Yaxchilan Lintel 24: Difference between revisions
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{{short description|Ancient Maya limestone carving from Yaxchilan in modern Chiapas, Mexico}} |
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{{Infobox Artifact |
{{Infobox Artifact |
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|name = Lintel 24 |
|name = Lintel 24 |
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|image_caption = The lintel as displayed in the British Museum |
|image_caption = The lintel as displayed in the British Museum |
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|material = [[Limestone]] |
|material = [[Limestone]] |
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|created = Estimated to be 709 |
|created = Estimated to be 709 AD |
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|discovered = |
|discovered = |
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|location = [[British Museum]], [[London]], [[England]] |
|location = [[British Museum]], [[London]], [[England]] |
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}} |
}} |
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'''Lintel 24''' is the designation given by modern archaeologists to an [[Maya civilization|ancient Maya]] limestone |
'''Lintel 24''' is the designation given by modern archaeologists to an [[Maya civilization|ancient Maya]] limestone sculpture from [[Yaxchilan]], in modern [[Chiapas]], [[Mexico]]. The lintel dates to about 723–726 AD, placing it within the Maya [[Mesoamerican chronology|Late Classic period]].<ref>{{Cite web|url=https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3086874&partId=1|title=The Yaxchilan Lintels|website=British Museum|language=en-GB|access-date=2019-07-07}}</ref> Its [[Relief#Mid-relief|mid-relief]] carving depicts the ruler of Yaxchilan, [[Itzamnaaj Bahlam III|Itzamnaaj Bahlam III (also known as Shield Jaguar)]], and his consort [[Lady Xoc|Lady K’abal Xoc]], performing a ceremony of [[Bloodletting in Mesoamerica|bloodletting]]; the imagery is also accompanied by [[Maya hieroglyphs|descriptive captions]], and (unusually for a Maya monumental text) a [[signature]] by the sculptor, Mo’ Chaak. |
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==Discovery and removal== |
==Discovery and removal== |
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Lintel 24 was found in its original context alongside Lintels 25 and 26 in Structure 23 of Yaxchilan. [[Alfred Maudslay]] had the lintel cut from the ceiling of a side entrance in 1882 and shipped to Great Britain where it remains today in the [[British Museum]] of [[London]]. Lintel 25 made the journey in 1883. Lintel 26 was discovered in 1897 by [[Teobert Maler]]. It was removed to the [[Museo Nacional de Antropología e Historia]] in 1964 |
Lintel 24 was found in its original context alongside Lintels 25 and 26 in Structure 23 of Yaxchilan. [[Alfred Maudslay]] had the lintel cut from the ceiling of a side entrance in 1882 and shipped to Great Britain where it remains today in the [[British Museum]] of [[London]]. Lintel 25 made the journey in 1883. Lintel 26 was discovered in 1897 by [[Teobert Maler]]. It was removed to the [[Museo Nacional de Antropología e Historia]] in 1964. |
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==Inscriptions== |
==Inscriptions== |
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The text comprises three discrete sections. The uppermost describes Itzamnaaj Bahlam, where the second raised section describes Lady Xoc. The final sentence, which is not elevated like the other two, is an artist’s signature. |
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“The text consists of two sentences, one relating to Shield Jaguar, the other to his wife. The first three glyphs record the date and the event, “he is letting blood,” with additional glyphs apparently specifying the particular ritual context. Shield Jaguar’s name begins at E2b, with a title telling us he was a “4-Katun ahpo”--- that he had lived into his fourth katun, at the time of the event. His personal name consists of a shield sitting atop a jaguar head. The name phrase concludes by naming him “the captor of [[Ah-Ahaual]]” and “a blood lord of Yaxchilan.” |
