San Cristobal Museums

San Cristobal Museums

San Cristobal Museums

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San Cristobal Museums

In the slide show are a few pictures taken in the two small museums related to the Mayan past in San Cristobal de las Casas. The first museum is the Museo de los Altos de Chiapas, which is located in the Ex-convento de Santo Domingo, and the second is the Na Bolom Museum located in the Cultural Centre of the same name.

The items were chosen as being different from what I had seen (and photographed) before – although there might be a bit of overlap due to memory issues. Apologies if some are not that well reproduced. Museums of any size are not conducive to the photographer – the smaller ones often less so.

Museum of the Chiapas Highlands

The former cloister of the Dominican monastery clearly illustrates the importance achieved by this order in its evangelisation work, commencing in 1544, in the Chiapas Highlands. In relation to the rank, importance and order of foundation, the Dominican presence in San Cristobal occupied second place, after that of Ancient Guatemala, but it was the first official Dominican establishment in Chiapas. Although the original Dominican construction was built in the second half of the 16th century, very little has survived from that period. Both the main body of the church and the monastery proper that we see today seem to date from the final third of the 17th century. The monastery is situated on the north side of the church and consists of an austere two-storey cloister around a central courtyard. After falling into a state of neglect during the 19th century and then being used as the city’s prison in the first half of the 20th century, the building was reconstructed and currently houses the Museum of the Chiapas Highlands, administered by the INAH.

The generously-proportioned refectory on the ground floor is nowadays the history room, in which a selection of images, texts and objects highlight the most notable events relating to the foundation and evolution of the former capital of the province in the Jovel Valley. Following a brief introduction illustrated by various pre-Hispanic pieces found in the region, the museum discourse continues with the Conquest and the evangelisation initiated in 1524 by the Spaniards. One of the main exhibits in this respect is the baptismal font from San Felipe Ecatepec. There are also explanations relating to the history of Ciudad Real during the colonial period and the formation of the principal districts. The top floor is given over to a detailed exhibition of the textiles produced in the state of Chiapas, as well as descriptions of the traditional activities conducted by the indigenous communities who currently live in the Chiapas Highlands. The former monastery also contains rooms for temporary exhibitions and an auditorium. The same building houses the Sna Jolobil Cooperative, whose mission is to revive the ancient textile techniques and traditions among the indigenous communities in the highlands, and the production of fine quality clothing made from natural fibres and colours.

Lynneth S. Lowe

From: ‘The Maya: an architectural and landscape guide’, produced jointly by the Junta de Andulacia and the Universidad Autonoma de Mexico, 2010, p475.

Entrance;

Museo de los Altos de Chiapas – Free

Na Bolom Museum

Na Bolom Cultural Association

Na Bolom, ‘the house of the jaguar’, was founded by the Danish archaeologist Frans Blom and the Swiss photographer Gertrude Duby Blom. Frans Blom was born in Copenhagen in 1893. His work as a subcontractor for the national company Pierce Oil Corporation took him to Mexico in 1920. A historian, anthropologist and explorer with specialist training in the history of art and painting, he subsequently took a master’s degree in archaeology at Harvard University simply to obtain funding for conducting new explorations in the Lacandon Rainforest. In Chiapas he found his home and vocation, dedicating his life to research, archaeology and anthropology. In 1950, he created the Na Bolom Centre of Scientific Studies, establishing links with the universities of Tulane, Harvard, Chicago, Stanford and Berkeley. His numerous writings and books demonstrate a deep interest in the history of the Conquest and the colonial period, the archaeology of the Maya area, astrology, ecology, sociology, architecture and art, among other disciplines.

Gertrude Duby Blom was born in the countryside near Bern in 1901. There she spent her childhood dedicated to mountaineering, horticulture and the country life. After completing her sociological studies in Zurich, she took up journalism, determined to return to the mountains and the rural life. She achieved her goal in 1942, when she arrived in Chiapas to report on the Lacandon people, inspired by the works of Jacques Soustelle. On meeting Frans, she abandoned journalism and joined him in his pursuit of anthropology and photography. When Frans died, the deterioration of the Lancandon Rainforest, the quality of rural life and the cultural heritage of Chiapas motivated her to become the principal advocate for all the natural and historical wealth that she had known. On her death in 1993, she left all her assets to the Na Bolom Cultural Association, for use by the city of San Cristobal and the Lacandon people. Nowadays, Na Bolom is an interactive complex containing a museum, arts centre, accommodation and restaurant, surrounded by a heritage that has remained intact and is regarded as a national legacy. The museum was created out of the collections formed over the years by the Bloms. Today, it has five permanent exhibition rooms and another two rooms for temporary exhibitions.

Lacandon room.

This ethnographic collection is the result of the travels of the founders and the gifts they received from their Lacandon friends. The material culture and elements of everyday life offer an insight into the Lacandon religion.

Explorers room.

Journeys through the rainforest in the first half of the 20th century were arduous and lasted several months. In this room, photographs and the video Hombres, mulas y machetes (Men, Mules and Machetes) offer visitors an idea of how the expeditions were mounted and conducted.

Moxviquil room.

This room is named after the archaeological site situated at the top of the mountain 2 km outside the city. It is regarded as one of the most important pre-Hispanic settlements in the valley. Frans Blom conducted excavations there in 1952 and Dr. Weiant in 1953; to date, no other work has been carried out at the site. The exhibits include examples of ceramics, lithic materials and a few bones that illustrate the funerary customs of the valley’s ancient inhabitants. There are also several pieces recovered on various expeditions and investigations conducted by Frans Blom in the Lacandon Rainforest, Oaxaca and other parts of Mexico. In addition to an explorer and archaeologist, Blom was also a cartographer and was the first person to map the Lacandon Rainforest. His map has served as the model for the present-day maps.

