Lagunita’s Unusual “Six Ajaw Stone” Reply

by David Stuart, The University of Texas at Austin

Stela 2 of Lagunita, Campeche. Photo: Ivan Sprajc.

Stela 2 of Lagunita, Campeche. Photo: Ivan Sprajc.

The rediscovery of the ruins of Lagunita, Campeche, by Ivan Sprajc and his team has been widely cited in the news of late. This is indeed an exciting development. The site was first visited back in the 1970s by Eric von Euw, who was then working with Harvard’s Maya Corpus program. He photographed and sketched a few stelae, but after his visit the site of Lagunita became “lost,” at least to archaeologists. When I was working on the Corpus Project, Ian Graham often mentioned to me how much he wanted us to go find Lagunita, but we never had the time given our other commitments in the field.

Figure 2. Lagunita, Stela 2. Photo: Ivan Sprajc.

Figure 2. Lagunita, Stela 2. Photo: Ivan Sprajc.

The hieroglyphic text on Lagunita, Stela 2 is perhaps the most interesting of those I know from the site (solely from von Euw’s photos and drawings; the new project there may reveal more cool things). It is read in individuals rows, not columns, and opens with the date 6 Ahau 13 Muan (711 A.D.). Thereafter we find a very unusual appearance of the Dedicatory Formula (or, more awkwardly, the “Primary Standard Sequence”) — the stock phrase we so often see on inscribed portable objects, especially ceramic vessels, but hardly ever on stelae. Here the “step” (T’AB?-ya) glyph is the main dedicatory verb, followed by a possessed noun referring to the stele itself: “his carved Six Ajaw stone (wak ajaw tuun).” Back in 2005 I commented on this odd Lagunita text in my overview of the Dedicatory Formula (Stuart 2005) (Figure 3).

Figure 3. Drawing od Dedicatory Formula on Lagunita, Stela 2. From Stuart 2005.

Figure 3. Drawing of Dedicatory Formula on Lagunita, Stela 2. From Stuart 2005.

The name of the ruler is eroded unfortunately, but he seems to be called a “four k’atun lord.”

It’s exciting that Lagunita is now found again, and it will be very interesting to see what other tidbits, epigraphic and otherwise, come from the site.


Stuart, David. 2005. Glyphs on Pots: Decoding Classic Maya Ceramics. Excerpt from the 2005 Sourcebook for the Maya Meetings, The University of Texas at Austin. Department of Art and Art History, UT Austin, Austin, TX.

Reconstructing a Stucco Text from Palenque’s Palace 1

by David Stuart, The University of Texas at Austin

Back in the early 1980s — I can’t recall exactly what year — I found myself intrigued by the badly preserved stucco inscription from House A of Palenque’s Palace. A few date elements were clearly visible, showing what had once been an Initial Series (I.S.) date, a partial Distance Number (2.9 or 3.9), and the remnants of a record of a station in the 819-day cycle. There was also a nice example of the Palenque emblem glyph in the very last glyph block, indicating the presence at one point of a king’s name, most likely that of K’inich Janab Pakal. The preserved “11 k’atuns” in the first column gave a good working time-frame for the text, falling firmly in Pakal’s reign.

Figure 1. Maudslay's photograph of Pier A from House A of the Palace, Palenque.

Figure 1. Maudslay’s 1891 photograph of Pier A from House A of the Palace, Palenque.

I looked up Eric Thompson’s reconstruction of the dates in this inscription, which he published as part of a “Carnegie Note” back in 1954 (Thompson 1954). He was unsure of many elements, and proposed two possible reconstructions of the dates: 9 Men 8 Tzec
-3.9 5 Cimi 19 Pop

or 4 Men 8 Tzec
-3.9 13 Cimi 19 Pop

Thompson hinged his reconstructions on the mandible visible on the head variant number on the k’in of the Initial Series (at B3; see the drawing below in Figure 2), which pointed him to a day number from 13-19.