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The actions of the woman are recorded in the smaller frame behind Shield Jaguar… The last three glyphs record her name phrase.” <ref>Based on translation in Schele, Linda, and Mary E. Miller. ''The Blood of Kings: Dynasty and Ritual in Maya Art''. Fort Worth: Kimbell Art Museum, 1986, p. 187.</ref> |
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===A1-F3=== |
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'''ti-5-EB 15-ma-AK-u-ba-hi ti-CH’AB-li ti-K’AK’-la-ju-lu u-CH’AB-4-WINIKHAB-AJAW ITZ’-BALAM-ma-u-cha-CHAN-nu a-NIK-ki K’UHUL-[PA’]CHAN-AJAW'''<br> |
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''ti ho (?) holaju’n mak u baah ti ch’abil ti k’ak’al jul u ch’ab chan winikhaab ajaw Itz’[amnaaj] Bahlam u cha’n Aj Nik k’uhul Pa’chan ajaw''<br> |
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"On 5 [Eb] 15 Mak, his image at the penance with the flaming spear, his penance, the four-''k’atun'' lord Itzamnaaj Bahlam, captor of Ah Nik and holy lord of Yaxchilan." |
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===G1-G4=== |
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'''u-ba-ti-CH’AB-li IX-CH’AK?-ku-na-XOK-ki IX-k'a[ba]-la-XOK-ki IX-KALOM-TE’'''<br> |
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''u baah ti ch’abil ix ch’akan xook Ix K’abal Xook ix kalo’mte’''<br> |
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"Her image at the penance, the cut lady, Ix K’abal Xoc, female autocrat." |
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===H1-H4=== |
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'''T’AB-ya yu-xu-lu MO’-CHAK-ki a-HIX?-la'''<br> |
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''t’abiiy yuxul mo’ chaak aj hixiil?''<br> |
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"His sculpture was erected, Mo’ Chaak, he of Hixil?" |
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==Style== |
==Style== |
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[[Image:Yaxchilán lintel.jpg|thumb| |
[[Image:Yaxchilán lintel.jpg|thumb|upright|Drawing by [[Désiré Charnay]] (1885)]]The lintel is done in high relief style with the background deeply recessed. All three were apparently commissioned by Lady Xoc for the doorways of Structure 23. The lintels show the elaborate costumes of the king and queen with remarkable detail and an uncharacteristic lack of abstraction. These lintels are considered by some to be the pinnacle of Mayan art.<ref>Miller, p. 18, cites [[Sylvanus G. Morley]], who in his ''Ancient Maya'' (1946) considered this to be "the most beautiful example of sculptured stone door lintel."</ref> We are able to study the detail of Mayan weaving as depicted in these carvings, and see the pearls woven into the fabric. Subtle differences in the three lintels suggest that the compositions were completed by two or three different artists. Each of the works is signed, indicating that the production of such works was regarded as a highly specialized skill rather than a trade. |
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==The King== |
==The King== |
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[[Itzamnaaj Bahlam III]] was a central figure in directing the course of Yaxchilan. He ascended to power in AD 681 and died in AD 742.{{citation needed|date=October 2016}} There are numerous documented references to him on artifacts at the end of Stage V at Yaxchilan. In Lintel 24, he is depicted holding a torch above his first wife, Lady Xoc. The king is wearing his hair back with [[quetzal feathers]] indicating that he will also let blood in this ceremony. Attached to his head band is what appears to be a representation of the Jester Mask. The jester mask is considered analogous to the glyph for kingship, ''ajaw'', and is named so for the vegetation often depicted coming from the crown of it. Since the rest of the costume is depicted without much abstraction, it is suggested that Maya kings may have literally attached a shrunken head to their head band as a representation of power. He is shown wearing a pectoral with a representation of the sun god depicted. It is strung from a jade bead necklace that is counterbalanced by a long strand of jade beads and what are probably carved shells going down his back. The artist was careful to show such minute details as the strings that are tied to hold on the wrist cuffs worn by both royals, and the pattern woven on Itzamnaaj Bahlam’s beautiful cape. |
