Showing posts with label Mesoamerica. Show all posts
Showing posts with label Mesoamerica. Show all posts

Thursday, September 13, 2018

Dance and the Ancient Maya Civilization



This figurine comes from the Mexican state of
Campeche. It's 7.25 inches tall and dates to around
700 AD to 900 AD. Courtesy LACMA.


There’s evidence the elites of the ancient Maya civilization used dance, just like other civilizations in Mesoamerica. (Curiously, the Spanish involved in colonizing the Maya area didn't talk about dance too much.) Dance was in their politics and religious practices, and they danced them in their temples and in open spaces meant to be used for displays.

Dance Items
Examples of things worn in dances are rattles, shields, different kinds of staffs, axes, drums, belts made of shells meant to make noise (called tinklers), jade celt pendants, jaguar skins, fans, animal headdresses, and god headdresses. Another example is a scepter called a mannikin scepter, which were related to K’awiil, also called god K).

This vessel, from around 600 AD to 900 AD, 
shows dance scene. Courtesy LACMA.
Another example is the backrack, which is a rack that dancers wore with a special strong belt that had lots of padding for the dancers’ backs. Items that had meaning as symbols were put onto backracks. 

What dance items the dancers put on depended on the dance – for instance, a dance called the K’awiil Scepter dance involved the mannikin scepter. Dressing up as gods to impersonate them was a common feature – rulers could then talk as the god to everyone watching the dance.

Purpose
The ancient Maya elites were known to hold dances for all kinds of occasions, each meant to show off their power. Most often, they had dances as part of other ceremonies. Some examples of occasions where they included dance are: victories in war, dedicating a building, the summer solstice, when there was a new ruler taking the throne, getting tribute items, the end of a k’atun (group of 20 years), and the end of a tun (1 year).

Who Danced
A lot of art only shows men being dancers. But there is art that shows women dancers with men dancers. The Dances were watched by an audience. Dancers tended to be rulers, sometimes with governors who worked for the rulers.

Music 
Music was part of Maya elite dances. Several other instruments included ceramic flutes and whistles, like the ocarina. Yet another instrument used in dances was a long trumpet, which you might see called the hom-tah. (The Maya made hom-tahs with wood or paper, gourd (for the end or bell of the hom-tah), clay, and beeswax, which was for the mouthpiece. The beeswax would have helped players keep their mouths pressed firmly against the mouthpiece.)

The ancient Maya elites used drums in their dances. There are three drums that archaeologists have found that the elites used. These are called the turtle drum (with a turtle shell base), the pax (which was small and could have a base of gourd, ceramic, or clay), and the “huehuetl” (which had a wood base and is named after an Aztec type of drum with the same name.)

Deciphering “To Dance”
Nikolai Grube is the discoverer of an ancient Mayan verb that is supposed to mean “to dance.” He deciphered this glyph, which is understood to be said “ahk’ot” in 1992. 

According to "The Hidden Maya", the term also means "to perform ceremonies that manifest divine beings." It also says that the phrase "ti ahk'ot" means "he or she went or goes dancing" but it's not strictly that dancing happened. It means any ceremony used to connect with the gods, either making them manifest or talking with them.


References:

Image Credits:


Wednesday, May 23, 2018

Mirrors and the Ancient Maya

Pyrite is an iron ore that the Maya would use for mirrors. This
image -- from the USGS site, taken by Carlin Green -- shows
a piece of pyrite and quartz.


The ancient Maya civilization, like other Mesoamerican civilizations, used pieces of iron ores to create shiny flat surfaces -- archaeologists call these artifacts mirrors. These mirrors, for the ancient Maya, were symbols as well as tools. One thing its thought mirrors were a symbol of was either the northern part of the sky when it was night or the North Star. They were also a symbol of ruler's rightful power, royal lineage, and sunlight.

The Mirrors
The ancient Maya liked to make their mirrors with minerals that are types of iron ore and slate. (As to what kind of iron ore, you may see that it said that the Maya just used pyrite, or used other kinds too, like pyrite.) They polished the iron ore and made them into a mosaic. A lot of mirrors have at least one hole near an edge.

For the backing of the mirror, they preferred to use slate. (The Maya also made wooden backings and ceramic backings.) There were times the ancient Maya decorated the visible side of the backing.

Consideration: Mirror Holders Found?
A few wooden sculptures have been found that might have been holders for mirrors. These possible holders are shaped like people with dwarfism. (The ancient Maya may have seen dwarfism as representing an "in between" state.) Below is an image (from the Metropolitan Museum of Art's website) of one of these sculptures, which you may have seen in other places on this blog.