I quickly saw problems with Thompson’s reconstructions, and my excitement mounted as I came up with a better solution. The presence of an 819 day count record — something Thompson couldn’t recognize at the time — meant we could easily anchor the placement of the 19 Pop preserved at position D3. Only one possible station would fit the time-frame: 1 Chuen 19 Pop.  The Distance Number at B8 must then reckon back to the missing Initial Series and its month is 8 Tzec at B4. Working backwards in this way I was thrilled to find that only one possibility would work: 5 Ahau 8 Tzec
– 3.9 1 Chuen 19 Pop

One detail Thompson didn’t consider was that the mandible on the k’in number could equally point to “0” as a possible reading. Everything seemed to fall into place, and at that point I did a pencil drawing of the glyphs based on Maudslay’s 1891 photograph (Figure 2) and thought the “new” solution to Pier A’s dates would make for a nice little article.

Some month passed, maybe more, before I saw that Heinrich Berlin had long before published the same solution, using precisely the same logic (Berlin 1965:340). His discussion of the Pier A text was buried in an article he had written on the inscription of the Tablet of the Cross — the same paper, in fact, wherein he had worked out much of the Early Classic dynastic history of Palenque (referring to the kings as “Topics”).  After seeing Berlin publication I immediately put aside my old drawing of Pier A and went on to other things. But looking back I find that Pier A’s text offers a good illustration of how one can utilize a small number of clues to solve what at first might seem a hopeless case.

Figure 2. Sketch of Pier A's inscription, with reconstructed components at right. (Drawing by D. Stuart)

Figure 2. Sketch of Pier A’s inscription, with reconstructed components at right. (Drawing by D. Stuart)

When I published my study of Maya architectural dedication rites in 1998, I briefly revisited Pier A in a table listing building dedication dates at Palenque (Stuart 1998:Table 1). There, strangely, I listed the date as 4 Cauac 7 Tzec — a mistake of one day. I think in my haste to finish the article I must have glanced at Maudslay’s photograph and took the apparent “7 Tzec” at face value, not remembering it was actually 8 Tzec in Berlin’s correct solution.

It’s hard to know what exact event was being commemorated on Pier A. Based on parallels elsewhere (the Temple of the Sun, for example) I strongly suspect it was a dedication record for the House A gallery itself, but no verb or revealing phrase is preserved from the area that would tell us (blocks D4-D6). The date would correspond to May of 668 A.D. As noted, the protagonist was without doubt K’inich Janab Pakal.

To put this event in some context, we have a number of other dedication dates for the various structures within the Palenque’s Palace.  House A was built some years after the central buildings of the complex (Houses E and C), at a time when Pakal was rapidly adding on to his impressive complex. And to set the record straight, correcting the mistakes in my old 1998 table, I list the actual dates from the Palace here, in chronological order:

Figure 3. "He of the Five Platform? Buildings," as title of K'inich Janab Pakal that probably refers to the Palace's main structures. From the Tablet of the 96 Glyphs. (Photograph by Jorge Perez de Lara.)

Figure 3. “He of the Five Platform? Buildings,” a title of K’inich Janab Pakal probably referring to the Palace’s main structures. From the Tablet of the 96 Glyphs. (Photograph by Jorge Perez de Lara.) 9 Lamat 6 Xul (654) – Subterraneos 9 Chuen 9 Mac (654) – House E 4 Cauac 2 Pax (661) – House C 5 Ahau 8 Tzec (668) – House A 6 Etznab 6 Zac (720) – House A-D (built by Pakal’s son, K’inich K’an Joy Kitam)

Two major buildings in the Palace complex do not have firm dates: one is House D, but its style and decoration suggests it was constructed around the time of House A, perhaps a little afterwards. The other is House B, on the south side of the courtyard of the captives. It too was almost surely Pakal’s edifice. I suspect that the five “houses” of the Palace (in order: E, C, A, D, and B?) were the five buildings referenced in one of Pakal’s important titles, “He of the Five Platform? Buildings” (Figure 3).

Figure 4. South end of House A of the Palace, showing Pier A in its present condition. (Photograph by D. Stuart).

Figure 4. South end of House A of the Palace, showing Pier A in its present condition. (Photograph by D. Stuart).

