REPORT: Tonina’s Curious Ballgame 21

by David Stuart

Narrative scenes in Maya art are not always as simple as they might seem. Take for example this image of a ballgame on Monument 171 from Tonina, Chiapas. This small relief sculpture was discovered some years ago in the site’s acropolis, and is now on display near the entrance to the Sala Maya in the Museo Nacional de Antropología in Mexico City.

Figure 1. Monument 171 from Tonina, now in the Museo Nacional  de Antropología (Photograph by D. Stuart).

Figure 1. Monument 171 from Tonina, showing the king of Calakmul, at right, playing ball with the deceased ruler of Tonina K’inich Baaknal Chahk, at left (Photograph by D. Stuart).

Like many scenes of the Maya ballgame, the Tonina relief shows two players in action with knees on the floor and a large ball between them. Three text panels are integrated within the scene and identify the actors and the time-frames of the game depicted. The central and right-hand sections form one continuous text, with the text at the the far left as a stand-alone caption for the left-hand figure. (Note: In the accompanying illustration I have re-lettered the columns to reflect the true reading order, so that columns A-B are at the center of the composition, above the large ball; columns A-B in the Corpus publication are here given as F-G).

Figure 2. Drawing of Monument 171 by Ian Graham, with new column designations to reflect true reading order.

Figure 2. Drawing of Monument 171 by Ian Graham, showing new column designations to reflect true reading order. (Adapted from Graham, et. al. 2006)

The date opening the main caption (A1-A2) is  7 Eb 5 Kankin, or October 31, 727 AD, during the reign of the Tonina ruler known as K’inich Yich’aak(?) Chapat, who had assumed the throne a few years earlier in 723 (See Mathews 2001 for a useful tabulation of Tonina’s dates and history).  The event phrase (B2-A3) is very clear as u baah ta pitz, “(it is) his image in (the act of) ball-playing,” repeating a sequence of glyphs found also in the secondary caption at the far left (a curious echoing of phrase that is meaningful, and which we will return to).

So who’s playing ball? One might think that the text would simply name the two players, but in fact there are three people named in the accompanying glyphs. As I hope to explain, the added complexity reveals interesting aspects about how Maya artisans sometimes layered narrative history and manipulated text-image relationships in order to point emphasize certain important narrative elements involving actors and time-frames that might otherwise be obscure.

The subject of the main ball-playing expression is named in blocks B3-C1, and here we find something of a surprise. This is not the name of the local Tonina king, but instead looks to be that of the king who was ruling at distant Calakmul, an important character known in the literature as Took’ K’awiil (a provisional nickname; see Martin and Grube 2000:112). His name phrase is quite clear, reading across the body of the right ballplayer to highlight his identity, and identical to examples known from Calakmul and surrounding areas. After the name and the accompanying kaloomte’ title (C1) we come upon an undeciphered glyph — clearly a possessed noun (U-ma-?-li) (D1) — followed by the name of the local ruler K’inich Yich’aak(?) Chapat (E1-D2) and his two royal court titles (emblem glyphs), followed in turn by another example of the honorific term kaloomte’. The undeciphered glyph at D1 must express some relationship between the ballgame or the Calakmul king and the contemporary Tonina ruler, although the nature of this connection still remains unclear (I recall seeing one other example of this same odd relationship glyph in another Tonina inscription that remains unpublished).

The ballplayer to the left is named in the caption behind him. This reads, in loose translation:

He is playing ball, the one k’atun kaloomte’, K’inich Baaknal Chahk, the Holy Lord of Po’

Here we have another ruler familiar from the Tonina’s history. However — and this is the truly odd aspect of the scene — at the time of the ballgame K’inich Baaknal Chahk had not been a ruler for nearly twenty years. He had been an important king who waged several notable wars against Palenque and its allies, but who died probably around the year 709, shortly before his young successor, Ruler 4, came to power on 9 Etznab 6 Muan. The next ruler after him, in turn, was K’inich Yich’aak(?) Chapat. So we have an odd situation at hand: a scene from the year 727 depicting a long-deceased Tonina ruler playing ball with a foreign Calakmul lord, with the current king named but not even shown.