There are notches on the man's "kilt" and in his arms. This may have been where a mirror about 5 inches wide and 5 inches long may have been put.

Uses
Elites may have worn mirrors -- the mirror's holes could have been used to hang the mirrors on the elites somehow.  The Maya may have used mirrors in their rituals, for when they wanted to make smoke or fire -- possible evidence for this are mirrors taken from the site of Chichén Itzá that were burned. They also used mirrors as tools for telling the future. You may also see the view that mirrors were for communicating with supernatural beings, and that doing this made the person using the mirror divine.

There's an idea that royalty had a ceremony that concerned future rulers and involved a mirror. It's not sure what the ritual was for. One possibility was that it was part of the rituals for a new ruler who was taking the throne. Another possibility is that it was a ritual for telling everyone who was going to be the next in line.

Mirrors were also put in burials. You can find them in elite tombs -- more in the highlands than the lowlands. (They're not common in the lowlands.)

Gods Connected with Mirrors
Archaeologists have found that the Maya drew some of their gods with mirrors on their foreheads. One god is known today as god C.  A monkey god, this god's name was an "animated" version of a mirror glyph. This god was connected with rulership. The Maya drew him with a mirror in his forehead.

K'awiil (also known as god K) also had a mirror drawn on his forehead. And, also like god C, he was a god that had a connection to rulership.


References:
Manufactured Light: Mirrors in the Mesoamerican Realm"; Emiliano Gallaga M. and Marc G. Blainey (editors); 2016

Google Books: "Mortuary Landscapes of the Classic Maya: Rituals of Body and Soul"; Andrew K. Scherer; 2015

Google Books: "Cosmology, Calendars, and Horizon-Based Astronomy in Ancient Mesoamerica"; Anne S. Dowd, Susan Milbrath (editors); 2015


Cambridge University Press: Cambridge Core: "Ancient Meosamerica" Volume 22 Issue 2: "Ancient Maya Mosaic Mirrors: Function, Symbolism, and Meaning"; Paul F. Healy, Marc G. Blainey; Fall 2011

Google Books: "Maya Calendar Origins: Monuments, Mythistory, and the Materialization of Time"; Prudence M. Rice; 2007

Metropolitan Museum of Art: Mirror-Bearer

Image Credits:
USGS: Pyrite and Quartz; Carlin Green; c. 2016

Metropolitan Museum of Art: Mirror-Bearer

Saturday, March 31, 2018

Resplendent Quetzal Feathers

A male resplendent quetzal. Photograph by
Andy Wraithmell.
Of the species of quetzal out there, it is the resplendent quetzal (Pharomachrus mocinno) whose habitat included -- and still includes -- Maya area. They live in the highlands, in the upper canopy of a type of forest called a cloud forest. They are shy, and their main food is fruit. (They especially like avocado.) Both males and females have, among their plumage, iridescent feathers.

The male of the resplendent quetzal was a bird the ancient Maya liked to find, as they would take the long feathers that grow on the top side of its tail's base. These feathers -- which are classified as "coverts" -- were not only very valuable to the Maya but was part of their culture in other ways too.

The Coverts of the Male Resplendent Quetzal
The male quetzal has different colors of feathers on different parts of its body -- some of these feathers are a bright green and are iridescent. (When something is iridescent, it means that it shows different colors, depending on how the light hits it.)  Some of male's coverts, which can grow as long as 3.3 feet (around 40 inches,) are among the iridescent feathers of the male resplendent quetzal.

Another shot of a male resplendent quetzal by Andy Wraithmell.
Sources don't always agree on what colors the iridescent feathers display. The general idea I've been able to gather is this: it seems that depending on the light, the feathers may appear to be green, yellow, or blue. (One description says the blue color shows up when the light isn't as bright.)

Trade
Mesoamericans everywhere thought the male resplendent quetzal's coverts were beautiful and traded for them. The northern highlands is a known location for ancient Maya who traded these feathers.

Quetzals are not easy to keep. So the ancient Maya had to go out and find the quetzals to take their coverts. (Coverts do grow back.) During the Postclassic Period, quetzal feathers became even more popular across Mesoamerica. Among the ancient Maya, only elites were allowed to have quetzal feathers. (The Bonampak Murals and stelae are places to look for examples of how the ancient Maya used quetzal feathers as headdresses.)