Chapel.

This is one of the finest exponents of the neoclassical style that became fashionable in this city during the late 19th century. The style can be observed in features such as the columns, the original frescoes on the ceiling and the altar. Although it was never consecrated or used as a chapel, it is an excellent place for viewing examples of the type of religious paintings and statues produced in Chiapas between the 16th and 19th centuries.

Gertrude Duby Blom’s room.

After her death, this room was incorporated into the museum and nowadays exhibits some of her characteristic suits, jewellery and personal belongings. The corridors in the house are also adorned with items from different collections, such as wrought-iron crosses, paintings and photographs by Gertrude Duby, and objets d’art donated by different artists.

From: ‘The Maya: an architectural and landscape guide’, produced jointly by the Junta de Andulacia and the Universidad Autonoma de Mexico, 2010, p478.

Entrance;

Na Bolom Museum – M$60

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Bonampak – Chiapas – Mexico

Bonampak

Bonampak

More on the Maya

Bonampak – Chiapas

Location

This site lies deep in the Lacandon Rainforest in Chiapas, in the valley of the River Lacanha. The preHispanic settlement adopts a scattered pattern and covers an area of 2 sq km. The main constructions were built on a chain of hills in the middle of the valley, stretching from the Sierra de Cojolita to the actual river banks. However, the only parts that have been explored and are now open to the public are the Great Plaza and the Acropolis, along the southern edge of the site, which comprise the famous building with the murals. Take road 186 along the southern border (Villahermosa-Macuspana-Tenosique), follow the turnoff for the town of Palenque and continue until you reach the San Javier-Lacanha-Bonampak crossroads. From San Cristobal de las Casas and Ocosingo, take the border road, follow the turn-off for Chancala and then continue to the San Javier-Lacanha-Bonampak crossroads.

The Murals

In the words of Mary Miller, who conducted a fascinating study on the wall paintings, ‘perhaps no single artefact from the ancient New World offers as complex a view of pre-Hispanic society as do the Bonampak paintings. No other work features so many Maya engaged in the life of the court and rendered in such great detail, making the Bonampak murals an unparalleled resource for understanding ancient society’. Herein lies the importance of Bonampak: its murals constitute a clear and accurate testimony of the life, aspirations and activities of a Maya ruler.

In 1990 the Institute of Aesthetic Research of the Autonomous University of Mexico (UNAM) launched the ongoing project Pre-Hispanic Mural Painting in Mexico to record and study pre-Columbian wall paintings such as those at Bonampak, and in 1997 Ernesto Penaloza photographed the three painted rooms in their entirety for the first time; this material was used to create three panels displaying the complete paintings. These images and the results of the multidisciplinary research led by Beatriz de la Fuente and coordinated by Leticia Staines are included in the two volumes on Bonampak (catalogue and research projects) in the series published by the UNAM.

Pre-Hispanic history

There is little evidence of building activity in the centre of Bonampak during the Early Classic. Due to its proximity to Yaxchilan, it was probably heavily influenced by this city from a very early date, as indeed was the case in the latter days of its occupation. There are epigraphic texts at Yaxchilan that mention Bonampak rulers: Bird Jaguar (not to be confused with the Yaxchilan ruler) is mentioned in association with the sixth ruler of Yaxchilan, and Fish Fin in association with the ninth. These ties remained strong throughout the Late Classic. Knot-Eye Jaguar, lord of Yaxchilan and the father of the Bonampak ruler Chaan Muan, who commissioned the construction of stelae 1, 2 and 3 and the famous murals, not only had close ties with Bonampak: his presence has been identified at the site of Lacanha, a few kilometres north of Bonampak. The monumental precinct is composed of a great acropolis built on a natural slope and delimiting a large central plaza. Stelae 1 and 4 are in the plaza, while stelae 2 and 3 are situated on the stairway leading to the top of the Acropolis. Three of the stelae mention Chaan Muan, the protagonist of the murals. The remainder of the settlement has not yet been mapped and we therefore do not know exactly how large it is.

Site description

The only group open to the public is the Great Plaza, a rectangle space measuring 110×87 m whose main axis is oriented north-west/south-east. It is accessed via a passageway situated between structures 15 and 13. These form part of the platforms, yet to be explored, that delimit the east side (Structures 17 and 18), the north side (Structures 15 and 16) and the west side (Structures 12 and 13).

Acropolis and Stela l.

The Acropolis hill, which runs along the south side of the plaza, is covered by terraces and buildings. At the foot of it, almost at the centre of the plaza, stands the magnificent Stela 1, which is 5,06 m high, 2.6 m wide and 18-20 cm thick. Its carved face overlooks the Acropolis and depicts a richly garbed Chaan Muan II with a tall headdress. In his right hand, he holds the ceremonial sceptre; in his left, a shield with the face of the Jaguar god of the underworld. Under his feet is a band inscribed with the names of his parents and, next to his left leg, his own name.

Temple of the murals and Stelae 2 and 3.

Situated at the foot of a natural hill modified by terraces, this group stands 46 m high. It displays two horizontal axes on different levels, which provide the basis for two groups of buildings. On the lower platform, situated approximately 15 m from the ground level of the plaza, are three buildings: the one on the right is the Temple of the Murals, in the middle are the ruins of Building 2, and on the left is Building 3. The main access to this level is via a monumental stairway, situated in the middle of the group. This comprises two flights with an intermediate landing on which stand Stela 2, to the left, and Stela 3, to the right. The former represents Chaan Muan II accompanied by his wife and his mother in a bloodletting sacrifice; the second stela shows the same dignitary with a prisoner. At the top of this first section of the stairway, on the right-hand side, is the Temple of the Murals, which has three doorways leading to three separate rooms decorated with the famous wall paintings; the doorways have carved lintels depicting the capture of enemy chiefs by two Bonampak rulers and a Yaxchilan ruler, respectively.

