by Stephen Houston, Brown University
At Calakmul, Mexico, sculptures were not just made by craftsmen who recorded their contribution via “signatures” or “autographs” (Stuart 1989; also Houston 2016). Several sculptures probably came from political subordinates, in offerings shipped by magnates to the overlord (Martin, Houston, and Zender 2015; Zender et al. 2016: 46–47 [link]). [Note 1] Consider one possibility, Calakmul Stela 51, a monument with unusual, almost voluptuous touches. Exuberant volutes roll through the ruler’s hair, in what I take to be a sycophantic nod to royal vanity. The surface puffs out with striking, volumetric handling. And, as though bursting forth, elements of the headdress extend beyond the sculptural frame (see, too, Stela 89, created by the same carvers; Ruppert and Denison pls. 50c, 53b).
This is virtuoso work, meant to impress…perhaps the royal beneficiary above all. As yet, there is no adequate, in toto presentation of the Calakmul monuments. Simon Martin (2014) is, of course, refining the history of the site and its region, and that work is likely to be definitive on current data. [Note 2] But we can say this: Stela 51 was of some size, 4.12 m in overall height, 3.10 m in length of carving. Stela 89, doubtless delivered at the same moment (its recorded date is 274 days after Stela 51’s), is half that, at 1.55 m in length of carving. Did this disproportion have something to do with ease of transport or reducing the physical burden of that transport? In fact, their stone appears to have been “[h]ewn from a dense, durable limestone, presumably imported from some distance” (Martin and Grube 2008: 113). I am sorry to say that epigraphers, myself included, seldom if ever record quantitative measures of stone hardness. Perhaps we should. Anomalies might reveal themselves, as in the case of the re-carved Panel 10 at Dos Pilas. That sculpture, “evidently of nonlocal material,” a “fine-grained and dense limestone,” is wholly different from the softer stone in other carvings at the site (Houston 1993: 72, fig. 3–1). The re-carving hints that Panel 10 was transported from elsewhere, something that might have been done, as at Aguateca, Guatemala, for the sculptures of vanquished, enemy kingdoms (Houston 2014).
Another tributary text comes to mind. Step IV on Yaxchilan Hieroglyphic Stairway 3 has elicited, at least to me, a sense of anomaly since its publication by Ian Graham (1982:170). The style is notably ham-handed in comparison to other carvings on the stairway (Figure 2). Rather than the tidy layout of other treads, which link thematically to the presentation of important captives, these glyphs appear in slovenly manner. Signs slope and sag, their outlines bulge. The look is less of disciplined carving than painterly “facture,” a reflection of originals rapidly executed in pigment. Few rows follow the same alignment, and some glyph blocks vary greatly in size. Even the final column bows to the right before coming back to its intended vertical alignment. There is also a real chance that the limestone itself differed from other treads. According to Graham (1982: 165), its weathering is quite distinct from the other, lower steps of the stairway. This indicates harder stone or, perhaps, later placement. (Such insertions are known at Yaxchilan: Lintel 21, from the Late Classic period, occurs with Early Classic companions in the lintel series of Structure 22.) Were imported stones usually harder, to avoid damage en route? Step IV also has it own dedication date of 18.104.22.168.1, and for an unusual “owner,” a ruler, Shield Jaguar III, in impersonation mode.
Figure 1. Step IV, Yaxchilan Hieroglyphic Stairway 3, drawing by Ian Graham (1982: 170 [Corpus of Maya Hieroglyphic Inscriptions Project, Peabody Museum, Harvard University]).
The concluding phrases of the text are far smaller than those referring to royalty such as Shield Jaguar (B4), his mother (A5–B5), and his father, Bird Jaguar III (B6, Figure 2). They would seem to follow a sumptuary pattern: the ensuing names belong to at least one person of lesser, sajal status. Thus, reduced social importance = smaller signs. The text is unambiguous, stating that the carving was raised up (t’ab but without the usual yi, probably a problem in Graham’s drawing). It belonged to someone named “guardian of Yellow(?) Bat,” in the company of 12 Pat, a term linked to tribute by David Stuart (Stuart 1998: 384, fig. 6).
Figure 2. Parsing of final phrase in Step IV. “IS” indicates “Initial Sign,” as part of a dedicatory phrase. Original drawing by drawing by Ian Graham (1982: 170 [Corpus of Maya Hieroglyphic Inscriptions Project, Peabody Museum, Harvard University]).