Sometimes in Classic Maya art, you see a ruler near a bundle of items -- it's a scene of the ruler getting tribute. Sometimes among the goods are quetzal feathers.

In Religion and in Rulership 
The ancient Maya also looked at the corn god as being connected with quetzal feathers (as well as jade.) One theory think's it's possible that the quetzal was a form of the maize god's (god E's) wife.

The resplendent quetzal's coverts were also connected to the Principal Bird Deity.  (The ancient Maya believed that this being had a number of connections, including a connection to valuable things.) Speaking of which, from the Preclassic Period onward, these feathers were a popular choice of feather for adding to ancient Maya rulers' headdresses. There's a theory that the feathers -- when used as part of headdresses, were a symbol of the Principal Bird Deity.)

Other than rulers, gods wearing headdresses with quetzal feathers are something you can find in ancient Maya art. (On a related note, the ancient Maya liked to draw quetzals and macaws together. It may be that the ancient Maya somehow thought of these two birds as connected.)

Consideration: As a Name
The word for quetzal in the ancient Mayan language used by the elites is k'uk'. Archaeologists have found that k'uk' was a word that rulers sometimes used as part of their titles as well as their names. One example of a ruler who had k'uk' in his name is a ruler of Copan called Yax K'uk' Mo'. Another example is a ruler of Palenque whose name glyph is a mix of k'uk' and the word for jaguar (bahlam) -- archaeologists have a number of names for him, including K'uk' Bahlam I and Kuk.


References:
Google Books: "Golden Kingdoms: Luxury Arts in the Ancient Americas"; 2017

Springer Link: "Human Ecology" volume 44, issue 4: "Birds of a Feather: Exploring the Acquisition of Resplendent Quetzal (Pharomachrus mocinno) Tail Coverts in Pre-Columbian Mesoamerica"; Cara Grace Tremain; August 2016

Hampshire College: “Birds and Environmental Change in the Maya Area”; Peter Stuart; May 2015
(Automatically downloads  to your computer)

"Google Books: DK Smithsonian "Wildlife of the World"; 2015

Cornell University: The Cornell Lab of Orinthology: Neotropical Birds: "Resplendent Quetzal Pharomachrus mocinno"; A. A. Dayer; 2010

Google Books: "Maya Sacred Geography and the Creator Deities"; Karen Bassie-Sweet; 2008

Google Books: "Animals & Plants of the Ancient Maya: A Guide"; Victoria Schlesinger; 2001

Google Books; "The A to Z of Ancient Mesoamerica"; Joel W. Palka; 2000

San Francisco State University: "The Biogeography of the Resplendent Quetzal (Pharomachrus mocinno)"; Paul Pribor; In progress 5/24/99

ResearchGate: "Revista de biologia tropical" Volume 42, Issue 2: "Spatial organization of the structural color system in the quetzal, Pharomachrus mocinno (Aves: Trogonidae) and evolutionary implications"; Julian Monge Nájera, Francisco Hernandez-Chavarria; January 1994

Mesoweb Encyclopedia: K'uk Bahlam I

Encyclopedia Britannica: Quetzal

Image Credit:
Flickr: "Resplendent Quetzal"; Andy Wraithmell; June 16, 2017

Flickr: "Resplendent Quetzal; Andy Wraithmell; June 16, 2017

Monday, October 30, 2017

Natural Rubber -- An Ancient Resource


Centuries upon centuries before the invention of artificial rubber, ancient peoples in Mesoamerica learned how to make natural rubber using plants. While not the first to make rubber, as far as has been found, among these peoples was the ancient Maya, who used it in several ways.

The Tree They Used
So far, it looks like the ancient Maya, and the peoples in Mesoamerica generally, looked to Castilla elastica. You may also see it called other scientific names -- including C. lactiflua, Ficus gummifera, C. gummifera, and Castilla panamensis. However, a common name for it is the rubber tree.

The rubber tree grows around 33 or 65 to 100 or 164 feet tall, has gray-brown bark, flowers as well as fruits, and has very long leaves (around 8 to 18 inches long!) When the tree's trunk gets cut, a lot of white latex -- a kind of sap -- comes out, and it is this latex that is one of the most important ingredients for ancient Maya and Mesoamerican rubber.


Making Rubber
You make rubber tree latex solid just by cooking it down like you do for stew -- but that doesn't make very good rubber. So how did the ancient Maya make bouncy and strong rubber? They (and the peoples in Mesoamerica generally) may have made rubber by mixing juice from the vines of tropical white morning glories (Ipomoea alba.) The juice has sulfur in it, which affects how the latex's molecules are connected to each other.