So what gives? I believe we have here an excellent example of a common but little known convention in Maya art where times and identities can intentionally “merge” for narrative effect. One might even call it a form of visual poetics used by artists to carefully draw parallels and connections that, while not explicit on the surface, were nonetheless readable and knowable to those familiar with the conventions of Maya imagery. The 727 ballgame was probably real, a ritual contest involving the ruler of Calakmul Took’ K’awiil and the Tonina king who was alive at the time, K’inich Yich’aak(?) Chapat. Such royal ballgame scenes were frequently commissioned as a means of documenting long-distance alliances and hierarchical connections, and were used especially in the sphere of the Calakmul (Kaanal) court (examples are known from La Corona, Uxul and Hixwitz, among other places). The point of adding K’inich Baaknal Chahk’s image to this scene is, I think, to collapse this 727 event with a similar ballgame of a prior generation, involving the same Calakmul king and a deceased Tonina hero. The Calakmul ruler Took’ K’awiil was alive and on the throne in both time-frames, having acceded to the throne in 698. I suspect that he may held some important role in the complex geopolitics of Chiapas at the end of the seventh century, perhaps turning his attention westward after the defeat of the Kaanal kingdom by Tikal in 695. It’s probably no accident that Calakmul would find an ally in Tonina, who had for years been in conflict with its northern neighbor Palenque, itself an old enemy of the Kaanal kingdom. At any rate, the connection between the two ballgame events isn’t described textually or in conventional narrative fashion, yet it seems implicit in the juxtaposition of time with the actors shown.

Similar depictions of two subjects “out of time” with one another appear with some frequency in Maya sculpture. For example, La Corona Panel 1 shows two standing figures facing one another, each identified as the same ruler, K’inich ? Yook, on different ritual occasions. The scenes of the three tablets of the Cross Group at Palenque offer a similar juxtaposition of two inward-facing portraits of one king, K’inich Kan Bahlam, at different stages of life (as a young boy and as a middle aged man). A better parallel perhaps comes from the bench tablet of Temple XXI from Palenque, showing the deceased ruler K’inich Janab Pakal overseeing the bloodletting rites of his grandsons. In many of the Palenque narratives, earlier events and subjects are presented on the left, with later or contemporaneous protagonists on the right (the more “dominant” side of a composition).

I suggest that the Tonina ballgame scene presents a similar artistic stratagem. The written date and the subjects are carefully specified but are historically incompatible, a incongruence that serves to highlight the artist’s underlying message, linking an episode of current history with something parallel and similar in the past. I suspect this is why we have the apparent redundancy of two repeating phrases in the scene that simply state “he is playing ball” — each is needed because they serve in different historical moments. In Maya texts, the rhetorical links between such like-in-kind episodes are extremely common, and I would argue that Maya artists were just as keen in showing such connections, though perhaps not so linearly or directly. This then is a figurative ballgame, documenting to a old alliance between Tonina and the Kaanal court during the reign of K’inich Baaknal Chahk, and collapsing it with a more current relationship during the reign of K’inich Yich’aak(?) Chapat.

So this small elegant carving gives us with a fine example of how the ancient Maya conveyed layered and complex meanings involving time and identity, offering much more than first meets the eye.


Graham, Ian, David Stuart, Peter Mathews, and Lucia R. Henderson. 2006. Corpus of Maya Hieroglyphic Inscriptions, Volume 9, Part 2: Tonina. Peabody Museum, Harvard University, Cambridge, MA.

Martin, Simon, and Nikolai Grube. 2000. Chronicles of the Maya Kings and Queens: Deciphering the Dynasties of the Ancient Maya. Thames and Hudson, London.

Mathews, Peter. 2001. The Dates of Tonina and a Dark Horse in Its History.  The PARI Journal 2(1):1-5. Link to pdf here.

ARCHIVES: Web Image of Palenque’s Tablet of the Cross 3

Tablet of the Cross detail

The website for INAH (Mexico’s Instituto Nacional de Antropologia e Historia) contains a very useful and detailed zoom-able image of Palenque’s Tablet of the Cross, the original of which is now visible in the Museo Nacional in Mexico City.  This has been available for a while now, and well worth checking out as an epigraphic/iconographic resource.

It’s important to stress that the right third of the tablet shows extensive restoration, and a number of details of the glyphs are not what they should be. This restoration work took place in several phases, it seems, and goes back to the late nineteenth century, after that section of the tablet was first broken at the ruins, sometime before 1839. The fragments were sent to the U.S. National Museum in Washington D.C. in 1842, and remained there for many decades attracting “considerable attention on the part of numerous visitors” before their eventual return to Mexico. An early photograph of the glyphs published by Charles Rau, in 1879, shows somewhat different restoration work, so clearly the panel had a complex and troubled history.

Hi-res photograph of the Tablet of the Cross from Palenque can be found here.

