Back in 1979, excavations at Yaxchilan overseen by Roberto García Moll unearthed several carved bone objects within Tomb 2 of Structure 23 (Mathews 1997:161; Perez Campa 1990:150). Among them were the two artifacts in the figure below, each with a carved deity head on one end and a short hieroglyphic inscription (there were other similar bones as well, not treated here). In this report I would like to offer a few observations on the short texts, focusing mainly on the relationship they bear to the deity images.
As one can see in the drawings, these intriguing bones are pointed at one end, which might lead one to think they functioned as ritual bloodletters. I’m not so sure this is the case here, given their blunt appearance. It’s possible that they were pin-like devices inserted in some sort of unknown material, not unlike similar objects recently described by Martin (2012:77) in the paintings of Structure Sub 1-4 at Calakmul. Unfortunately the texts do not say exactly what they were used for — as we will see, one is simply a “jaguar bone” (Bone 1) and the other is an “offering bone” (Bone 2).
Each text is structured somewhat differently, but both clearly label the objects as belonging to Ix K’abal Xook, the noted queen of Yaxchilan from the early eighth century who is depicted on a number of sculptures at the site, including the famous carved door lintels of Structure 23 (Lintels 24, 25 and 26). Each text also includes a god’s name corresponding to the carved head, placed differently in each case.
u-ba ke-le BAHLAM-ma IX (k’a-ba)-la
u baakel bahlam Ix K’abal
(it is) the jaguar’s bone of Lady K’abal
XOOK?-ki AJ-K’AHK’ o?-CHAHK-ki
Xook / Aj K’ahk’ O’ Chahk
Xook. (It is) Aj K’ahk’ O’ Chahk.
to-k’a-la AJAW-wa U-MAY-ya-ji
took’al ajaw u mayij
Flint Lord is the offering
ba-ki IX-(k’a-ba)-la XOOK?-ki
baak Ix K’abal Xook
bone of Lady K’abal Xook.
The text on Bone 1 (a provisional designation, by the way) looks to have two segments. One is a name-tag based on the interesting term u baakel bahlam, “her jaguar bone…,” with he name of the owner, Lady K’abal Xook, continuing to glyph B1 on the obverse side. Glyphs B2 and B3, larger in size than the others, seem to stand apart as a separate name. This is familiar from a number of other texts as Aj K’ahk’ O’ Chahk, an important royal patron deity of Yaxchilan. The small head atop Bone 1 does indeed resemble as aspect of Chahk, the storm god, with a possible pointed diadem and and rope pectoral.
Aj K’ahk’ O’ Chahk was a local deity, named and depicted only at Yaxchilan and environs. I suspect he was the principle patron of the royal throne of Yaxchilan, not unlike GI was for Palenque, given his central role in the rhetoric of royal accession at the site (as on Lintel 25 and 35, among others). The first part of his name, Aj K’ahk’, means “He of Fire,” although this title doesn’t always seem to be present. The core portion of the name simply seems to be O’ Chahk (and, no, there is no evidence he was Irish). O’ is the name of a raptorial bird whose image appears in the glyphs as the head sign with the values o (a syllable) or O’ (a logogram); this head sign is usually simply abbreviated as the spotted feather, so that in these deity names we seem to have the sequence O’-CHAHK-(ki) (see Figure 2a and 2b, below). The O’ Chahk name corresponds to the headdress worn by Yaxchilan’s rulers during important dedication ceremonies, as shown in Figure 2a. Here the o’ bird is stacked atop the head of Chahk, essentially replicating the hieroglyphic name O’-CHAHK in iconographic form.
Bone 2 references a different god named Took’al Ajaw, “Flint-knife Lord,” who thus far has gone unrecognized. The inscribed statement is a bit more direct about the identity of the object, saying that “Took’al Ajaw is her offering bone.” Atop the bone we see a god resembling the so-called “Jaguar God of the Underworld,” with a long beard-like feature as well as a pointed, animated flint knife for a forehead — hence his name. This deity is also of local importance at Yaxchilan. Several portraits of him can be fount at the tops of stelae that depict consecration rites on important Period Endings and anniversaries, where he is always shown above a sky band and in-between ancestral portraits of the rulers mother and father (Figure 3). Otherwise we know little about him, or his connection to other members of the local pantheon.
It seems that Structure 23 was the formal “house” of Ix K’abal Xook, with Tomb 2 her likely burial place (See Plank 2004:35-54). Several other bones bearing her name were found in the tomb, including one very elaborate mayij baak named for another deity named Bolon Kalneel Chahk. He was evidently another aspect of the storm god who was important in local rituals and political symbolism.
What were these small objects used for, then? It is difficult to say for sure, and the texts on them are not as explicit on this point as we would like them to be. The job of these glyphs was more to identify the owner (Ix K’abal Xook) and the deity depicted. If allowed to speculate, I wonder if such pointed bones might themselves have been used as elaborate figural “labels,” inserted into incense or food offerings (mayij) or some other substance as a way of attributing or directing them to different gods. There is no way to prove such a function, but it might be a useful avenue to ponder and explore further. At any rate, I hope to revisit these issues in a future post, looking at other examples and varieties of inscribed bone artifacts.
Martin, Simon. 2012. Hieroglyphs from the Painted Pyramid: The Epigraphy of Chiik Nahb Structure Sub 1-4, Calakmul, Mexico. In Maya Archaeology 2, pp. 60-81. Precolumbia Mesoweb Press.
Mathews, Peter Lawrence. 1997. La Escultura de Yaxchilan. INAH, México, D.F.
Perez Campa, Mario. 1990. La vida en Yaxchilan. In La exposición de la civilización maya, pp. 149-154. Mainichi Shinbunsha, Tokyo, Japan.
Plank, Shannon E. 2004. Maya Dwellings in Hieroglyphs and Archaeology: An Integrative Approach to Ancient Architecture and Spatial Cognition. BAR International Series 1324, Oxford, England.
Have you considered the possibility that the bone artifacts might have been used as hair pins?
Good question, and sure. It’s certainly possible, but hair pins made of carved bone tend to be much longer and thinner than the two shown here (well, at least “Bone 2”). We see hair pins in a number of royal portraits, and some have been found archaeologically. For now I see these two Yaxchilan bones as belonging to a different category, and the “offering” term on Bone 2 suggests as much. But it’s obviously a good idea to keep all options open.
Thanks for the reply. And, that makes sense. I couldn’t determine the size of the bone from the figures. Nor was I aware that hair pins were present in Classic Period artwork.
Talk about Body Piercings! The Yaxchilan Family were dedicated to bringing up the Ancestors for Counsel in a big way.
I, for one, am pleased they chose a non-corruptable wood to do these delicate carvings.
I had forgotten that another similar-looking carved bone from the same tomb is published in Martin and Grube’s Chronicle of Maya Kings and Queens (see p. 126 of both editions). The caption there begins with u b’aah u ch’abil, “the image of the ‘creation’ (or ‘genesis’) of…,” followed by the names and standard titles of the Yaxchilan king known as Shield Jaguar I (Ix K’abal Xook was his principal wife). The deity head represented on the bone — perhaps a K’awiil — is surely the “image” referred to. The text again suggests that these were intimate ritual implements that in some way “manifested” gods, although the larger context and usage remains unclear.