Uses
One way the ancient Maya used their rubber was to make balls for the ballgame. The rubber balls the players used were as heavy as 6 to 10 pounds! (It's also understood there were lighter ones too. These balls had hollow interiors -- made by placing a skull in the middle.)

Vase from 600 AD to 900 AD that shows a ball game.
From this page on the Los Angeles
 County Museum of Art's site. 

But it wasn't just balls for the ballgame that the ancient Maya made rubber. They also burned it in incense burners/incensarios; and they burned it with copal, or copal and chicle tree latex too. They burned these substances as part of their religious rituals.

An incense burner made of ceramic.
It came from Guatemala and dates to the
400s AD to 500s AD. From the Metropolitan Museum of Art.


References:
"The Ancient Maya of Mexico: Reinterpreting the Past of the Northern Maya Lowlands"; Geoffrey E. Braswell; 2012

"Encyclopedia of the Ancient Maya"; Walter R.T. Witschey (editor); 2016

Trails of El Pilar: Rubber Tree

"Chicle: The Chewing Gum of the Americas, from the Ancient Maya to William Wrigley"; Jennifer P. Mathews, Gillian P. Schultz; 2009

Swarthmore College: ENVS 02 Human Nature, Technology, and the Environment: "Advancements in Rubber Processing"; Michael J. Pieropan; February 28, 2006

The Free Dictionary: Vulcanize

"Encyclopedia Book of the Year 2011"; Encyclopedia Britannica Inc.; 2011

Michigan State University College of Social Science Department of Anthropology: Rise of Civilization:  Mayan Ball Game

USDA Plants Profile: Tropical White Morning-Glory

Smithsonian Tropical Research Institute: Flora Barro Colorado Island: Castilla Elastica

"The Forest of the Lacandon Maya: An Ethnobotanical Guide"; Suzanne Cook; 2016

The Metropolitan Museum of Art: Seated Figure (Incensario)

Monday, December 30, 2013

Alfred Maudslay -- An English Maya Preservationist of Note

Alfred Maudslay is a man of worthy mention when it comes to the preservation of the ancient Maya civilization. Born to well-off parents, he made many trips into Mesoamerica to help record various sculptures and architecture -- and the inscriptions found on both. What Maudslay had published from his preservation efforts gave people the first good resource for studying the writing system of the ancient Maya.

Birth, Education and First Trip to the Americas
Alfred Percival Maudslay was born March 18, 1850 to Anna Maria Maudslay and her husband Joseph, one of the couple's many children. First attending a boarding school in Tunbridge Wells, then another boarding school four years later called Harrow, Alfred began studying at Cambridge University in 1868. His career included being secretary for the Governor of Queensland (one of Australia's states), after which he took the position of British Consul in Samoa, before becoming Consul General in Tonga.

When Maudslay took his first trip to the Americas, however, it was not in the interest of a government career, although it was connected to making money. A business trip, Maudslay checked up on two things: a Californian property being used to produce fruit as well as a gold mine in Mexico. This trip is also significant because he met the woman who became his first wife, Cary Ann Morris, an American (they married in Rome, May 31st, 1892). Cary Ann later died in September 1926, was cremated then buried in Hereford Cathedral's crypt (Alfred later remarried).

Trips to Mesoamerica
Having read the writings of John Lloyd Stephens and Frederick Catherwood, Maudslay decided to get involved in preserving the ancient Maya civilization. From 1881 until 1894 he made eight trips to the Maya area (his wife accompanying him) to make a record of the ruins (sometimes taking pieces of the ruins away). On these trips various media were used to make records including photography (via a wet-plate camera) as well as paper and plaster casts. Written records were also made. Of the different sites he visited, certain ones received greater attention than others, including Yaxchilán (during which he met explorer Desirée Charnay), Palenque, Quiriguá, Copán and Chichén Itzá. Looking at the ruins, Maudslay began to notice recurring subjects in the art, and also noticed images that are now called full-figure glyphs (anthropomorphized versions of regular glyphs.)

Contributing to Posterity
Maudslay didn't keep his casts to himself. Instead he decided to contribute to posterity and offered them to the Victoria and Albert Museum. However, he had some terms attached to his proposed donation: he wanted the museum to produce a second set of casts from the original casts, and he wanted the museum to pay for their production. Not only that, he wanted his assistant Guitini hired to actually make the casts. The museum agreed to these conditions, and between 1886 and 1891 the casts were made.