Buildings 2, 3, 4, 5, 6, 7, 8 and 9.

Situated at the far left of this first terrace is Building 3, which displays three doorways on its main facade and a stairway leading down to the plaza. Between this and the remains of Building 2 is the stairway leading up to the temples at the top, identified from left to right as Buildings 8, 7, 6, 5 and 4. All of them contain a single chamber and a single access; the exception is Building 4, which has two. All of them are very small and contain a cylindrical altar. Building 6 is the exception in this case and displays instead a carved lintel with the bust of Chaan Muan I, dated 603. Between buildings 5 and 6 is an interrupted stairway leading to the remains of Structure 19, which has a niche and a lintel. Situated next to this structure, behind Building 4, is a small plaza with Building 9 and its platform. The building facade faces west and contains a single doorway leading to a chamber in which there is an uncarved stela.

The murals

The murals are situated in Structure 1, a three-room building resting on the first terrace of the Acropolis. The exterior of the structure was once decorated with stucco relief figures but these have now been lost. The three lintels adorning the doorways to the rooms show scenes of prisoners and texts mentioning their respective names, in a style that bears great similarity to that of Yaxchilan. The earliest date corresponds to Lintel 3, which mentions Chaan Muan’s father, Knot-Eye Jaguar, the ruler of Yaxchilan in AD 740. Chaan Muan appears to have acceded to the throne in Bonampak in 776. Lintel 2 narrates an event later in Chaan Muan’s reign, around 787, making reference to a ruler of Yaxchilan, probably Shield Jaguar II. The date of Lintel 1 corresponds to an event four days earlier.

The walls of the three rooms are covered with magnificently executed paintings in deep colours. The event depicted is associated with the designation of Chaan Muan’s son as heir to the throne and to other events that took place over a period of two years. The correct order for interpreting the murals has been a topic of some debate, although the chronological order of the events represented suggests Room 1 followed by Room 2, followed by Room 3. Small benches occupy most of the interior space and the murals were probably designed to be viewed while seated on these benches.

The narrative commences in Room 1 with a date and hieroglyphic text that divide the upper and lower fields of the mural, painted on the vaulted ceiling above the paintings on the wall. The glyphic texts are greatly deteriorated and have therefore not been translated in their entirety. The first date in the text is 790, which probably corresponds to the event recorded on the top part of the wall, the presentation of a royal heir to a group of 14 Bonampak dignitaries, all garbed in long white cloaks and gathered at the court for the occasion. This scene clearly took place inside a palace. The two seated figures, Chaan Muan and his wife, the heir’s mother, observe the scene from a throne. The second date indicates an event that took place 336 days later. Three important individuals are shown preparing for the ceremony. The figure represented entirely from the front and wearing a great headdress is probably King Chaan Muan himself. The scene below shows a procession involving musicians and dancers in fabulous costumes, carrying different musical instruments.

In Room 2, covering practically every surface of the walls, is one of the masterpieces of Maya art: an incredibly realistic portrayal of a battle scene. In the middle of the composition is the figure of a leader, again shown from the front, grasping the hair of a prisoner in one hand and a spear covered with the skin of a jaguar in the other. This figure represents Chaan Muan, who is accompanied by another warrior, probably Shield Jaguar II, the ruler of Yaxchilan. The result of the battle is presented on the north wall of the room. Once again, Chaan Muan occupies the centre of the composition, this time accompanied by a group Of warriors and two women who observe from a distance the presentation of a group of prisoners captured in battle. The principal captive lies at the feet of Chaan Muan, while the remaining captives are distributed on a six-tier structure, probably representing the different levels of the Bonampak Acropolis. The prisoners are no doubt going to be sacrificed at the presentation of Chaan Muan’s successor and heir to the throne.

The murals in Room 3 are less well preserved, although many of the original designs can still be discerned. Again, they clearly represent a grand ceremony, probably the culmination of the two previous scenes, this composition is divided into two sections: the first shows a group of elaborately garbed individuals resting on a stepped pyramid while a group of musicians and dancers parade by; the second section shows a scene in a different place, probably inside a palace, and again depicts Chaan Muan, his family and a group of courtiers. In this final section, the royal family is engaged in a bloodletting ritual, thus completing the formal presentation of the royal heir.

From: ‘The Maya: an architectural and landscape guide’, produced jointly by the Junta de Andulacia and the Universidad Autonoma de Mexico, 2010, pp172-178.

Bonampak

Bonampak

  1. Acropolis; 2. Temple of the Murals; 3. Temple 2; 4. Temple 3; 5. Temples 4 to 10.

Getting there:

It is possible to get close to the site by combi from Palenque but the final stages to the site itself might be complicated. The fact that Bonampak is part of a tour that takes in Yaxchilan as well means that there are tens of people there everyday (and that’s the low season, there will be many more in the high season. That means it would be virtually impossible to use the informal methods of transport that have been discussed elsewhere. Unless you have your own transport the organised tours might be the only way to visit these sites – without a great deal of work, time and effort.

GPS:

16d 42’ 21” N

91d 04’ 06” W

Entrance:

This was all part of the tour price on my visit.

