The 2018 Mesoamerica Meetings Reply

MESOAMERICAN PHILOSOPHIES: ANIMATE MATTER, METAPHYSICS, AND THE NATURAL ENVIRONMENT

January 9-13, 2018

The 2018 Mesoamerica Meetings are coming soon! Please join us in Austin next month for our stimulating series of workshops and our two-day symposium, focused on “Mesoamerican Philosophies.” Registration for the Meso Meetings is open to the public and all are welcome. Presenters include Chris Beekman, Linda Brown, David Carrasco, Michale Carrasco, Andrew Finegold, Patrick Hajovsky, Chrisptophe Helmke, Lucia Henderson, Julie Hogarth, Nick Hopkins, Zack Hruby, Danny Law, Elliot Lopez-Finn, Leonardo López Luján, James Maffie, Barbara Macleod, Alexus McLeod, Osiris Sinuhe Gonzalez Romero, David Stuart, Alex Tokovinine, Karl Taube, and Marc Zender.

Workshops, Symposium Program and Registration Information

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Forty years ago, in 1978, UT Austin hosted the first Maya Hieroglyphic Workshop by Linda Schele, and an institution was born. Over the years the annual event grew as an open and vibrant gathering of scholars, students and others, sharing in the newest research in (mostly) Maya art, archaeology and related disciplines. 2018 brings exciting new changes, marking not only the beginning of our third k’atun, but also our new identity as the UT Mesoamerica Meetings, emphasizing the interconnectedness of all Mesoamerican cultures. To celebrate our anniversary and our new direction, we will devote our 2018 conference to a novel topic: Mesoamerican Philosophies: Animate Matter, Metaphysics, and the Natural Environment.

Ancient Mesoamerican religion and worldview hinges on a special understanding of “matter” and the metaphysical expression of the sacred. The world and what inhabited it – landscapes, buildings, objects, illnesses, even time itself — were considered animate and “living” in some sense, creating a dynamic system of interactions and relationships between people, gods, and things. These ideas found a constant expression, at different scales, in the region’s art, imagery, architecture, and ritual deposits, yet it is fair to say that these elemental notions have not been organized as a cohesive philosophy in any systematic way. At the 2018 Mesoamerica Meetings scholars and students will bring ancient Mesoamerican philosophy and religion into sharper focus, looking at how the ancient Maya, Aztecs, and other Mesoamerican cultures communicated these important ideas, and developed many notions of their own. In short, the conference will be looking at some of the most foundational but least articulated concepts of a cohesive ancient Mesoamerican worldview.

Among the questions we will be asking are: How do we refine our picture of Mesoamerican ideas as a cohesive system, a philosophy that might be placed alongside other ancient traditions worldwide? How did Mesoamerican peoples represent and interact with “living” things, spaces, materials and landscapes to express their understanding of human action in an animate world? Can we come up with a more accurate idea of “animism” in describing aspects of the Mesoamerican worldview? In what ways do such ideas have direct bearing on archaeological interpretation? These are large issues, and other related questions will no doubt arise during the conference. We see it as the beginning of a new and necessary foray into defining Mesoamerican thought as a set of philosophical traditions with key repercussions in scholarly research and cultural understanding.

Workshops, Symposium Program and Registration Information

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Analysis of Xunantunich, Panel 3 Reply

Xunantunich Pan 3Christophe Helmke and Jaime Awe’s presentation of an important inscription fragment discovered this year at Xunantunich, Belize, is now posted on Mesoweb. Panel 3 and and its companion Panel 4 (a separate presentation of which is underway) reveal some interesting details about Classic Maya history, and hold important implications for understanding the political maneuverings involving the Kanul dynasty in the early seventh century A.D.

Death Becomes Her: An Analysis of Panel 3, Xunantunich, Belize by Christophe Helmke and Jaime J. Awe

Analyzing an Ancient Maya Codex Fragment from Uaxactun 1

Archaeologists seldom ever recover physical evidence of ancient Maya and Mesoamerican manuscripts. One notable exception was the discovery many decades ago of a badly fragmented codex in a tomb at Uaxactun, Guatemala, dating to the Early Classic period. Its remains were recently analyzed by Nicholas Carter and Jeffrey Dobereiner, who report their results in the latest issue of the journal Antiquity.