Publishing
From 1889 to 1902, Maudslay had his work published in parts as an appendix of Biologi Centrali-Americana, a work that included a number of volumes. Published items include site plans, site descriptions and lithographic plates by Annie Hunter (who made use of the photographs and casts). The inscriptions located within this published work still help people study the ancient Maya writing system today.

Maudslay's publishings were later published on their own (one volume that just had writing and four consisting of photographic plates). These volumes were collectively titled Archaeology.

Memoir and Death
In his old age, Maudslay wrote a memoir, Life in the Pacific 50 Years Ago,(published 1930), a book whose recollections only go up to when he was thirty. Then, in 1931, Maudslay died.

Legacy
Items from Maudslay's trips -- known as the Maudslay Collection -- can still be seen in the British Museum's Department of Ethnology. This collection has casts, paper and plaster casts, journals and photonegatives. There are also a number of things Maudslay took away from the Maya area: eight lintels from the site of Yaxchilán as well as nine sculptures (made of stone) from the site of Copán.

References:
The British Museum: Alfred P. Maudslay (1850 - 1931)
"Breaking the Maya Code"; Michael D. Coe; 1992
"Maya Art and Architecture"; Mary Ellen Miller 1999

Friday, December 20, 2013

Eduard Seler


Eduard Seler was a deep scholar of Mesoamerica who was born in the mid-1800s and lived into the early 1920s. Seler is known for his research and writings on the native cultures of the Americas. His most noted connection to the ancient Maya world is his decipherment of five glyphs.

Birth and Education
Eduard Georg Seler came into this world December 5, 1849, in a place known as Crossen an der Order, located in what was then Prussia -- the second youngest of four children. He went to Joachimsthalsche Gymnasium (in Berlin) from 1863 until 1869, on a scholarship given to teachers' children (Seler's father, Gottlieb Robert Seler, was a teacher). He then went to the university of Breslau, but only for a year as he was in the Franco-Prussian War from 1870 until 1871 (these were the years of the Franco-Prussian War).

Still in 1871, Seler went to the University of Berlin, and in 1875 he passed an exam called the Oberlehrer. In 1876 he took a position at Berlin's Dorothen-stadtischen Realgymnasium where he taught both math and natural science. He had to stop about four years later because of illness.

Seler moved to Trieste, where he took up learning linguistics, and during this time also seems to have started to learn about pre-Columbian archaeology and ethnography. He got a doctorate in 1887 from the University of Leipzig.

From 1904 until the year he died, Seler was the director of the Königlichen Museum Für Völkerkunde's American Division, located in Berlin.

One Mesoamerica in General
In terms of identifying the continuum of Mesoamerican ideology, Seler pointed out how "Mexican" cultures (like the Aztec) shared some ideas with the Maya. His essays on Mesoamerica, when put together make up five volumes.

Seler learned different Mesoamerican languages, including Nahuatl. He found a patron in a man named Duc de Loubat, who gave him money to visit Mesoamerica, and also published Seler's work with color photos.

On the Maya Specifically
Although Seler had much knowledge on Mesoamerica, he did not greatly contribute to the decipherment of the Maya writing system. Seler did not believe that the ancient Maya writing system actually was a writing system. In fact, he and another man, Cyrus Thomas, published papers back and forth at each other in Science (a magazine) from 1892 until 1893, arguing their positions.

Although he was wrong about the Maya writing system, Seler did discover one thing: the glyphs for the world colors. These are the colors connected to the world directions -- with one color being connected to one direction.

Death
Seler died in November 1922 in his home in Berlin. His body was cremated and placed inside an urn in the Aztec style. This urn was then put in a mausoleum in Steglitz that belonged to his wife's family. Later, his wife died and her remains were also placed in the mausoleum.

References:
"Breaking the Maya Code"; Michael D. Coe; 1992

Wednesday, September 12, 2012

Obsidian -- A Sharp and Useful Material



Author's note: this post was last updated on 12/21/2017.

A piece of obsidian. From the USGS.

It begins with volcanoes: obsidian is a substance created when magma not only has a lot of silica in it but cools down so fast that it can't crystallize. (Depending on the definition, obsidian is either a rock or glass.) It is usually black and, though strong, it is also brittle. With the right skill, this igneous substance can be worked so that its edges are incredibly sharp. The ancient Maya thought very highly of obsidian, and -- though it seems that elites controlled it somewhat -- everyone used it.