More on the Maya

Yaxchilan – Chiapas – Mexico

Yaxchilan

Yaxchilan

More on the Maya

Yaxchilan – Chiapas

Location

This site is located amid a thick blanket of tropical rainforest on the banks of the River Usumacinta. It emerged around AD 350 and survived until 810. In pre-Hispanic times it was known as Pa’ Chan (Divided Sky). Its architectural layout is adapted to the topography of the terrain and the river, with the buildings arranged from east to west on a large plaza delimited to the south by elevations that served as foundations for the constructions. Yaxchilan is famous for its numerous finely carved monuments, which tell us something of the life of a long sequence of rulers and dignitaries over the course of six centuries. The principal means of representation is the stela, although there are also 58 carved lintels. The nearest towns are Palenque in Chiapas and Tenosique in Tabasco. There are access roads from both places, but only Palenque offers a bus route and travel agencies. Take the road to Chancal, from there to Frontera Corozal or Frontera Echeverria, on the banks of Usumacinta, and then hire a motor boat to cover the rest of the journey to Yaxchilan. From Frontera Corozal the journey downstream by motor boat takes approximately 30 minutes. The motor boat service runs all year round and can be booked on the spot through indigenous cooperatives or at any travel agency in Palenque.

Pre-Hispanic history

Yaxchilan is one of the great Maya sites from the Classic period, evolving from a tiny village of farmers and hunters into a prominent city. It is thought to have gained importance during the rule of Mahk’ina Skull I, who was lord of Yaxchilan around AD 410. When Mahk’ina Skull II acceded to the throne in 526 the city became a regional capital, as evidenced by the presence of its emblem glyph at other sites. It also exerted a certain political influence over sites such as El Chicozapote, Anaite, La Pasadita, El Cayo and La Mar. Amund AD 600 the rulers suddenly began to erect stelae, undoubtedly reflecting a period of political Instability. Thereafter, the record of rulers was renewed in 630, when Bird Jaguar III acceded to the throne. His son, Shield Jaguar II, who took the throne in 681, was responsible for the most important expansion of the city and his reign was characterised by constant struggles with other cities, over which he managed to maintain control. Shield Jaguar II had three wives: Fish Nst, Snake White and Lady Ik Skull, who was the mother of the next ruler, Bird Jaguar IV. Following the death of Shield Jaguar II (around 742), it would appear that his third wife ruled for the next 10 years. Under Bird Jaguar IV, Yaxchilan acquired its definitive appearance and consolidated its hegemony. This ruler commissioned buildings and monuments representing himself and his wives and deputies, which suggests the need to strengthen and expand political alliances to guarantee Mobility. In 757, when Shield Jaguar II was five years old, his father Bird Jaguar IV named him his official heir. Shield Jaguar II is shown taking a prisoner (around 787) on the central lintel of the Temple of the Pointings at Bonampak. In the final record for this dynasty, Lintel 10 (c. AD 808) shows Mahk’ina Skull III, who was apparently the son of Shield Jaguar II. Of this long line of rulers, Bird Jaguar IV (Yaxun Balam IV) is perhaps the best known. He acceded to the throne ot the mature age of 44 on 29 April 752 and became one of the most dynamic rulers of the Classic period (AD 250-830), creating numerous sculptures and texts In his 16-year reign: stelae 1, 3, 6, 9, 10, 11 and 35; lintels 5, 6, 7, 8, 9, 16, 21, 27, 28, 29, 30, 31, 33, 38, P), 40, 50 and 59; the hieroglyphic stairway of Temple H; and altars 1, 3, 4 and 9. He sought important marriage Alliances with a number of high-ranking women from neighbouring kingdoms – Lady Great Skull, Lady Wak Tun from Motul de San Jose, Lady Wak Jalam Chan Ajaw from Motul de San Jose and Lady Mut Bahlam de Hix Witz – and proclaimed his legitimacy as ruler by commissioning numerous public texts. He was also responsible for the Architectural transformation of the site. The area around the Main Plaza, composed of several natural differences In the level of the terrain, was levelled and turned into a single monumental architectural group. At least 12 different buildings were erected or modified during his reign.

Site description

The present-day classification of the structures at Yaxchilan is based on the system devised by Teobert Maler, with adaptations by Silvanus Morley in 1931 and Roberto Garcia Moll in the 1970s. It adopts an ascending sequence of Arabic numerals. The association of buildings with stelae, lintels and monuments is particularly complex And the most orderly tour of the site is as follows:

  1. Structures situated along the banks of the river and In the Great Plaza: 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 66, 67, 68, 74, 80 and 81.
  2. Structures on the second terrace: 25, 26, 27, 28, 29, 30.
  3. Central Acropolis: 33, 34, 35, 36, 37, 38.
  4. South Acropolis: 39, 40, 41.
  5. West Acropolis: 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 87.
  6. North-West Group: 84, 85, 86.
  7. South-East Group: 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 88.

Structure 1.

This overlooks the Main Plaza from a natural terrace standing approximately 3 m high. Situated in a short passageway leading to the South Acropolis, it accommodates four stone lintels (5, 6, 7 and 8) with inscriptions, which Maler removed from their original position in the building to record and photograph. Lintel 8 is situated towards the east. All of the lintels commemorate a date at the end of a Katun (9.16.0.0.0) and the protagonist is Yaxun Balam IV.

Structure 2.

This building has not been consolidated. In 1900 Maler found the remains of two monuments underneath a mound of rubble: Lintel 9 and Stela 30. In 1964 the lintel was taken to the National Museum of Anthropology and History, where it remains on display, the stela (fragment) is associated with an unnumbered mound to the east, near Structure 2. It was found by the first keeper of the archaeological area in 1934. Morley published a minor reference to it in 1937. The fragment comes from the top of a stela and depicts a cartouche with a figure.

Structure 3.