References Cited:

Berlin, Heinrich. 1965. The Inscription of the Temple of the Cross at Palenque. American Antiquity 30(3):330-342.

Stuart, David. 1998. “The Fire Enters His House”: Architecture and Ritual in Classic Maya Texts. In Function and Meaning in Classic Maya Architecture, edited by Stephen D. Houston, pp. 373-425. Dumbarton Oaks, Washington D.C.

Thompson, J. Eric S. 1954. Memoranda on Some Dates at Palenque, Chiapas. Notes on Middle American Archaeology and Ethnology, No. 120. Carnegie Institution of Washington, Division of Historical Research, Cambridge, MA

Naachtun’s Stela 24 and the Entrada of 378 3

by David Stuart (The University of Texas at Austin)

A recent press announcement in Guatemala revealed the discovery of two important early stelae at the site of Naachtun. The monuments are in bad shape, but one stela contains interesting and important information on aspects of the now famous entrada of Sihyaj K’ahk’ into the Peten region in 378 A.D.

Stela 24 from Naachtun, Guatemala. Photograph by Ignacio Cases.

Stela 24 from Naachtun, Guatemala. Photograph by Ignacio Cases.

As the project epigraphers Alfonso Lacadena and Ignacio Cases note, Stela 24 names a local ruler of Naachtun who is said to be the y-ajaw or y-ajawte’ (“vassal”, roughly) of Sihyaj K’ahk’ himself. The inscription references the dates 9 Oc 13 Mac and  10 Chuen 14 Mac — two sequential days before the stated arrival of Sihyaj K’ahk’ to Tikal on 11 Eb 15 Mac. One might surmise that this indicates Sihyaj K’ahk’s actual presence at Naachtun as he was making his way to Tikal, but it should be cautioned that the text merely states a political relationship, not an itinerary. This is itself important, for the inscription might well imply that Sihyaj K’ahk’ had some sort of political infrastructure in place in the Peten before his arrival to Tikal. Remarkable.

Back in 2000 I published an analysis of the historical texts surrounding the “11 Eb episode” in which I made the case that Sihyaj K’ahk’s arrived into the central Peten from the west and caused a major political disruption at Tikal and Uaxactun (Stuart 2000). Whoever Sihyaj K’ahk’ was — and we still don’t know much — he apparently had some significant political backing from Teotihuacan. Today we take the Teotihuacan entrada interpretation largely for granted, yet it is important to remember that in the late 1980s and 1990s the prevailing interpretation of the 378 event was very different, seeing it as a far more localized conflict between Tikal and Uaxactun. This was presented in dramatic fashion in Chapter 4 of Schele and Friedel’s A Forest of Kings (1990:130-164). My 2000 paper went against that grain and was quite controversial when it appeared. Nevertheless, subsequent finds at sites such as El Peru, La Sufricaya, and now Naachtun have demonstrated how the arrival of 378 was indeed a major disruption involving “strangers” from afar (to echo Proskouriakoff’s original insights) and resulting in wide-ranging changes in the politics and history of the Early Classic Maya.

Marcador och-ch'een

The och ch’een conquest glyph from the Marcador of Tikal.

In the years since that paper was written I’ve become even more convinced that the arrival of Sihyaj K’ahk’ was an outright conquest. Perhaps the most compelling and direct textual evidence comes from the so-called Marcador text of Tikal, in the passage that describes the arrival event in some detail. Here we see a secondary phrase introduced by the verb och ch’een, “enters the town,” or “enters the territory.” It’s a gorgeously rendered glyph (see photo) showing a snake’s tail (OCH) entering into the eye of the owl that is the head-variant of CH’EEN. There can be no mistake of its reading; och ch’een is awell-known term for military conquest found throughout Maya inscriptions, at sites such as Palenque and Dzibanche. This key piece of evidence supports the conquest model very explicitly, although I didn’t have it well-formed in my mind when I wrote that earlier analysis. (The CH’EEN reading came in 1998 or so, just as I wrote and circulated a first draft).