Where They Got It
The information with this image (again from
the Y.U. Art Gallery) states that this 9 inch long
blade may or may not be from the Maya area.
The information also says that it was made
anywhere from the 300 AD to 900 AD.
When it comes to where they got their obsidian, archaeologists have found the Maya had more than one source. One source was special: the obsidian was green, and came from north of the Maya area, in the Valley of Mexico. (Archaeologists call the source area for this kind obsidian Cerro de las Navajas ("Hill of the Knives,") and they call the obsidian Green Pachuca.)

All of the known sources of ancient Maya obsidian are in Guatemala. One is in the Motagua Valley and today, it is called El Chayal. Another source is in the Southern Highlands and now has two names, Río Pixcaya and San Martín Jílotepeque. A third known source is in southeast Guatemala and is called Ixtepeque.

Shaping It: Pressure Flaking and Percussion Flaking
When obsidian breaks, it breaks conchoidally. (You may also read descriptions that say it has a conchoidal fracture.) This means that when a piece breaks off, that piece will look not entirely unlike a clam shell. Because of this physical feature, the Maya -- and other peoples -- used two methods for creating objects out of obsidian. These methods were pressure flaking and percussion flaking. (The ancient Maya shaped shaped their chert/flint tools this way too.)

With pressure flaking, a person uses a sharpened piece of something like hardwood or antler to sort of press and lift pieces off of the stone. With percussion flaking, a person can use either a "soft hammer" or "hard hammer" -- though a soft hammer is the better choice for obsidian. (The difference between a soft hammer and a hard hammer is what they're made of. Soft hammers are made of things like certain types of hardwood and antler, and so get more of the force they send out sent back into them than hard hammers, which are made of certain substances like granite.)

Trading
According to the information posted
with this image (from the Yale University
Art Gallery,) this 6 inch blade may or may not
be Maya. It was made anywhere from 100 AD
to 1500 AD and may have been from the Classic
Period.
The ancient Maya obsidian trade actually went out into other parts of Mesoamerica. The first step in this trade were workshops (which were commonly near a source of obsidian.) At these workshops, obsidian workers turned pieces of obsidian into "cores." That is, the pieces were shaped but not into anything specific. The communities that got the obsidian had their own workshops to make what they wanted out of the cores.

What They Crafted with It
The ancient Maya created a host of items with obsidian, some of which involved cutting. For example, they made projectile points. For another, they made blades, including a type known as the prismatic blade.

The prismatic blade has two cutting sides and is thin as well as a little bit curved -- its style of make means that they don't need to have resharpening done. Prismatic blades were what the Maya liked to use whenever they cut themselves for religious bloodletting. (But they may also have used this kind of blade for non-religious, everyday things.)

The Maya also wore obsidian about their person. Which is to say, they would make a type of earring called an earflare -- or earspool -- with it. (They also would make earflares with other things, one of which was jade.)

Yet another variety of item that the ancient Maya created using obsidian (and chert/flint) was what's now called the eccentric flint. Eccentric flints are shaped pieces of stone that may have had a number of ritual uses.


References:
Google Books: "Ancient Maya Commerce: Multidisciplinary Research at Chunchucmil"; Scott R. Hutson; 2017

Google Books: "Encyclopedia of the Ancient Maya"; Walter R.T. Witschey; 2016

Google Books: "Obsidian Reflections: Symbolic Dimensions of Obsidian in Mesoamerica"; Marc N. Levine, David N. Carballo (editors); 2014

Google Books: "The Technology of Maya Civilization: Political Economy and Beyond in Lithic Studies"; Zachary X. Hruby, Geoffrey E. Braswell, Oswaldo Chinchilla Mazariegos (editors); 2011

Wesleyan University: WesScholar: "Toward a “Full Biography of Obsidian”: Studies ofObsidian Use and Exchange in the Maya Area"; Laura Heath; April 2011

Smithsonian National Museum of the American Indian: Living Maya Time: Glossary

The Free Dictionary: Obsidian

The University of Iowa: The Office of the State Archaeologist: Flintkapping

Yale University Art Gallery: Obsidian knife blade

Yale University Art Gallery: Blade, pointed both ends

Image Credits:
USGS: Obsidian

Yale University Art Gallery: Obsidian knife blade

Yale University Art Gallery: Blade, pointed both ends

Saturday, July 28, 2012

Cinnabar -- A Dangerous Mineral

Cinnabar is a common name for mercuric sulfide (meaning it is made of mercury and sulfur) -- a mineral that can release mercury via the heat from hands. It was a trade item not only in Mesoamerica but also in South America. The most likely area the ancient Maya would have mined cinnabar is the highlands. They would use cinnabar in and of itself and for extracting the mercury from it.

