A MAYACURIA REGIS: EVIDENCE FOR A HIERARCHICAL SPECIALIST ORDER AT XULTUN, GUATEMALA

Abstract

This article presents an in-depth analysis of an important mural painting discovered within Structure 10K2 of the Los Sabios Group at the Classic Maya site of Xultun, Guatemala. We first discuss the composition of the mural scene and its central protagonist, a Late Classic period (a.d. 550–900) ruler of Xultun named Yax We'nel Chan K'inich, suggesting that it presents a ritual performance associated with an ancient New Year ceremony. Several attendant figures in the mural are labeled as members of a specialist order or category called Taaj, “obsidian,” and are marked by an unusual shared appearance. This “obsidian order” exhibits internal hierarchical ranking and is attested at other Classic Maya centers. In addition to discussing the overall content of the Xultun mural scene, we conduct a focused inquiry into these various Taaj individuals by presenting associated archaeological evidence and considering related epigraphic data. Through this analysis of the Taaj, we shed light on a previously unknown aspect of Maya courtly life and organization that is relevant to models of sovereignty, governance, and ritual performance in the Classic Maya world.

Maya Timeline in Uaxactun: Calendric Notations on the Mural Paintings at Structure B-XIII

“…As we can see on an example from Xultun murals (Structure 10K2, The Los Sabios group), not only kings or royal family were shown in this type of scenes, but also priests and intellectual specialist, titled as taaj (SATURNO et. al.…”

“…One of the most recent discoveries among mural paintings comes from another important Classic Maya site of Xultun. Central protagonist is ruler named Yax We'nel Chan K'inich, who presents a ritual associated with New Year ceremony (SATURNO et. al.…”

Deciphering the Symbols and Symbolic Meaning of the Maya World Tree

“…Recent discoveries of intact murals at San Bartolo in the Petén provide a surprisingly clear window into early developments of world tree imagery of Mesoamerica and decisive evidence that many and various Classic Maya conventions in symbolism were established by the first century b.c. (Saturno et al 2005; Taube et al 2010). San Bartolo's murals reveal a rich panorama of imaginative forms in a narrative context, within which are observed a variety of symbolic images that relate directly and specifically to both Classic and Postclassic iconography.…”

“…Foremost among water lily symbols, the classic white flower glyph ( sak nik ), comprised of a trefoil, bar and attached cartouche (Schele and Mathews 1998:47, Figure 1.22; McDonald and Stross 2012:81, 88–89, 97, Figures 3e, 8c, 8f, 9a–9e), figures prominently at San Bartolo (Figure 10e) and is associated there with three prominent orbs, a standard feature of water lily signs and images (McDonald and Stoss 2012:79, Figures 2b, 2e–2f, 2i). Muralists at San Bartolo added to this sign a prominent ik’ sign (or “T” sign) within the cartouche to indicate “wind,” “air,” “breath,” “life” or “spirit” (Stross 1986:3), as well as a series of circlets that diminish in size, a common feature of floral motifs at San Bartolo that various iconologists interpret specifically as breath or aromatic exhalations (Saturno et al 2005:11; Taube et al 2010:27–28, 43). The infixed, upright treble motif with a cleft middle lobe can be read as ik’ as well (T23; Montgomery 2002:94), but this form is also suspiciously similar to a yax glyph (Montgomery 2002:286; Stone and Zender 2011:123), connoting green, and might also describe a vegetative aspect of the floral trefoil.…”

“…The writhing serpent, for example, whose body is twisted tightly about the bird's beak in a manner that is consistent with the portrayal of serpentoid water lily stalks (Figures 1a, 2a, 6, 6a, 8a, 10c.2), is bicephalic, ostensibly identifying him as a prototype to the Classic celestial or cosmic serpent/monster (Freidel and Schele 1988:73; Schele and Miller 1986:47; Thompson 1970:212–214). He exhibits a trefoil and assymetrical floral motif on opposing heads (Figures 11c.2, 11c.4), each surrounded by red-pigmented scrolls and a series of circlets that diminish in size, an apparent symbol for fluxions of air or aromatic qualities (Figures 10a, 10c.2, 10c.4, 10e, 11a.5; Saturno et al 2005:11; Taube et al 2010:27–28, 43). Importantly, the serpent's snout-flower on the right-sided head is comprised of a trefoil that articulates with a circlet, which together form the standard features of the sak nik sign, a sign for Nymphaea in later periods.…”