In 1897 Maler reported two lintels, one of them completely eroded. Lintel 10 is in a good condition and nowadays protected by a film. It refers to the blood relationship between an unnamed ruler and his father, Shield Jaguar II, whose mother was Lady ‘Perforator’.

Structure 5.

This is a low, elongated platform running parallel to the south-east end of the Main Plaza. It is surrounded by three other low platforms (4, 5 and 8) and no remains of an upper structure have been found. The rear of the building is narrow and falls steeply down to the river. Next to it stands Hieroglyphic Stairway 1, which is composed of 188 individual blocks of stone. Only the risers of the steps are sculpted. Maler described this stairway as ‘the most magnificent he had ever seen’. The glyphs are extremely difficult to read and many of them are completely eroded. The reading order begins at the top left with step 1 and continues across and down. The first step mentions an individual from the Jaguar family, while the next step shows the verb Chum wan (sat on the throne) but the date is totally illegible. The first and second steps display at least another four illegible glyphs regarding accessions to the throne. The events recorded on this stairway would appear to narrate the deeds of an individual called Jaguar and they culminate while Bird Jaguar IV was still alive. This monument seems to be the only complete list of rulers known to date at Yaxchilan. It was built during the reign of Yaxun Balam IV.

Structure 6.

The excavations conducted in 1976 provided a partial interpretation of the function of this building: to connect the Main Plaza to the area near the river. Numerous examples of Lacondon ceramics were found, the product of rites conducted by this group in recent times. The latest incense burning ceremony was recorded in 1985. Nowadays, Structure 6 is situated on the banks of the river, which flowed further to the south in the pre-Hispanic period. Some of the structures at the site were destroyed when the river was diverted in recent years. The excavations identified a 5-metre stairway leading down from the Main Plaza to structures 6 and 7.

Structure 7.

First recorded by Maudslay (1889) and consolidated and restored by Garcia Moll (1976), this structure is composed of two parallel galleries accessed on the east side. Like Structure 6, its facades overlook the river and the Main Plaza. Discernible on the frieze are the remains of a mask representing a supernatural creature, while the cream colour that once covered the internal walls is still partly visible. It is very similar in style – thick walls and wide access at the front – to Structure 6, which suggests that it was built around the same time.

Structure 9.

This structure is covered by thick vegetation and therefore barely visible. According to Maler, it has three entrances and two parallel galleries, and there are two associated altars. It is also associated with Stela 27, which bears one of the oldest inscriptions in the Usumacinta region. It mentions a ruler called Knot-Eye Jaguar, who is also named on Lintel 12 at Piedras Negras.

Structure 10.

Situated on a 3-metre-high platform, this structure consists of two more or less adjacent rooms, each one a different size. The north-west room has three entrances and the south-east one two entrances. Three carved lintels were found. The north-west room only has a lintel above the central entrance (Lintel 29), while the south-east room has two (30 and 31). The INAH excavated these buildings in 1979. Lintels 29 and 31 were found by Maler and Maudslay in situ. However, the archaeological project conducted in the 1970s found them on the floor and broken. All three lintels were restored and put back in their original position. They mention the date of the birth of one of the last rulers, Yaxun Balam IV. The three lintels record an 819-day count prior to his birth, the date of his birth, the date of his enthronement, and the end of two important cycles.

Structure 11.

This corresponds to a small residential group with a central courtyard. Three entrances give on to a small courtyard formed by the rear part of structures 10 and 74. The rooms overlooking the river are completely in ruins, although the floors are still visible. This building originally accommodated Lintel 56 which Maudslay reported and sent to Europe for display in the British Museum. However, it ended up by mistake at the Museum fur Volkerkunde in Berlin and was destroyed during the bombing in the Second World War. Fortunately, there is a copy at the British Museum. Nowadays, the structure has been reconstructed with three bare stelae in situ. The text mentions the inauguration of the building by one of the most important women in the history of Yaxchilan: Lady Xoc.

Structure 12.

This is situated in the Central Plaza, next to the Ball Court. Maudslay was the first to report the building and mentions the existence of two lintels. Maler reported having entered the building and found another two. On its 14th mission to Central America, the Carnegie Foundation excavated it and found another three lintels. Finally, Garcia Moll of the INAH found the last of a series of eight lintels that provide a continuous inscription commissioned by Ruler 10 of Yaxchilan; this mentions the nine previous rulers, his own date of enthronement and the kinship ties that link him to this line of rulers.

Structure 14 or ball court.

This is situated in a large area of the northern part of the Central Plaza. The group is composed of two parallel platforms, about 2.5 high, but asymmetrical: one is 13.8 m long and the other 18 m long. Five stone discs associated with this structure were found, all with a similar diameter (65 cm) and height (45 cm). They were distributed at the level of the playing area, so the stucco cladding did not conceal them. Although in a poor state of preservation, their design seems to show an individual seated in a cross-legged position on a throne which bears the image of a mythological creature. Cartouches around the central image depict images of what are probably important ancestors.

Structure 19.

This now serves as the main entrance to the site and a tour of this structure is an unforgettable experience. The ground plan is extremely complex and we do not know what the original plan was like. It is composed of nine vaulted chambers connected by 16 galleries, also vaulted, situated on three different levels. The two lower passages are practically below ground level. This group of chambers and passageways, now home to insects and bats, was filled in with pebbles and mud during the pre-Hispanic period and excavated during the 1970s by Garcia Moll. The top level overlooks the Main Plaza. The main facade displays four doorways. Between the openings are a series of niches embedded into the wall, creating the effect of yet more entrances. Running above them is a frieze with a double cornice. The doorway at the west end leads to a stairway and a lateral chamber occupied almost in Its entirety by a large bench. A small vaulted room leads to a stairway with seven steps descending to the lower levels of the structure. Maudslay was the first person, in 1882, to report and describe Altar I, a circular sculpture opposite the main entrance to the top level of the structure. Nearby is another very similar altar, although nowadays in a very poor state of preservation. The greatly eroded texts on this altar make a fleeting mention to the date 61 x 12 Yaxkin (AD 742) as the death of Itzamnaaj Balam II. Although produced after this ruler’s death, it nevertheless records important events from the latter days of his reign. The architecture of the building is similar to that of structures 20 and 30 in terms of the height of the vaulted ceilings and the width of the walls. This suggests that it is a slightly later building.