The descriptive for the carving or kind of sculpture (u-k’a?-li) is known elsewhere (e.g., Xcalumkin Lintel 1:G1, Xcombec “St. 1”:C3), although it tends to be rare at sites to the south of the Puuc hills or the Campeche coast. One, for example, may occur at Naj Tunich (u-k’a ha in Drawing 51 [Stone 1995: pl. 11]). Nonetheless, it is fair to say that, after discussions with David Stuart, the reading remains opaque or at least debatable. Stuart and I are both dubious that this relevant glyph for the monument type is simply a syllabic k’a. That matter can be left for later. What commands our attention is that this slab, so wildly discrepant from its neighboring treads, seemingly of different stone, refers to its possession by a subordinate who uses a title of war. [Note 3] Another figure, employing a possibly title for tributaries, comes second. As at Calakmul, the lords of Yaxchilan may have exhibited stones brought at some effort from subordinate sites, either extracted from subsidiary lords or given by them in respectful service.
[Note 1] The shipment of carvings existed in tandem with the option of sending carvers (Houston 2016: 407, fig. 13.11).
[Note 2] To be sure, there is Marcus (1987). To my critical eye, this monograph is a model of how not to do such a report. It is brief, unreliable, under-cited, and badly illustrated, with a monographic length that results less from quantity of text than creative formatting of pages.
[Note 3] I am mindful that the yatz’in? might include another pronoun, signaling the presence of yet a third name in this text. But I think this doubtful.
Acknowledgements Thanks go to Simon Martin, Mary Miller, and David Stuart for comments on the ideas herein.
Graham, Ian. 1982. Corpus of Maya Hieroglyphic Inscriptions, Volume 3, Part 1: Yaxchilan. Peabody Museum of Archaeology and Ethnology, Harvard University, Cambridge, MA.
Houston, Stephen D. 1993. Hieroglyphs and History at Dos Pilas: Dynastic Politics of the Classic Maya. University of Texas Press, Austin.
Houston, Stephen D. 2014. Monuments. In Life and Politics at the Royal Court of Aguateca: Artifacts, Analytical Data, and Synthesis. Aguateca Archaeological Project First Phase Monograph Series, Volume 3, edited by Takeshi Inomata and Daniela Triadan, 235-257. University of Utah Press, Salt Lake City.
Houston, Stephen D. 2016. Crafting Credit: Authorship among Classic Maya Painters and Sculptors. In Making Value, Making Meaning: Techné in the Pre-Columbian World, edited by Cathy L. Costin, 391–431. Dumbarton Oaks Research Library and Collection, Washington, D.C.
Marcus, Joyce. 1987. The Inscriptions of Calakmul: Royal Marriage at a Maya City in Campeche, Mexico. Technical Report 21. Museum of Anthropology, University of Michigan, Ann Arbor.
Martin, Simon. 2014. The Classic Maya Polity: An Epigraphic Approach to a Pre-Hispanic Political System. Ph.D. diss., University College London.
Martin, Simon, and Nikolai Grube. 2008. Chronicle of the Maya Kings and Queens: Deciphering the Dynasties of the Ancient Maya. 2nd ed. Thames and Hudson, London.
Martin, Simon, Stephen Houston, and Marc Zender. 2015. Sculptors and Subjects: Notes on the Incised Text of Calakmul Stela 51. Maya Decipherment: Ideas on Ancient Maya Writing and Iconography Calakmul
Ruppert, Karl, and John H. Denison, Jr. 1943. Archaeological Reconnaissance in Campeche, Quintana Roo, and Petén. Carnegie Institution of Washington, Publication 543. Washington D.C.
Stone, Andrea J. 1995. Images from the Underworld: Naj Tunich and the Tradition of Maya Cave Painting. University of Texas Press, Austin.
Stuart, David. 1989. Hieroglyphs on Maya Vessels. In The Maya Vase Book: A Corpus of Rollout Photographs of Maya Vases, Volume 1, edited by Justin Kerr, pp. 149-160. Kerr Associates, New York.
Stuart, David. 1998. “The Fire Enters His House”: Architecture and Ritual in Classic Maya Texts. In Function and Meaning in Classic Maya Architecture, edited by Stephen D. Houston, pp. 373-425. Dumbarton Oaks, Washington D.C.
Zender, Marc, Dmitri Beliaev, and Albert Davletshin. 2016. The Syllabic Sign we and an Apologia for Delayed Decipherment. The PARI Journal 17(2):35–56 ©