What was the significance of this mineral? The ancient Maya may have thought cinnabar was sacred due to its color red. Red to the ancient Maya may have been associated with the east (which may be connected to the rising sun) and with blood, a sacred substance.

Funerary Rites
Cinnabar was also used in funeral rites. Skeletons covered with cinnabar (or sometimes hematite) have been discovered, and the ritual seems to vary. In some burials such as Tikal Burial 10, the head seems to be the most important part for the cinnabar covering ritual.

One famous example of cinnabar coated skeleton is lord Pacal. Another instance is of the "Red Queen" who was buried in tomb near lord Pacal's tomb. The reason they did this isn't entirely clear, but this practice may have been done in connection to the sacred color, possibly even meaning resurrection.

Other Rituals
Both mercury and cinnabar have been found in places where rituals were performed. According to Robert. J Sharer, "In rituals involving fire, the Maya priests would burn cinnabar, transforming it into metallic mercury with mysterious qualities."

Pigment
Ancient Maya painters used different kinds of substances to make paints. Among these substances was cinnabar, cinnabar as a kind of paint. However, cinnabar tends to darken. Funerary goods, such as incense burners (and in one instance, lord Pacal's sarcophagus), were also sometimes painted with cinnabar.

Decorative Coating
Ancient maya craftsmen would sometimes use cinnabar on jade. They would coat the jade with a very thin layer of copal, and then apply cinnabar.

 Consideration: Containers of Mercury
At Belize, archaeologists found various items -- including about 0.67 ounces of cinnabar, a container with about 3.5 ounces of hematite -- and and other things on top of a pool of mercury. Two possible areas the mercury for this are the Matapan Formation (located in west Honduras) and the Todos Los Santos Formation (located in Guatemala).

Containers of mercury have also been uncovered from underneath mud. Archaeologists working at Guatemala's Lake Amatitlan uncovered two containers that possessed mercury. These containers are understood to be from the Early Classic period (around 300 AD to 600 AD).

References:

"Encyclopedia of American Indian Contributions to the World: 1500 Years of Inventions and Innovations"; Emory Dean Keoke, Kay Marie Porterfield; 2009

"The Maya and Teotihuacan: Reinterpreting Early Classic Interaction"; Geoffrey E. Braswell; 2003

"Death and the Classic Maya Kings"; James L. Fitzsimmons; 2009

"Exploring Maya Ritual Caves: Dark Secrets from the Maya Underworld"; Stanislav Chládek; 2011

"Archaeomineralogy"; George Robert Rapp; 2009

"Mercury In The Environment: Pattern and Process"; Michael S. Bank; 2012

"Pulltrowser Swamp: Ancient Maya Habitat, Agriculture and Settlement in Northern Belize"; B.L. Turner; 2000

Thursday, January 5, 2012

Jade -- A Precious Stone of the Maya








A jade ornament dating from the 600s to 700s AD. The design is 
meant to look like a ruler's head with a headdress. From The Metropolitan 
Museum of Art.


Jade is something of an umbrella term: its used as a name for two stones, nephrite and jadeite. Rarer than nephrite -- which has yet to be found in Mesoamerica -- jadeite is the type of jade that the Maya culture group made part of its life. While they also made use of a host of green-colored stones (like zoisite, serpentine, jasper, and amazonite), jade was the one the ancient Maya liked the most. 


Name Origin
The word jade comes from a phrase used by the Conquistadors. When talking to the Aztecs about green-colored stones, the Aztecs said these stones were supposed to heal liver, kidney, and spleen problems. So the Conquistadors started to call green-colored stones "piedra de ijada," which you might see spelled other ways such as "piedra de yjada." Translations for this phrase include "side/flank stone" or "loin stone."

Scientific Facts
This carving is of a god called Ux Yop H'un.
It's from the 600s AD to 700s AD.
From The Metropolitan Museum of Art
.
The formula for jade's chemical makeup is NaAlSi2O6. This means that it is made up of certain molecules of these elements: oxygen, silicon, aluminum, and sodium. Changes to this formula create different colors, such as black, light purple, white, blue and, of course, green. (Green is the most common color. It comes about when chromium is added into the mix.) 