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==The Queen== |
==The Queen== |
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[[File:Yaxchilan Lintel 24 (cropped).jpg|thumb|Detail of Lady Xoc]] |
[[File:Yaxchilan Lintel 24 (cropped).jpg|thumb|upright|Detail of Lady Xoc]] |
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Lady Xoc is one of the most prominent and probably politically powerful women in the Maya civilization. |
Lady Xoc is one of the most prominent and probably politically powerful women in the Maya civilization. Lady Xoc is shown here performing an important royal rite of blood letting. By pulling the rope studded with obsidian shards through her tongue, she causes blood to drip onto paper strips held in a woven basket to be burned as depicted on Lintel 25. Blood scrolls can be seen on her face. The queen also wears an elaborate headdress. There are flower tassels on the main part of the head band and a mosaic depiction of [[Tlaloc]] sprouting quetzal feathers. Her elaborately carved [[huipil]] is trimmed with fringe and pearls. Her necklace also appears to have a pectoral depiction of the sun god. It is probably made of shell or jade plaques, as are her wrist cuffs. |
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==Associated tombs== |
==Associated tombs== |
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Recent excavations have unearthed what is thought to be the tombs of |
Recent excavations have unearthed what is thought to be the tombs of Itzamnaaj Bahlam and Lady Xoc within Structure 23. Discovered in association with the female burial attributed to Lady Xoc were 146 prismatic obsidian blades, each with two lateral notches on the edges. These were located in what is known as Element 21 in Room 1 of Structure 23 at Yaxchilan. Due to the association with Lady Xoc’s burial in Room 2, these have been interpreted as being depicted on Lintel 24. The original interpretation of the studded rope was that there were thorns attached, but this new evidence in context has caused the interpretation to shift. We now know that it was a rope studded with obsidian blades used in the ritual, and may have the very physical shards depicted themselves. Lady Xoc’s burial is known as Tomb 3. Itzamnaaj Bahlam’s remains lay not far, in Room 3. This is referred to as Tomb 2. Elaborate grave goods were found in association with both burials. |
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==See also== |
==See also== |
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==References== |
==References== |
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{{refbegin|indent=yes}}<!--BEGIN biblio format. |
{{refbegin|indent=yes}}<!--BEGIN biblio format. --> |
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* {{cite book |author=Miller, Mary Ellen |author-link=Mary Miller (art historian) |year=1999 |title=Maya Art and Architecture |location=London and New York |publisher=[[Thames & Hudson]] |isbn=0-500-20327-X |oclc=41659173 |url=https://archive.org/details/mayaartarchitect00mill }} |
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* {{cite book |author=Miller, Mary |author-link=Mary Miller (art historian) |author2=Simon Martin |author-link2=Simon Martin (Mayanist) |year=2004 |title=Courtly Art of the Ancient Maya |location=London |publisher=[[Thames & Hudson]] |isbn=0-500-05129-1 |oclc=54799516 |url=https://archive.org/details/courtlyartofanci00mill }} |
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* {{cite book |author=Schele, Linda |author-link=Linda Schele |author2=Mary Ellen Miller |author-link2=Mary Miller (art historian) |year=1992 |orig-year=1986 |title=Blood of Kings: Dynasty and Ritual in Maya Art |others=Justin Kerr (photographer) |edition=2nd paperback ed., reprint with corrections |publisher=[[George Braziller]] |location=New York |isbn=0-8076-1278-2 |oclc=41441466}} |
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* {{cite book |author=Tate, Carolyn E. |author-link=Carolyn Tate|year=1992 |title=Yaxchilan: The Design of a Maya Ceremonial City |publisher=[[University of Texas Press]] |location=Austin |isbn=0-292-77041-3 |oclc=23464300}} |
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{{refend}}<!-- END biblio format style --> |
{{refend}}<!-- END biblio format style --> |
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{{British-Museum-100|51|Silk princess painting|Harem wall painting fragments}} |