Of course there is still much we do not understand about the 378 entrada and its long-lasting repercussions. Even so, the broad outlines are discernible enough to allow us to say that the conquest of that year was a turning point in ancient Maya history. We now know that it was not a local conflict, but a transformative episode for the Early Classic period in general, instigated one way or another by Teotihuacan and its powerful political influence and military might. Its memory lasted for generations among the elite of the Maya lowlands, and had far-reaching effects on the political and ideological culture of the later Classic Maya.

Sources Cited

Schele, Linda, and David Freidel. A Forest of Kings: The Untold Story of the Ancient Maya. William Morrow, New York.

Stuart, David. 2000. The “Arrival of Strangers”: Teotihuacan and Tollan in Classic Maya History. In Mesoamerica’s Classic Heritage: From Teotihuacan to the Aztecs, ed. by D. Carrasco, L. Jones, and S. Sessions, pp. 465-514. University Press of Colorado, Boulder.

A Glyph for Yuyum, “Oriole,” in a Name at Bonampak 9

by David Stuart (The University of Texas at Austin) and Peter Stuart (Hampshire College)

Among the many people depicted in Room 1 of the Bonampak murals is an official named Aj K’an Yuyum (Figure 1). His portrait, near the back corner of the chamber, is somewhat damaged and effaced. He seems to be a high-ranking noble, and he stands close by three elaborately dressed dancers on the center of the room’s lower register. In front of him is a similarly dressed man who bears the title sajal, often used for political and military figures of high elite status.

The hieroglyphs of his name caption are well preserved, and the first two glyph blocks of his name clearly read AJ-K’AN-na 2yu-ma. The remaining glyphs of his caption are syllabic spellings but are more difficult to make out fully: AJ-2ch’a-ta? ?-ma-ni (see Miller and Brittenham 2013:Figure 145). Perhaps one or both give a title based on some unknown place name.

Figure 1. Aj K'an Yuyum and his name caption, from Room 1 of the Bonampak murals. (Watercolor copy by H. Hurst; Caption drawing by D. Stuart)

Figure 1. Aj K’an Yuyum and his name caption, from Room 1 of the Bonampak murals.  (Watercolor copy by  H. Hurst; Caption drawing by D. Stuart)

Beyond his role as a named spectator at Bonampak, little can be said about Aj K’an Yuyum and his position in the local royal court; no other references to him are known. Here we would like to concentrate on his personal name, especially the unusual word spelled with the doubled yu sign and the main-sign form of ma. This combination is very probably an ancient attestation of yuyum, a word found in historical and modern sources for “oriole.” The noble’s full name then be would be “Yellow Oriole,” conforming to a widespread pattern of personal names based on colors and animal terms.

Yuyum is a word for “oriole” in lowland Mayan languages, including in Yucatecan and Cholan. Its first known attestation is in Beltran’s 18th century list of Yucatec faunal names as “un ave parecida al oropendula,” referencing a species closely related to orioles (see Perez 1898). It appears in modern Yucatec as well as yúuyum,“oriole” (Bricker et. al. 1998:319). In Bruce’s vocabulary of Lacandon yuyum is simply attested as “cierto pajaro” (Bruce 1968). Importantly, we also find it cited in Aulie and Aulie’s dictionary of Ch’ol (1978: 214) as yujyum, “bolsero espalda amarilla (icterus chysater),” specifically referencing the Yellow-backed Oriole.

A number of oriole species are common in the Maya region. These include the well-known Baltimore Oriole (which winters there), the Hooded Oriole, the Altamira Oriole, the Spotted-breasted Oriole, the afore-mentioned Yellow-backed Oriole, and the Streaked-backed Oriole. Whether all of these species were ever considered under a single term is difficult to know, given the vagaries of faunal classification in Mayan languages. Besides yuyum, there appear to be a number of more isolated words for different types of orioles: kubul in Yucatec (Bolles 2001), tzap’in in Itzaj (Hofling 1997:633), and kupulik in Ch’orti’ (Wisdom 1940), for example. Yet the consistent gloss of yuyum and its cognates as “oriole” across both Yucatecan and Ch’olan makes for a reasonable case that the word may be old and widely diffused in the lowland region.

FIgure 2. Orioles in the Murals of San Bartolo, North Wall. (Watercolor copy by H. Hurst.)

