by David Stuart (The University of Texas at Austin)
One of my current projects is to update and prepare for publication my transcriptions and analyses of the art and inscriptions of the Cross Group temples at Palenque, Mexico. These three shrines (the Temples of the Cross, Foliated Cross and Sun) were major elements in the architectural landscape of the site, known in ancient times by the name Lakamha’. The integrated design and narratives of these temples is conveyed through a triadic framework of space and time, integrating the dynastic history of Palenque with a primordial mythology involving the so-called Palenque Triad, the deities who were the patron gods of the city. The three temples were dedicated on January 8, 692, in anticipation of the looming k’atun ending 220.127.116.11.0, and at a time of major political change at Palenque, in the wake of the passing of K’inich Janab Pakal. My preliminary transcriptions and analyses of the inscriptions were presented in raw form a number of years ago at the 2006 Maya Meetings at UT-Austin; the current book project will present this data in a more analytical and interpretive way, looking at architecture, landscape, art and narrative in terms of a holistic design.
As part of this project I made the decision to produce new drawings of the main Cross tablets – the first to be made in over four decades. Here I post my newish rendering of the Tablet of the Foliated Cross, the large panel placed in the back of the inner shrine of the Temple of the Foliated Cross. It is based on a variety of sources, including stunning new photographs kindly provided by Jorge Pérez de Lara. Working with these tablets over many years, it became increasingly clear to me and colleagues that earlier drawings had many subtle but important inaccuracies. Redrawing them has very time consuming, but I think worthwhile effort, given new digital rendering methods. And rather than sit on this while I very slowly churn them all out, I thought I would share it for others to use for study. I will be making corrections and tweaks (and more stipples) to this and and other drawings from time to time, so it will be updated at some point.
It’s almost imposssible to summarize the significance of this image in a few sentences, but here goes: the tablet shows a central icon of bejeweled maize, a symbol of the deity Unen K’awiil, a personification of young maize and the most important of the three Triad gods. The corn plant is flanked by two portraits of K’inich Kaan Bahlam, Pakal’s eldest son, corresponding to important moments in his life as adult king (left) and as six-year old heir (right). The inscription links Unen K’awiil’s mythic birth with the making of his new god effigy to be housed in the temple (a rebirth of sorts), offering parallels to K’inich Kaan Bahlam’s own biography, including his own birth and accession. It’s a masterful presentation of narrative symmetry, especially when viewed in relationship to the art and texts of the two neighboring shrines.
The drawing is for free use, but please contact me for any use in publications, or if higher-res versions might be needed. Any reproductions for teaching, etc., can simply include the credit “Drawing by David Stuart.”
Back in 1977 I helped my mentor Linda Schele make corrections to her own drawings of these same beautiful tablets. Making fresh versions has taken me back to our long afternoons together in the Cross shrines 42 years ago, where I learned so much about Maya art and writing.
What a wonderful project! With so much being discovered and deciphered today, it seems as if we forget those sites that made us fall in love with the Maya. Thank you for bringing it back as fresh as it was back then.. Marta Barber, Institute of Maya Studies, Miami