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Excavations at the ancient Maya city of Holmul, Petén, have led to the discovery of a building decorated with an intricately carved and painted plaster frieze. The iconography of the frieze portrays seated lords, mountain spirits, feathered serpents, and gods of the underworld engaged in the apparent rebirth of rulers as sun gods. Large emblems carved on the side of the building identify the structure as a shrine for ancestor veneration. A dedicatory text carved along the bottom of the frieze contains a king list and references to the political and familial ties of the ruler who commissioned the temple. Together, the iconography and text of this structure provide evidence of function and meaning. They also shed new light on a century during Classic Maya history known as the Tikal “Hiatus,” for which a limited number of texts are available. The information derived from this monument also broadens our understanding of the nature of hegemonic relationships among Classic Maya states.
I have chosen to examine how power relationships are conveyed through art, specifically Classic Maya sculpture. While several different power relationships were conveyed through Maya sculpture, I shall examine the relationships of Maya kings both to their ancestors and the gods as these relationships were of central importance in Maya society.
Ceramics of Ancient America: Multidisciplinary Approaches
lntertextuality in Classic Maya Ceramic Art and Writing: The Interplay of Myth and History on the Regal Rabbit Vase2018 •
Posted at Mesoweb as a "Mesoweb Publication" in 2005: The archaeological site of Uaxactun is known for various Early Classic structures in which several burials have been found. Most prominent among these burials is Burial A-31 (found in Structure A-V). From this burial important ceramics were collected, illustrated and described in detail by Robert Smith in 1955. Thirty years later these ceramics were discussed by Charles Lincoln (1985). One specific ceramic vessel from this burial has been exhibited abroad (e.g. Eggebrecht and Eggebrecht 1992: Catalog No. 41 [p. 336]). This vessel, which currently resides in the Museo Nacional de Etnología y Arqueología (inv. no. 231), is the subject of this essay. For a long time this vessel with its incised hieroglyphic text was unique within the corpus of Maya cultural artifacts. However, in recent years seven ceramic vessels have come to light which seem to be closely related to the Uaxactún bowl. These seven vessels provide intriguing but still difficult to understand hieroglyphic texts as well as some intriguing iconography that will be used for comparison with the Uaxactun vessel. [Note by the author: At present I have identified several additional vessels that present the same iconography and hieroglyphic texts, two of which reside in public collections. I hope to provide a description in a future essay.]
Contributions in New World Archaeology, Vol. 3: 91-126
Mythological Emblem Glyphs of Ancient Maya Kings2012 •
Ancient Maya Pottery: Classification, Analysis, and Interpretation, edited by Jim J. Aimers,
Mayapán's Chen Mul Modeled Effigy Censers: Iconography and Archaeological Context2013 •
Michael Love and Julia Guernsey. Antiquity 81 (2007): 920-932.
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