Figure 2. Orioles in the Murals of San Bartolo, North Wall. (Watercolor copy by H. Hurst.)

The only known representation of orioles in Maya art comes from another famous Maya wall painting, the Preclassic murals of San Bartolo (Figure 2). In the murals from Structure sub-1-A, we see depicted on the north wall a representation of a hanging nest surrounded by three small birds. This hangs from a tree that grows atop a cosmic mountain of emergence, associated with concepts of “flower mountain” in Mesoamerican mythology (Taube, et al. 2005:15-16). The small, extremely cute birds that flutter around the nest are yellow in appearance, with black bordering their wings and tails. Due to their coloration, and the fact that they do not have black on their backs like most Central American orioles, these are most likely Yellow-backed Orioles (icterus chysater), which are known to reside in the Maya area, and especially in higher elevations. Significantly perhaps, this is the very species given as the meaning of yujyum in Aulie and Aulie’s Ch’ol vocabulary, as noted earlier.

A good amount of work remains to be done on the identification of various bird species and other fauna represented in Maya art. We hope this small observation on the written and painted appearance of orioles will prove a useful contribution in such research.

Sources Cited:

Aulie, Wilbur, and Evelyn W. de Aulie. 1978. Diccionario Ch’ol. Summer Institute of Linguistics, Mexico D.F.

Bolles, John. 2001. Combined Dictionary–Concordance of the Yucatecan Mayan Language. FAMSI. On-line resource available at

Bruce, Robert. 1968. Gramatica del Lacandon. Instituto Nacional de Antropologia e Historia, Mexico D.F.

Hofling, Andrew. 1997. Itzá Maya – Spanish – English Dictionary, Diccionario Maya Itzaj – Español – Inglés. University of Utah Press, Salt Lake City.

Miller, Mary E., and Claudia Brittenham. 2013. The Spectacle of the Late Maya Court: Reflections on the Murals of Bonampak. The University of Texas Press, Austin.

Perez, Juan Pio. 1898. Coordinación alfabetica de las voces del idioma maya que se hallan en el arte y obras del padre fr. Pedro Beltran de Santa Rosa, con las equivalencias castellanas que en las mismas se hallan. Imprinta de la Ermita, Merida.

Taube, Karl, William Saturno, and David Stuart. 2005. The Murals of San Bartolo, El Peten, Guatemala. Part I: The North Wall. Ancient America 7. Boundary End Archaeological Research Center, Barnardsville, NC.

The Chocolatier’s Dog 6

by David Stuart, The University of Texas at Austin

Top and Side views of Monumentt 89 from Tonina (Adapted from Graham and Mathews 1996:118).

Top and Side views of Monumentt 89 from Tonina (Adapted from Graham and Mathews 1996:118).

The wonderful carving known as Monument 89 from Tonina, Mexico, is a small (36 cm. long) three dimensional sculpture representing a crouching dog. The animal rests on its belly and turns its head to the side and slightly upwards, perhaps to engage a viewer who would have seen it in its original setting. Apart from the cute subject-matter, Monument 89 is dear to my own heart, for it was the short inscription on the doggie’s back that gave a the key clue supporting the decipherment of the tz’i syllable sign back in the mid-1980s. As I argued then (Stuart 1987) the first of the four glyphs reads U-tz’i-i, for u tz’i’, “his dog.” The remaining glyphs name the owner of the animal.

U-tz’i-i / AJ-ka-ka-wa / 2-WINIKHAAB? / AJ-?-K’UK’?
u tz’i’ aj kakaw cha’ winikhaab(?) aj ? k’uk'(?)
“it is the dog of the cacao-person, the two-score year ?”

Comparison of the second glyph of Mon. 89 with a standard spelling of ka-ka-wa.

Comparison of the second glyph of Mon. 89 with a standard spelling of ka-ka-wa (kakaw).