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{{British Museum}} |
{{British Museum}} |
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[[Category:Yaxchilan|Lintel 24]] |
[[Category:Yaxchilan|Lintel 24]] |
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[[Category:Maya inscriptions]] |
[[Category:Maya inscriptions]] |
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[[Category:8th-century inscriptions]] |
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[[Category:Mesoamerican artifacts]] |
[[Category:Mesoamerican artifacts]] |
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[[Category: |
[[Category:8th century in the Maya civilization]] |
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[[Category:725 |
[[Category:725]] |
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[[Category:Ethnographic objects in the British Museum]] |
[[Category:Ethnographic objects in the British Museum]] |
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[[Category:Artefacts from Africa, Oceania and the Americas in the British Museum]] |
[[Category:Artefacts from Africa, Oceania and the Americas in the British Museum]] |
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[[Category:Sculptures in the British Museum]] |
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Latest revision as of 06:30, 13 July 2024
| Lintel 24 | |
|---|---|
 The lintel as displayed in the British Museum | |
| Material | Limestone |
| Created | Estimated to be 709 AD |
| Present location | British Museum, London, England |
Lintel 24 is the designation given by modern archaeologists to an ancient Maya limestone sculpture from Yaxchilan, in modern Chiapas, Mexico. The lintel dates to about 723–726 AD, placing it within the Maya Late Classic period.[1] Its mid-relief carving depicts the ruler of Yaxchilan, Itzamnaaj Bahlam III (also known as Shield Jaguar), and his consort Lady K’abal Xoc, performing a ceremony of bloodletting; the imagery is also accompanied by descriptive captions, and (unusually for a Maya monumental text) a signature by the sculptor, Mo’ Chaak.
Discovery and removal
[edit]Lintel 24 was found in its original context alongside Lintels 25 and 26 in Structure 23 of Yaxchilan. Alfred Maudslay had the lintel cut from the ceiling of a side entrance in 1882 and shipped to Great Britain where it remains today in the British Museum of London. Lintel 25 made the journey in 1883. Lintel 26 was discovered in 1897 by Teobert Maler. It was removed to the Museo Nacional de Antropología e Historia in 1964.
Inscriptions
[edit]The text comprises three discrete sections. The uppermost describes Itzamnaaj Bahlam, where the second raised section describes Lady Xoc. The final sentence, which is not elevated like the other two, is an artist’s signature.
A1-F3
[edit]ti-5-EB 15-ma-AK-u-ba-hi ti-CH’AB-li ti-K’AK’-la-ju-lu u-CH’AB-4-WINIKHAB-AJAW ITZ’-BALAM-ma-u-cha-CHAN-nu a-NIK-ki K’UHUL-[PA’]CHAN-AJAW
ti ho (?) holaju’n mak u baah ti ch’abil ti k’ak’al jul u ch’ab chan winikhaab ajaw Itz’[amnaaj] Bahlam u cha’n Aj Nik k’uhul Pa’chan ajaw
"On 5 [Eb] 15 Mak, his image at the penance with the flaming spear, his penance, the four-k’atun lord Itzamnaaj Bahlam, captor of Ah Nik and holy lord of Yaxchilan."
G1-G4
[edit]u-ba-ti-CH’AB-li IX-CH’AK?-ku-na-XOK-ki IX-k'a[ba]-la-XOK-ki IX-KALOM-TE’
u baah ti ch’abil ix ch’akan xook Ix K’abal Xook ix kalo’mte’
"Her image at the penance, the cut lady, Ix K’abal Xoc, female autocrat."
H1-H4
[edit]T’AB-ya yu-xu-lu MO’-CHAK-ki a-HIX?-la
t’abiiy yuxul mo’ chaak aj hixiil?
"His sculpture was erected, Mo’ Chaak, he of Hixil?"
Style
[edit]
The lintel is done in high relief style with the background deeply recessed. All three were apparently commissioned by Lady Xoc for the doorways of Structure 23. The lintels show the elaborate costumes of the king and queen with remarkable detail and an uncharacteristic lack of abstraction. These lintels are considered by some to be the pinnacle of Mayan art.[2] We are able to study the detail of Mayan weaving as depicted in these carvings, and see the pearls woven into the fabric. Subtle differences in the three lintels suggest that the compositions were completed by two or three different artists. Each of the works is signed, indicating that the production of such works was regarded as a highly specialized skill rather than a trade.