This pendant comes from the 500s AD to
 800s AD. From The Metropolitan Museum of Art.
 Jade can be shaped so that it has a sharp edge, which can stay sharp pretty well. An important thing to note though, is that it is not common to find jade that's just jade. It's more common to find it combined with other minerals. This changes jade's features somewhat, such as how hard it is. (There is a scale called the Mohs scale of mineral hardness. This scale tests how hard minerals are when compared to each other. Diamond gets a 10. Jade's range of hardness goes from around 6.5 to 7.)

How They Worked It
From what archaeologists can tell, a multitude of ways to shape and/or set designs into stones were known to the ancient Maya. Examples of these ways include -- but are not limited to -- percussion (breaking jade to get the size you want,) polishing, reaming (making drilled holes' insides less rough,) sawing, and pecking (another style of breaking jade that left scars.) Another example of the many stone working methods the Maya had was drilling, done with both tubular drills, which drilled out a piece of stone, and solid drills, which drilled out a cone-shaped hole.
This jade object dates from the
200s AD to the 500s AD. It is a form of
the Principal Bird Deity. There is some
cinnabar still attached to it.
From The Metropolitan Museum of Art.

Some of the ways the ancient Maya shaped jade involved an abrasive substance/grit, the fineness of the grains depending on what was being done to the jade. (A few kinds of grit they may have used include powdered jade and powdered quartzite.) An example where grit may have been used was sawing -- one type of sawing may have involved a string or cord that actually had grit stuck to it. (A variant on this says they also used water along with the string/cord and grit.)

As for tools, of which archaeologists haven't found a that many, the ancient Maya used stone and may have also used materials that can rot away over time, like the string used in the possible sawing method. One tool they may have had that was made of stone was the polishing rock -- archaeologists have found rocks that have dips in them from where the Maya may have rubbed jade to make it shiny. (It's possible the Maya also had other kinds of things they used to make jade shiny, like bamboo.) They may not have used rocks alone, but used grit and polishing rocks together.
Titled "Duck Pendant," this piece of jade was made
anywhere from 250 AD to 950 AD. The country it comes
from is either Mexico or Guatemala. From LACMA.

A popular way to add to the details of a jade object was to glue on red powder, made by crushing either hematite or cinnabar.  If a piece of jade had more than one color, there was a practice of trying to use the colors as part of the design of the object being made.

Where It Came From
The jade that the Maya civilization used came from the only source of jade in all of Mesoamerica -- so far as anyone's found. The source is in the Maya area -- specifically, in eastern Guatemala, in the Motagua River Valley. 

Things They Made
This is a par of earflares (without anything to go
through the holes) from the 200s AD to 500s AD.
From The Metropolitan Museum of Art.
The ancient Maya made different items with jade. Examples items that the Maya made include pendants, beads  -- made with less high quality jade --, inlays for teeth, and funeral masks made of pieces of jade fitted together. They also made a type of earring called an earflare, which looks like a spool but with a hole in the middle. (An earflare was set into a piercing in an earlobe, and something would be set into the earflare's hole to keep it in place.)

Another jade pendant, this time from the
600s AD to 700s AD. The carved image is a ruler sitting.
From The Metropolitan Museum of Art.
The biggest jade object that archaeologists know of weighs about 9.7 pounds and was found in 1968. It came from a royal grave in Belize's site of Altun Ha, from a building archaeologists call the Temple of the Masonry Altars. This piece of jade had been carved so that it looked like the head of the ancient Maya sun god, K'inich Ajaw/Kinich Ahau.

Cultural Meaning
For most of their history, the ancient Maya liked jade that was bright green above all. What did it mean to have jade? For one thing, it's possible the ancient Maya saw jade as the most impressive thing you could be seen wearing. (And it wasn't just an elite item, as archaeologists have found jade in both commoner and elite graves.)

Jade also meant religion in the ancient Maya civilization. There was a practice of putting a jade bead in a dead person's mouth. They also thought it was an object worthy of being used as a religious offering.

When the Maya thought of jade, they couldn't help but think of water, wind, the smell of flowers, and mist. It also looks like they were reminded of the soul somehow in connection to breath. (You may see this breath and soul connection called "breath soul.") They thought of all these things because they saw jade as the stone version of these them. The Maya also thought of other things: that jade was a symbol of divine rulership as well as corn.


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The Metropolitan Museum of Art: Pair of Earflare Frontals