Structure 20.

This is situated on the first terrace on the north side of the Central Plaza. Opposite it, in the plaza itself, are five stelae commissioned by Itzamnaaj Balam II, each with a circular altar. This group of monuments is the focal point of a group of structures: 4, 5, 8 and 20. Flanking the access stairway are another three structures. The top step, in front of the threshold to the building, is carved (Hieroglyphic Stairway 5). Three doorways lead to a vaulted chamber. The facade is organised in such a way that the doorways divide the wall surface into three sections, all identical in size. Above the doorways is a frieze composed of three niches which contain the remains of human figures wearing armour, carved in stone and covered with stucco. These remains suggest that the figures formed part of a scene composed of human figures surrounded by supernatural figures (the monster Cauac) and aquatic plants, alternating with niches containing human figures seated on zoomorphic thrones. Six stelae (3, 4, 5, 6, 7 and 33) stand opposite Structure 20 and there are three carved lintels above the doorways. Stela 3 was transferred to a platform at the south-east corner of the Central Plaza, very close to Structure 20. This is the best preserved stela but all of them are fragmented. Stela 33, a recent find, is carved on both faces like the rest of this group. The longest text appears at the top of one of the faces and mentions the end of a Katun. It was commissioned by a ruler whose name has been completely eroded. The second text mentions Itzamnaaj Balam II and his son Yaxu’un Balam IV. Visible on the other side is a cartouche with the image of an ancestor and what looks like a celestial monster. Of the three lintels that adorned the entrance, two remain in situ while the missing one was transferred to the National Museum of Anthropology and History in 1964. The hieroglyphic stairway was excavated during the consolidation works, photographed, drawn and then covered up again for its protection.

Yaxchilan

Yaxchilan

Structure 21.

The consolidation and restoration of this structure in 1983 yielded two important monuments: a small stela carved on both sides and a well-preserved stucco mural on the rear wall of the inner chamber. The mural displays traces of red and blue paint. The Interior of this structure must have been completely covered with stucco decorations. The three doorways lo the building had carved lintels (15, 16 and 17) but Maudslay sent them to the British Museum in 1883.

Structure 23.

This is one of the most interesting structures because it yielded three of the most fascinating reliefs ever found in the Maya area: lintels 74, 25 and 26. The structure is mentioned in these loxts as yotoot, meaning ‘house of the Lady Xoc’, the principal wife of King Itzamnaaj Balam III. The ruins of this ‘house’ are the second towards the west of the great stairway leading to Structure 33. They consist of two parallel galleries, each divided into several sections. Except for the south-east corner, the vaulted ceiling has all but collapsed. This is a massive construction whose exterior walls measure 2.59 m from base to cornice. The vaults add another 4.2 m to the already high walls. Opposite the central entrances nre various U-shaped benches abutted to the wall behind, above which are a series of 30-cm niches, traces of stucco can be discerned on the central pilaster of the rear wall of the central chamber representing the remains of a snake’s body – and there are also traces of red and blue paint in certain details beneath the vault. In 1889 Maudslay tiansported lintels 24 and 25 to the British Museum, where they remain on display today. Maler excavated l Intel 26 near the north door of the structure and in 1964 the INAH sent it to the National Museum of Anthropology and History. Lintel 23 was found during the excavations in 1979 and returned to its original position. The narrative on the three lintels begins on l intel 25, with Lady Xoc celebrating the enthronement of her husband Itzamnaaj Balam II in 681 and Invoking an important ancestor by performing a bloodletting ritual on her tongue. The ancestor is shown in the mouth of a mythological creature, half serpent half centipede, garbed in the characteristic elements of the Teotihuacan god Tlaloc. The associated text identifies this personage as a dedication to the patron god of Yaxchilan, Aj K’ahk O’Chaak, probably an allusion to Itzamnaaj Balam II himself as the city’s protector. Lintel 24, dated 709, shows Lady Xoc threading a barbed rope through her tongue. The blood runs down the woman’s face and is caught in a basket covered with paper at her feet. Itzamnaaj Balam illuminates and accompanies Xoc with a torch.

Lintel 26 shows the same lady presenting her husband with a jaguar-shaped helmet in 724 as part of a ritual that has yet to be fully interpreted. This building is important for two reasons: it was the first project commissioned by Itzamnaaj Balam II and it has yielded a number of finds. In 1979 Garcia Moll discovered two tombs inside it. Tomb 3 opposite the main entrance contained the remains of an elderly woman with a rich offering comprising over 400 jade beads and 34 ceramic vessels. A text mentions the date of the death of Lady Xoc as 749 and makes reference to a ‘fire’ ritual conducted in her muknal or ‘final resting place’. Tomb 2 contained the remains of a mature man accompanied by an even richer offering, with needles and deer horns carved with inscriptions that mention Itzamnaaj Balam and Lady Xoc.

Structure 33.