The King
[edit]Itzamnaaj Bahlam III was a central figure in directing the course of Yaxchilan. He ascended to power in AD 681 and died in AD 742.[citation needed] There are numerous documented references to him on artifacts at the end of Stage V at Yaxchilan. In Lintel 24, he is depicted holding a torch above his first wife, Lady Xoc. The king is wearing his hair back with quetzal feathers indicating that he will also let blood in this ceremony. Attached to his head band is what appears to be a representation of the Jester Mask. The jester mask is considered analogous to the glyph for kingship, ajaw, and is named so for the vegetation often depicted coming from the crown of it. Since the rest of the costume is depicted without much abstraction, it is suggested that Maya kings may have literally attached a shrunken head to their head band as a representation of power. He is shown wearing a pectoral with a representation of the sun god depicted. It is strung from a jade bead necklace that is counterbalanced by a long strand of jade beads and what are probably carved shells going down his back. The artist was careful to show such minute details as the strings that are tied to hold on the wrist cuffs worn by both royals, and the pattern woven on Itzamnaaj Bahlam’s beautiful cape.
The Queen
[edit].jpg)
Lady Xoc is one of the most prominent and probably politically powerful women in the Maya civilization. Lady Xoc is shown here performing an important royal rite of blood letting. By pulling the rope studded with obsidian shards through her tongue, she causes blood to drip onto paper strips held in a woven basket to be burned as depicted on Lintel 25. Blood scrolls can be seen on her face. The queen also wears an elaborate headdress. There are flower tassels on the main part of the head band and a mosaic depiction of Tlaloc sprouting quetzal feathers. Her elaborately carved huipil is trimmed with fringe and pearls. Her necklace also appears to have a pectoral depiction of the sun god. It is probably made of shell or jade plaques, as are her wrist cuffs.
Associated tombs
[edit]Recent excavations have unearthed what is thought to be the tombs of Itzamnaaj Bahlam and Lady Xoc within Structure 23. Discovered in association with the female burial attributed to Lady Xoc were 146 prismatic obsidian blades, each with two lateral notches on the edges. These were located in what is known as Element 21 in Room 1 of Structure 23 at Yaxchilan. Due to the association with Lady Xoc’s burial in Room 2, these have been interpreted as being depicted on Lintel 24. The original interpretation of the studded rope was that there were thorns attached, but this new evidence in context has caused the interpretation to shift. We now know that it was a rope studded with obsidian blades used in the ritual, and may have the very physical shards depicted themselves. Lady Xoc’s burial is known as Tomb 3. Itzamnaaj Bahlam’s remains lay not far, in Room 3. This is referred to as Tomb 2. Elaborate grave goods were found in association with both burials.
See also
[edit]Notes
[edit]- ^ "The Yaxchilan Lintels". British Museum. Retrieved 2019-07-07.
- ^ Miller, p. 18, cites Sylvanus G. Morley, who in his Ancient Maya (1946) considered this to be "the most beautiful example of sculptured stone door lintel."
References
[edit]- Miller, Mary Ellen (1999). Maya Art and Architecture. London and New York: Thames & Hudson. ISBN 0-500-20327-X. OCLC 41659173.
- Miller, Mary; Simon Martin (2004). Courtly Art of the Ancient Maya. London: Thames & Hudson. ISBN 0-500-05129-1. OCLC 54799516.
- Schele, Linda; Mary Ellen Miller (1992) [1986]. Blood of Kings: Dynasty and Ritual in Maya Art. Justin Kerr (photographer) (2nd paperback ed., reprint with corrections ed.). New York: George Braziller. ISBN 0-8076-1278-2. OCLC 41441466.
- Tate, Carolyn E. (1992). Yaxchilan: The Design of a Maya Ceremonial City. Austin: University of Texas Press. ISBN 0-292-77041-3. OCLC 23464300.