ARTICLE: A New Assessment of Palenque’s Palace Tablet Reply

The name glyph of Ux Yop Huun

The name glyph of Ux Yop Huun

The new publication Maya Archaeology 2 includes my article “The Name of Paper: The Mythology of Crowning and Royal Nomenclature on Palenque’s Palace Tablet.” This piece was written back in 2009 and offers a somewhat novel take on the mythical-historical narrative on one of Palenque’s more important texts, focusing on the role of its unusual mythological protagonist, Ux Yop Huun (name glyph is shown at right). Much about this topic remains fairly opaque, and there is still a great deal to discuss and consider about the Palace Tablet and its layered meanings.

Maya Archaeology 2 is available for order here.

A pdf of my article on the Palace Tablet can be accessed here: The Name of Paper: The Mythology of Crowning and Royal Nomenclature on Palenque’s Palace Tablet

EDITOR’S NOTE: Starting now all entries on Maya Decipherment will be classified as one of five categories: Articles, NotesArchives, News, and Books. More categories may be introduced in the future, but I see this as a good way to start organizing the varied sorts of contributions that have made their way onto the blog thus far.

New Book: Maya Archaeology 2 1

Maya Archaeology 2, edited by Charles Golden, Stephen Houston and Joel Skidmore. Precolumbia Mesoweb Press, San Francisco.


Precolumbia Mesoweb Press has just published Maya Archaeology 2, a beautifully illustrated volume with important contributions on the archaeology and epigraphy of Calakmul and Palenque. Authors of the included reports and articles are Ramón Carrasco Vargas, María Cordeiro Baqueiro, Simon Martin, Arnoldo González Cruz, Guillermo Bernal Romero, and David Stuart. The book will be available May 2013, and order information is now available here through the Mesoweb website.

The Temple XX Tomb 3

by David Stuart

Last year I posted this blog entry on Maya Decipherment concerning the tomb recently opened in Temple XX at Palenque. It’s worth revisiting now in the wake of INAH’s recent announcement of the conservation efforts now going on in the chamber.

Figure 1. View of the Temple XX tomb chamber. INAH photo.

Some sources speculate that the tomb may be that of the dynastic founder, K’uk’ B’ahlam who reigned from 431-435 AD. But this timeframe is probably far too early for the tomb.  As mentioned in the earlier blog entry and also as summarized in our 2008 book, Palenque: Eternal City of the Maya, it more likely dates to the 6th century:

Recent investiagations near the Cross Group have revealed another significant early tomb, as well as a significant archaeological puzzle. Temple XX is located at the southern end of the Cross Group, next to Temple XIX. Approaching the pyramid, it looks to be an imposing structure, but excavations since 1999 have shown that the base is actually a masonry veneer on a small hillock of bedrock. As archaeologists Alfonso Morales Cleveland and Rudy Larrios Villalta have shown, the structure was modified over many years, and the earliest phase seems to date from the first part of the sixth century. After this initial construction later builders demolished part of the upper temple in order to construct a vaulted tomb beneath. The crypt has not yet been entered as of this writing (in 2006), but photographs taken by a camera inserted within the chamber show red-line paintings of nine figures in an unusual style, jade objects, and pottery that looks to be fairly early (Cascada phase), possibly from the sixth century. Its size and elaboration suggests that the Temple XX tomb is a royal burial, but no clues exist to the identity of its occupant. Interestingly, a preliminary assessment of the painted figures indicates that they are portraits of royal ancestors, including Ahkal Mo’s Nahb and Kan Bahlam. If this is the case, then the Temple XX tomb must date to after Kan Bahlam’s death in 583. Could it be the tomb of Ix Yohl Ik’nal, as Merle Greene Robertson has tentatively suggested? Once the tomb is opened, the ceramics within can help greatly to confirm or deny this preliminary dating of the chamber.

Temple XX remained an important building for many years, and intriguingly its final remodeling at the end of the city’s occupation may never have been finished. When archaeologists first began investigating the pyramid, they were greatly confused by the lack of any masonry veneer and terracing on its front and sides; it was an ancient construction site interrupted in mid-project.

The above quotation from Stuart and Stuart (2008:140).

Figure 2. Photograph of standing figure with Kan Bahlam (Snake Jaguar) in headdress, possibly naming the early Palenque ruler who reigned until 583 AD. INAH photo.

Source Cited:

Stuart, David and George Stuart. 2008. Palenque: Eternal City of the Maya. Thames and Hudson, London.