Multispectral imaging of an Early Classic Codex Fragment from Uaxactun, Guatemala 

by Nicholas P. Carter and Jeffrey Dobereiner

Antiquity, vol. 90, issue 351, pp. 711-725 (June 2016)

ABSTRACT: Multispectral visual analysis has revealed new information from scarce fragments of a pre- Columbian document excavated in 1932 from a burial at Uaxactun, in Guatemala. The plaster coating from decomposed bark- paper pages of an Early Classic (c. AD 400– 600) Maya codex bear figural painting and possibly writing. Direct investigation of these thin flakes of painted stucco identified two distinct layers of plaster painted with different designs, indicating that the pages had been resurfaced and repainted in antiquity. Such erasure and re-inscription has not previously been attested for early Maya manuscripts, and it sheds light on Early Classic Maya scribal practices.

Link to article here

Preliminary Notes on Two Recently Discovered Inscriptions from La Corona, Guatemala 10

by David Stuart (The University of Texas at Austin), Marcello Canuto (Tulane University), Tomás Barrientos Quezada (Universidad del Valle de Guatemala), and Maxime Lamoureax St-Hillaire (Tulane University)

During the 2015 excavation season at La Corona, Guatemala, two new sculpted blocks were recovered in excavations of the site’s main palace overseen by one of the authors, Maxime Lamoueax St-Hilaire. Both blocks are parts of larger compositions that were removed from their original settings and re-set in a masonry wall near the northeast corner of the palace complex. The precise archaeological context of the discovery will be presented separately, and described in detailed at the upcoming SImposio de Investigaciones Arqueológicas en Guatemala.

Each stone has been assigned an “Element” designation in accordance with the nomenclature system developed for La Corona’s corpus of sculpture (Stuart et. al. 2015). Each stone seems to be part of a larger panel or sculpted step, so it is important to note that their designations may be modified in the future to reflect new understandings of their original form and presentation.

Also, we should stress that the following commentary is itself preliminary. More formal and complete presentations will appear as part of the series La Corona Notes, and in subsequent publications sponsored by the Proyecto Arqueológico Regional La Corona, directed by Marcello Canuto and Tomás Barrientos Quezada.

Element 55

Element 55 shows a small intricately carved scene of a costumed ruler engaged in a dance performance. The date is the period ending 9.13.10.0.0 7 Ahau 3 Cumku, or January 20, 702 A.D. The accompanying hieroglyphs name the ruler as ? Ti’ K’awiil, a prominent king of Calakmul sometimes known in the literature as “Took K’awiil'” (a designation based on his variant name glyphs; see Martin and Grube 2000:112). This appears to be the left-half of a larger scene that would have presented another figure facing the dancer, in all likelihood a local La Corona ruler.

The main portion of the text (from B1 to D6) reads:

u baah ti ahk’ot ? ti’ k’awiil k’uhul kaanul ajaw elk’in(?) kaloomte’ ux te’ tuun

“(it is) his person in (the act of) dancing, ? Ti’ K’awiil, the Holy Kaanul Lord, the east Kaloomte’, (at) ux te’tuun.”

La Corona, Element 55. Preliminary drawing by Mary Kate Kelly. (Please do not re-publish without permission of the Proyecto Arqueológico Regional La Corona).

La Corona, Element 55. Preliminary drawing by Mary Kate Kelly. (Please do not publish without permission of the Proyecto Arqueológico Regional La Corona).

Discussion

The inscription on the left side of the block gives the Calendar Round date 7 Ahau (A1) 3 Cumku (A4), along with Glyphs G9 (A2) and F (A3). This corresponds with the half-k’atun period ending falling on 9.13.10.0.0. The verb phrase (B1) and the name and titles of the king (C1-D5) make up most of the rest of the text, ending in a place name uxte’tuun (Calakmul), indicating where the dance performance took place. The glyphs are very finely carved in a style reminiscent of Block V from Hieroglyphic Stairway 2 (the somewhat infamous “2012 block”). A certain scribal flair is evident in these hieroglyphs which display unusual head variant signs and ornate forms, such as the unusual “east” glyph (D4) displaying the head of the sun god K’inich Ajaw emerging from the open maw of an alligator.

The name of ? Ti' K'awiil from Dos Pilas Stela 8. Drawing by Ian Graham.

The name of ? Ti’ K’awiil from Dos Pilas Stela 8. Drawing by Ian Graham.

The Calakmul ruler depicted, ? Ti’ K’awiil (“Took’ K’awiil”) assumed the throne in 698, as revealed in two historical texts unearthed in 2012 (one at La Corona, another at El Peru) (Stuart et. al., 2014). He is named on several other monuments at Calakmul, and a particularly beautiful version of his name, similar to the one given here, occurs Stela 8 of Dos Pilas. The ruler’s dance on 9.13.10.0.0 marked a special occasion in his life history, being the first major period ending of his reign.  He would live at least three more decades and be responsible for some of Calakmul’s most beautiful monuments, including those erected around Structure 1 on 9.15.0.0.0.