In revisiting this sculpture I would like to draw attention to the dog’s owner, who was largely passed over in my earlier study. Interestingly, he seems to be labelled as aj kakaw, “the cacao person,” or “chocolatier.” The designation immediately recalls several personal references recently described in the murals of Calakmul, accompanying depictions of people cosuming various foods and handling other types of commodities (Carrasco Vargas and Cordiero Baqueiro 2013). The people are simply designated with titles such as aj ul, “the atole person,” aj atz’aam, “the salt person,” or aj may, “the tobacco-snuff person” (Martin 2013). These descriptors seem to refer to specialized roles in Calakmul’s palace economy, perhaps indicating sellers or tradespeople who dealt with specific commodities. The surviving portions of the Calakmul murals do not refer to any “cacao person,” but it would seem we have such a designation at Tonina in reference to the little dog’s owner. The final two glyphs seem to tell us something about his age, stating that he was into his second k’atun of life (20-40 years old). The final glyph of the name phrase, also a title of some sort with the aj- prefix, is difficult to analyze without closer inspection of the original stone.

The Ratinlinxul Vase (K584) (Photograph by Justin Kerr)

The Ratinlinxul Vase (K584) (Photograph by Justin Kerr)

An interesting connection between dogs, merchants and cacao was pointed out many years ago by Eric Thompson, in his discussion of the famous Ratinlixul Vase (Kerr no. 594) (Thompson 1970:137). He saw this vessels as a likely representation of a wealthy merchant being carried along in a hammock with a retinue of helpers, including a dog beneath. Thompson linked the image to Landa’s mention of rituals in the month Muan, when owners of cacao fields would sacrifice a dog with “markings of the color of cacao” during feasts in honor of the gods Ek Chuah, Chaac, and Hobnil. I’m not sure if I agree with Thompson’s connection to Landa, but his overall idea that the vase shows a trading party seems reasonable on the face of it. Alternatively, Justin Kerr has made a good case that this vase probably depicts a deceased lord on an underworld journey, with a dog serving as his guide to Xibalba’ (Kerr 2001). One could easily make a case that the Tonina dog carving, placed above Burial 1, was likewise a helpful guide for the deceased.

Call me sentimental, but I lean toward the idea that our Tonina dog wasn’t some Maya take on Cerberus, but rather was a real animal once beloved by a real person, apparently a chocolatier connected to the royal court of Tonina. The notion that some ancient Maya had pet dogs might seem a bit unusual in light of archaeological evidence that canines were part of the human diet in many ancient Maya communities, yet we have pretty good indications that, in elite circles at least, dogs were also often trusty companions. Soon my colleagues and I on the Proyecto Regional Arqueológico La Corona will publish an analysis of a charming sculpture excavated in 2012 that clearly portrays a seated royal lady in the company of her pet dog, shown running happily across the floor in front her throne.

For now, then, we can perhaps add a bit more to the story of the tz’i’ of Tonina: its owner was not the king, but rather someone close to the royal court who was a seller or distributor of chocolate, a key commodity in any ancient Maya royal household.


Carrasco Vargas, Ramón, and María Cordiero Baqueiro. 2013. The Murals of Chiik Nahb Structure 1-4, Calakmul, Mexico. Maya Archaeology 2, pp. 8-59, edited by Charles Golden, Stephen Houston and Joel Skidmore. Precolumbia Mesoweb Press, San Francisco.

Graham, Ian, and Peter Mathews. 1996. Corpus of Maya Hieroglyphic Inscriptions, Volume 6, Part 2. Peabody Museum of Archaeology and Ethnology, Harvard University, Cambridge, MA.

Kerr, Justin. 2001. The Last Journey: Reflections on the Ratinlinxul Vase and Others of the Same Theme.

Martin, Simon. 2013. Hieroglyphs from the Painted Pyramid: The Epigraphy of Chiik Nahb Structure Sub 1-4, Calakmul, Mexico. Maya Archaeology 2, pp. 60-81, edited by Charles Golden, Stephen Houston and Joel Skidmore. Precolumbia Mesoweb Press, San Francisco.

Stuart, David. 1987. Ten Phonetic Syllables. Research Reports on Ancient Maya Writing, Number 14. Center for Maya Research , Washington, D.C.

Thompson, J. Eric S. 1970. Maya History and Religion. University of Oklahoma Press, Norman.