This is the most important building at Yaxchilan and has attracted visitors ever since it was completed during the reign of Itzamnaaj Balam II’s son, Yaxun Balam IV. Restored and consolidated by the INAH in 1975, the group to which it now belongs also includes Structure 9, situated in the Central Plaza, stelae 27, 1, 2 and 31, and the sculptures around Stela 1. The building was a place of worship for many years after it was abandoned during the 9th century. At the end of the 19th century, Maler reported large quantities of copal near the building, the product of activities conducted by groups of Lacondon people. Maler also lived at the building during his sojourn at the site. When the city was occupied, the roof comb of this building must have been a landmark for travellers sailing up the river or journeying from Yaxchilan. The stairway is 13.5 m wide and Stela 2 is situated on a small 2-metre terrace belonging to the Central Plaza. As one climbs up the central stairway, different parts of the building appear before the visitor’s eyes, such as the two lateral structures to the left. The great stairway leads to a small plaza measuring 30×15 m. Approximately 5 m from the central entrance to the building, a pit created during the 1975 excavations reveals another level of the earlier plaza. Situated inside the pit is a carved stalactite (Stela 31). Behind the stela is a small 2-metre-high platform leading to the hieroglyphic steps (Hieroglyphic Stairway 2) that constitutes a platform for the building. Ten of the steps mention members of the ruling family playing ball. Three show female figures holding sceptres shaped like supernatural creatures (K God). The room in the middle of the building is accessed via three doorways. The facade is articulated around three spaces: the main section, the frieze and the roof comb. The walls in the main section are very simple. Maler reported a red band running along the facade beneath the cornice and around the doorways, although nowadays there are no traces of this. At the top of the main section we see a cornice that projects some 40 cm from the plane of the wall, forming a surface from which rises a sloping plane that once displayed stucco figures in relief, which formed the frieze. Above each doorway we see a niche, aligned with the frieze. Along the lower part of the frieze is a stone frame which once supported a stucco figure, probably serving as a type of throne for a seated dignitary. Above the frame we see parts of the stucco human figures in the niche over the central and right doorways, and the remains of a seated figure in the niche above the left doorway. The roof comb comprises eight rows of stone that create a variety of tiny openings, probably designed to accommodate stucco figures. At the centre of the roof comb we see the remains of a large figure, seated and wearing a grand headdress. The three doorways display carved lintels (1, 2 and 3) and lead to a vaulted gallery. In the middle of the chamber are the remains of a seated sculpture; his head and headdress were removed from the main figure and now lie near the statue. The height of this figure with the now removed head is 2 m. On the wall near the lower part of the figure are four columns with glyphs, nowadays greatly eroded, which must have identified the individual represented on the monument. It is only possible to distinguish one title: ‘He of the 20 Captives’, one of the titles used by Yaxun Balam IV. Building 33 was probably finished by his son, Chel Te’ Chan K’inich, as a tribute to the father. Each of the three lintels that decorate the entrance show Yaxun Balam IV performing a ritual dance. Lintel 2 shows the same figure as a child, being assigned a series of royal titles, including the emblem glyph of Yaxchilan. In the 1970s Garcia Moll found the remains of a tomb with an extremely rich offering underneath Building 33, although the identity of the individual has yet to be established.

South Acropolis (Structures 39, 40 and 41).

The entrance to this complex is via the rear part of Building 33, following the path that leads to Structure 34, past buildings 38 and 37 and up to the top of the hill. This is the present-day route, but in pre-Hispanic times access must have been via a stairway behind Structure 1, leading to the front of Structure 41. A long platform in front of Structure 39 served as a base for Stela 10. The building rises from a seven-tier platform. Three doorways near the centre of the facade generate a dark interior space. Nowadays, most of the decoration, divided into three sections, has been lost. None of the stucco sculptures on the frieze have survived, although a few geometric designs are discernible at the top. Structure 39 was discovered by Maler in 1897. Stela 10 was found in situ at the time of the discovery but is now on display in the National Museum of Anthropology. Opposite the stela stood Altar 6, and altars 5 and 4 not far away. All of them still occupy their original position, although their carvings have disappeared completely.

Structure 40.

This is the central building in the South Acropolis. It was probably the second one to be constructed, after Building 39. It consists of two platforms rising directly from the level of the plaza. The associated monuments were aligned with the centre of the main facade. Altar 14 actually occupied the central doorway, while Stela 11 stood further back, but in a straight line, on the first platform. Altar 12 was situated on the left, accompanied by Altar 13, and to the right of the latter was Altar 15. Like most of the buildings at Yaxchilan, the central facade was divided into three sections: a section devoid of all decoration, covered in a simple white stucco, followed by a richly decorated frieze with stucco figures, now lost, and an ornate roof comb with stucco figures in relief. The interior consists of a dark, vaulted chamber whose rear wall displays the remains of three small stucco figures. There are also traces of polychrome paint on the walls. Maler reported ‘leaves, volutes, flowers interspersed here and there’. The colours reported by Maler are light and dark red, light and dark blue, different shades of yellow, coffee, white and green. Most of this mural has disappeared over the last century. Maler also reported having found Stela 11 in situ opposite Structure 40 in 1897. In 1964 this piece was removed along with 19 other stelae for transportation to the National Museum of Anthropology and History. However, due to its size, it could not be transported by air to its final destination and was returned by river to Yaxchilan, where it was placed on the banks of the river near Structure 5, its present-day location. Maler found two fragments from Stela 12 inside Structure 40 and a third fragment just south of the main facade, in what is thought it have been its original position. The stela has been restored and placed in front of the building’s main facade. In 1900 Maler discovered Stela 13 on the central terrace, situated north-west of Stela 11. It was consolidated by the INAH and put back in its original position in front of the building. Stela 11 was probably one of the first stelae commissioned by Yaxun Balam IV in 741, commemorating the first year {tun) of his accession to the throne. It celebrates his enthronement as an event carried out after a long series of ceremonies, including one to commemorate the death of his father Itzamnaaj Balam II.