Element 56

Element 56 is a all-glyphic block, probably the second part of a longer text with its first portion still missing. In format this partial inscription is very much like the “2012 block” discovered a few years ago in Hieroglyphic Stairway 2. It displays precisely the same grid dimensions as that block, in fact, and dates to just a few years before. Its style bears a strong resemblance to other texts known from La Corona dating to the end of the seventh century.

La Corona, Element 56. Preliminary drawing by David Stuart. (Please do not publish without permission of Proyecto Arqueológico Regional La Corona).

La Corona, Element 56. Preliminary drawing by David Stuart. (Please do not publish without permission of Proyecto Arqueológico Regional La Corona).

Summary of inscription:

The partial text recounts several important events involving the La Corona ruler named Chak Ak’ Paat Yuk, leading up to his accession in 689 and culminating in the dedication of an ancestral shrine for the new king’s deceased parents in 690.

The text emphasizes aspects of Chak Ak’ Paat Yuk’s political career, and especially close interactions with the king who reigned at Calakmul in those years, Yuknoom Yich’aak K’ahk’. Some of the history mentioned on Element 56 describes ceremonial dressing and adornment, no doubt reflecting the complex process of royal investiture before Chak Ak’ Paat Kuy’s inauguration on September 9, 689. He returned to Saknikte’ two weeks later on September 23, to establish his new political presence, and shortly thereafter focused his attention on the construction of a shrine (wayib, “sleeping place”) for his father and mother, who died within a few months of each other over twenty years earlier, back in 667.

It is difficult to know what the missing first half of this inscription had to say, but we suspect it may have opened with a Long Count date 9.12.18.0.13 3 Ben 11 Zip and an accompanying record of the shrine dedication. It may also have had something to say about the end of the reign of Chak Ak’ Paat Yuk’s older brother, K’inch ? Yook, who is last heard from in 683.

We should mention that the name Chak Ak’ Paat Kuy refers to the same individual we have previously called Chak Ak’ach or Chak Ak’ach Yuk (“Red Turkey”). The new name reflects a revision based on clearer spellings in this new inscription (Houston, Stuart and Zender, in preparation).

Discussion, Dates and Episodes

9.12.16.12.5 9 Chicchan 13 Muan (December 7, 688) (missing)

The inscription opens in mid-passage, clearly indicating it was once part of a larger text. First glyph (pA1) is the place name SAK-NIK-TE’, for the local toponym of La Corona, Saknikte’, meaning “white blossom.” The date iassociated with this episode is missing but it can be reconstructed based on the time interval indicated afterward. The event is missing, but given what comes next it seems reasonable to suppose that this passage once recorded Chak Ak’ Paat Kuy’s departure from Saknikte’ as he heads off to Calakmul.

9.12.16.12.9 13 Muluc 17 Muan (December 11, 688) (pB3-pA4)

Four days later a new event takes place, written with the phrase pehkaj yichnal yuknoom yich’aak k’ahk’ kaloomte’ “he was summoned(??) before Yuknoom Yich’aak K’ahk’, the kaloomte’” (pB4-pA6). That is to say, the La Corona ruler has an important meeting and conference with Calakmul’s king. It is possible that his older brother K’inich ? Yook had recently passed away or otherwise been de-installed as ruler at La Corona, leading to the need for a face-to-face discussion.

9.12.17.6.9  6 Muluc 12 Ch’en (August 8, 689) (pA7-pB7)

Many months later we find Chak Ak Paat Kuy beginning an investiture rite, probably while he is still in Calakmul. The first of these events is recorded here, possibly taking place at dawn or sunset (a temporal adverb appears at pC1). The verb statement is unique, never seen before in any Maya text: po-tza-ja U-pa-ti, for pohtzaj u paat, possibly “his back is wrapped” (pD1-pC2). This happened under the watchful direction of the Calakmul king. We suspect that the La Corona nobleman was being given a ceremonial snake back-rack, much like the one we see depicted on Element 55. A similar costume is shown worn by his older brother K’inich ? Yook on La Corona’s Panel 1.

9.12.17.6.19  3 Cauac 2 Yax (August 15, 689) (pD3b-pC4a)

One week later Chak Ak’ Paat Kuy’s “say huun is tied (kahchaj).” We are not quite sure what a say huun is, but it probably is some paper-cloth adornment or accessory, possibly a type of headband or wristlet. Whatever it is, the same event is recorded as a pre-accession rite on Aguateca’s Stela 1 and also at Naranjo’s Stela 32. Here the spelling of the object is sa-HUUN, whereas elsewhere it is more fully sa-ya-HUUN.

