OF FIGURES PAGE 1. Relief of noble with weapon, Tonina, Mexico, 613 CE. ............................................... 27 2. Monkey Scribe, Copan, Honduras, 600–800 CE ......................................................... 30 3. Drawing of Stela 40, Ruler 4, Piedras Negras. ............................................................. 32 4. Queen Ix Mutal Ahaw, Lower Mexico or Guatemala, 761 CE ................................... 35 5. Drawing of hieroglyphic stair, Structure 33. Yaxchilan, 750–776 CE. Research. famsi.org. April 2015. .................................................................................................... 38 6. Rebirth of the Maize God .............................................................................................. 54 7. Plate with Maize God resurrection scene, Tikal or Vicinity, Maya area, Peten, Guatemala, 600–800 CE ................................................................................................ 57 8. Censer with seated king, Guatemala, 350–450 CE ...................................................... 63 9. Maya Maize God, Temple 22, Copan, Honduras, 680–750 CE .................................. 64 10. Portrait head of Lord Pakal, Palenque, Mexico, 650–683 CE ..................................... 65 11. Lady Six Sky, Naranjo ................................................................................................... 69 12. Lintel 24, detailed Lady Xoc, Yaxchilan, Mexico, 725 CE ........................................ 72 13. Lintel 24, detailed Lady Xoc, Yaxchilan, Mexico, 725 CE ........................................ 73 14. Lintel 24, Lord Shield Jaguar and Lady Xoc, Yaxchilan, Mexico, 725 CE ............... 74 15. Lintel 24, detailed Lady Xoc, Yaxchilan, Mexico, 725 CE ........................................ 75 16. Lintel 25, Lady Xoc, Yaxchilan, Mexico, 681 CE ....................................................... 77 17. Lintel 26, Lord Shield Jaguar and Lady Xoc, Yaxchilan, Mexico, 724 CE. .............. 79 vi ABSTRACT The iconography of ancient Maya art addresses Maya mythology and communicates the Maya belief system. The decipherment of Maya glyphs has contributed to the understanding of the historical circumstances of much of ancient Maya art; however, the art is more accurately and completely understood by examining the meaning of the images in relationship to myth. While the form of specific artistic works is laudable, the primary focus of this discussion is on the subject matter and reasons for certain innovations. Art can only be understood in the context of its culture and the presentation of certain contemporary Maya beliefs and practices contributes to an understanding of ancient Maya art. By means of examining images, symbols and the rituals illustrated in the art, conjectures have been made as to the reason for the innovative inclusion of a female figure as the primary actor in a series of lintels in Yaxchilan. 1 CHAPTER 1 INTRODUCTION While studying Maya art and history, one encounters incredible monuments, sculpture, wall paintings, and painted ceramic vases. Without a context for or experience with the images, one is at a loss as to the art’s meaning or significance. As one reads explanations and studies the artworks, perhaps with a magnifying glass to isolate obscure aspects of the images, similarities and recurring images enable one to become comfortable with the subject matter. With familiarity, knowledge, and experience, preferences and favorites develop. For me, three stone lintels in Yaxchilan became favorites because of the intricacy of the carving, the beauty of the images, and the subject matter. After reading that the representation of a woman in such a setting was quite unique, the reason for the appearance of a female became the subject of much thought, consideration, and speculation. Was the queen’s relationship with the king so strong, so fervent, that the king initiated a radical deviation from custom to express passion? Was the queen’s political power such that it required her image in the setting? Because the images were completed late in the Classic Period, did some aspect of the decline of Yaxchilan necessitate a departure from tradition? Most of my thoughts on the subject seemed possible but all seemed too simple and more reading and research needed
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