Structure 41.

During the pre-Hispanic period, the main entrance to the South Acropolis must have led directly to Building 41. In 755, the year of its construction, the city’s inhabitants would have climbed up a great stairway and been confronted by three imposing stelae, each showing Shield Jaguar (Itzamnaaj Balam II) in military garb, humiliating a prisoner. Situated on a terrace 1.5 m higher up were two additional, albeit smaller stelae. Visible on the right are structures 40 and 39. Along the facade, a series of architectural elements form two parallel walls 1.5 m high with a cornice providing the support for the seated stucco figure of a dignitary. A band of stucco glyphs formed an inscription underneath the cornice on all four sides of the building. The frieze was decorated with zoomorphic masks and its surface was prolonged by a roof comb that projected the composition upwards to the sky. The structure was consolidated in 1979 by the archaeologist Roberto Garcia Moll (INAH). The building reveals two construction phases, like the platforms on which it stands. Stela 15 was discovered In 1900 by Maler. On falling to the ground it split into two pieces. One contained the image of the captive Ah Ahaual and the other section is on display in the National Museum of Anthropology and History. Stela 16, also found by Maler on the first terrace, again broke as it fell to the ground. It shows a figure holding a stick, with his head in profile. Unfortunately, this stela has been lost. Maler found Stela 18 laying on the lower part of the terrace from which the building rises. It had broken into four pieces. Stela 19 was found in numerous pieces and has never been reconstructed.

West or small acropolis.

This is accessed via a short path that commences just 200 m from the copper hut at the main entrance to the site and then veers right. The climb is a steep one but nevertheless worthwhile for the view of the buildings and the river from top. Excavated by the INAH at the end of the 1980s and beginning of the 1990s, it comprises two important buildings:

Temple 44.

This was dedicated in 732 by Yaxun Balam IV to commemorate his military victories and reveals details of the revival of Yaxchilan as an important power in the region. Its main facade faces north to north-east. The building is composed of a single vaulted chamber, divided by a lateral wall. Maudslay was the first person to record and photograph it with the associated monuments. In 1931 Carl Ruppert excavated the entire main facade and in addition to the lintels mentioned by Maudslay found two carved steps. There are at least six stelae that may have been associated with Temple 44 during the pre-Hispanic period (stelae 14, 17, 21, 22, 23 and 29). All of them were reported by the 14th mission to Central America conducted by the Carnegie Foundation in 1931. Stela 14 was found in six pieces on the slope in front of the building’s main facade, along with stelae 17 and 21. Structure 44 was built and the inscriptions carved to exalt the military prowess of Yaxun Balam IV. The lintels and hieroglyphic steps emphasise the victories of the king and his ancestors. This emphasis on acts of war and the absence of references to important dates in the ritual calendar lend Temple 44 a different status from Building 23, whose texts emphasise Lady Xoc’s sacrificial acts and the corresponding astronomical associations, and from Building 41, which emphasises the ritual dates associated with important acts of war rather than the acts themselves. Each of the three doorways on the main facade is decorated with a carved lintel and two steps with carved texts. The texts narrate a series of consecutive events in which Itzamnaaj Bahlam is the victor of various battles between AD 681 and 732. The events begin with the capture of Aj Nik, which occurred before his enthronement as ruler of Yaxchilan. That Itzamnaaj Bahlam attached great importance to this capture is revealed by the fact that he adopted ‘Captor of Aj Nik’ as one of his titles for the rest of his life. However, we do know that the prisoner was not a high-ranking individual in the political context of the region, but a lesser nobleman from a small site, such as Maan or Namaan, near Yaxchilan. The second prisoner mentioned is Aj Kan Usja, lord of the unidentified site of Baktun, in 713. These events are also described in the texts on the stelae in front of Building 41 in the South Acropolis.

Temple 42.

This building has three doorways, each with a lintel, and two hieroglyphic steps that narrate important aspects of the life of Yaxun Balam IV (lintels 41, 42 and 43). It was restored in 1982 by the INAH. The upper part of Lintel 41 was first reported by Maudslay who sent it to the British Museum, where it remains on display. Its lower part was found in 1931 and restored to its original position. In 1889 Maudslay photographed Stela 42 and a copy was made. Nowadays, it can be viewed in situ. Stela 43 was recovered by the INAH and sent to Mexico City in 1964. Nowadays, it is on display in the Maya Room of the Museum of Anthropology and History.

From: ‘The Maya: an architectural and landscape guide’, produced jointly by the Junta de Andulacia and the Universidad Autonoma de Mexico, 2010, pp160-171.

Yaxchilan

Yaxchilan

1. The Main Plaza; 2. Hieroglyphic Stairway; 3. Ball Court; 4. Structure 1; 5. Structure 3; 6. Structure 20; 7. Structure 21; 8. Structure 22; 9. Structures 23 and 24; 10. Central Acropolis; 11. Structure 33; 12. South Acropolis; 13. Structure 40; 14. Structure 41; 15. West Acropolis; 16. Temple 44; 17. Temple 42; 18. South-east group.

Getting there;

It is possible to get to Frontera Corozal by combi from Palenque but to visit the site and then return the same day might be problematic. There is accommodation at Frontera but some of it will be very expensive. The other issue is negotiating a launch to take you the 30 minutes down river (and then back again). Guide books say try to join a group but most of the groups are those organised by tour companies and the chances of getting on any of their launch is minimal. This is where taking an organised tour makes sense (which would normally be combined with a visit to Bonampak). The costs and hassle of doing this yourself outweighs the extra cost.

Entrance:

This, for me, was all part of the tour cost.

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