9.12.17.7.2  6 Ik 5 Yax (August 18, 689) (pC5)

Three days later “he sets-up(?) at Ahktuun.” The phrase is somewhat enigmatic, but it may indicate the La Corona lord’s movement in or around Calakmul as he prepared for his upcoming accession ceremony, recorded in the next passage. The verb is the same one we often find associated with formal “foundation” events for royal courts at new locations. Ahktuun (literally “turtle-stone”) is the basis for a word for “cave” (often spelled actun in modern Yukatek), although here it may refer to an architectural or urban feature. The passage also cites the verb huli, “he arrived” in connection with an enigmatic place name (tz’i?-ni).

9.12.17.8.1 12 Imix 4 Zac (September 9, 689) (pD6b-pC7a)

Here we have the record of Chak Ak Paat Kuy’s accession as king. The episode mirrors an accession reference we have on La Corona, Stela 1, falling just one day earlier. The king’s name and title phrase is especially long, and includes elements not seen elsewhere (although his name on HS2, Block 5 shows a few parallel elements).

9.12.17.8.18  3 Etz’nab 1 Ceh (Septmeber 26, 689) (pF4-pE5)

Seventeen days later Chak Ak’ Paat Kuy finally seems to be back at La Corona. As the inscription here puts it very directly, ? t-u-hulil ti tax ajaw, “he ‘sets-up’ upon his arrival as the new king.”

9.13.0.0.0  8 Ahau 8 Uo (March 16, 692) (pG2-pH2)

In the last two columns we read how the “arrival” just cited took place 2.9.2 before 8 Ahau 8 Uo, “when will occur 13 k’atuns.” This is an anticpatorty record that establishes the events in relation to cosmic time, noting their proximity to the upcoming k’atun ending.

Closing passage of Element 56, noting the fire-entering ceremony at the parents' mortuary shrine (

Closing passage of Element 56, noting the fire-entering ceremony at the parents’ mortuary shrine (“sleeping place”). Photograph by David Stuart.

9.12.18.0.13 3 Ben 11 Zip (April 9, 690) (pH4-pG5)

The text closes with a stand-alone record of a major ceremony that occurred after the arrival and before the k’atun ending. This is och-k’ahk’ “fire-entering” – a dedication or activation rite at an architectural feature called “the three platform houses.” This almost certainly refers to a collection of structures atop the palace at La Corona. This is the designation of the “the wayib (shrine)” for Chak Nahb Chan and Lady Chak Tok Chahk, the mother and father of Chak Ak’ Paat Kuy and his elder brother and predecessor K’inich ? Yook.

Conclusion

Both stones are partial commemorations of important ceremonies. One is a visual record of a calendar dance ritual at far-off Calakmul, perhaps involving a local ruler as well. The other is a detailed textual record of a local nobleman’s transformation into a ruler under the close supervision of Calakmul’s powerful king, culminating in a ceremony honoring his beloved parents.

This note represents a preliminary analysis of two newly excavated sculptures from La Corona. More detailed analyses will appear in future issues of the La Corona Notes. More to come.

UPDATE: I would like to thank Jens Rohark for pointing out glaring inconsistencies in my initial conversions of the dates on Element 56. These have now  been corrected to reflect the Martin and Skidmore 584286 correlation.


ACKNOWLEDGEMENTS:

Several colleagues have offered valuable thoughts and comments on these new finds, including Stephen Houston, Marc Zender and Simon Martin. Many thanks to them. The authors would also like to thank the Instituto de Antropología e Historia de Guatemala (IDAEH) and the Ministerio de Cultura y Deportes for their continued support in the excavation, conservation and analysis of the two sculptures presented here. We would also like to extend our appreciation to PACUNAM and to the National Geographic Society for their financial and logistical support of the Proyecto Arqueologico Regional La Corona (PARLC) in the 2015 season. The individual authors also acknowledge the help and assistance of their respective academic institutions, Tulane University, the Universidad del Valle de Guatemala, and The University of Texas at Austin.

SOURCES CITED:

Houston, Stephen, David Stuart and Marc Zender. In preparation. The Reanalysis of a La Corona King’s Name. To appear in La Corona Notes.

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

Stuart, David, Marcello Canuto and Tomas Barrientos Quezada. 2015. The Nomenclature of La Corona Sculpture. La Corona Notes, Number 2. Mesoweb. http://www.mesoweb.com/LaCorona/LaCoronaNotes02.pdf

Stuart, David, Marcello Canuto, Tomás Barrientos, Jocelyne Ponce and Joanne Baron. 2015. Death of the Defeated. Historical Data on Block 4 of La Corona’s Hieroglyphic Stairway 2. La Corona Notes, Number 3. http://www.mesoweb.com/LaCorona/LaCoronaNotes03.pdf