Maya inscriptions contain a few terms or phrases that we can classify as temporal adverbs, helping to specify the timing of events relative to the text’s internal time-frame. One such term is sahm-iiy, spelled sa-mi-ya, “earlier today,” which I identified some years ago in two moon age records at Palenque (Figure 1) (first presented in Houston, Robertson and Stuart 2000). In this context, before the verb hul-iiy, sahm-iiy simply states that the new moon appeared only within a day of some notable event in the narrative “present.” The full phrase illustrated here can be translated as sahm-iiy hul-iiy, “earlier today it arrived.” Its suffix -iiy is the Classic Mayan form traceable to proto-Mayan *-eer, “ago, before,” and is an extremely common deictic suffix found on most if not all of these adverbs that mark a point in the past. It can appear on intransitive verbs, adverbs, as well as on some enumerated nouns. Grammatically, sahm-iiy and its relatives work in a way similar to standard day-counts that reckon a span of time from some earlier event to up to a present one. For example, we find in other lunar day-counts the expressions jo’lahuun-ih-iiy (15-ji-ya), “fifteen days ago…”, or wukbix-iiy (7-bi-xi-ya), “seven days ago.”
Here I identify another temporal pronoun that I read as ak’b-iiy, “yesterday,” or “the night before.” Like the examples just cited, these occur in records of moon ages, where short-term temporal expressions of less than thirty days are routinely found. The first instance comes from Stela F at Qurigua (Figure 2a), as part of the moon age record accompanying the Long Count 220.127.116.11.0 1 Ahau 3 Zip (March 14, 761 CE). Here before the verb hul-iiy (hu-li-ya), “it arrived,” (Macleod 1990), we find a glyph consisting of a turkey’s head with the suffix sign ya. Infixed into the turkey is a bi syllable. The second case comes from Zoomorph O’ (Figure 2b), where the same glyph appears but now with the prefix a-, also before hul-iiy. These related glyphs have remained undeciphered until now, but they have generally been recognized as indicating new moon, or the start of the lunar month.
There is good evidence to show that the turkey head is read AK’, based on the noun ak’ or ak’ach, “turkey hen.” In the inscriptions of La Corona, the very same sign appears in the spelling of the personal name Chak Ak’ Paat Kuy, where it alternates with the syllabic comination a-k’a (Figure 3) (Houston, Stuart and Zender 2017, Stuart and Zender 2018). The same turkey sign also occurs on Stela 1 of Dos Pilas in a variant of the “dance” verb AK’-ta-ja (Figure 4b) (see Grube 1990), suggesting it may be a head variant or a graphic elaboration of the more abstracted AK’ sign we find more frequently in that position (we will return to the connection between these signs a little further on).
On Quirigua Stela F we therefore have a plausible reading AK’-bi-ya for the glyph before hu-li-ya. On Zoomorph O’ we have the very same expression, but with an a added as a prefix on AK’. The bi infix again looks to be present (photos are murky), so the full form here seem to be a-AK’-bi-ya. There can be little doubt that these two glyphs spell the temporal adverb ak’b-iiy, a form found in Ch’olan languages meaning “yesterday,” or “last night,” based upon the noun ahk’ab, “night.” Note its use in these sentences from from Ch’orti and Ch’ol:
ak’bi patneen, yesterday I worked (Wisdom 1950) ac’bi tsa’ huliyon ilayi, yesterday I arrived here (Aulie and Aulie 1978)
In the last example cited, it is interesting to see that Ch’ol ac’bi serves as an adverb before a derived form of hul, “to arrive,” much as we find in the case of the Lunar Series examples from Quirigua. The same term can be traced more widely throughout lowland Mayan languages (all shown in their original orthographies).
Ch’olti’: acbihi, yesterday (Moran 1935)
Ch’orti’: ak’bi, yesterday, of yesterday (Wisdom 1950)
Ch’ol: ’ak’-b’i, yesterday; ayer (Hopkins, et al 2008)
Ch’ol: ac’bi, ayer (Aulie and Aulie 1978)
Chontal: ?äk’-bi, yesterday, before (Knowles 1984)
Chontal: äc’-bi, ayer (Keller and Luciano 1997)
Tzeltal: ahkab-ey, anoche (Polian 2020)
Tzotzil: ak’ub-e, anoche (Kaufman and Justeson 2003)
Yukatek: ak’be’, anoche, la noche anterior (Barrera Vásquez 1980)
In the two contexts from Quirigua the full verbal expression is therefore ak’biiy huliiy, “yesterday it arrived,” the subject being the lunar month of 29 or 30 days. This might be roughly understood to saying that the moon is simply one day old. However, we should exert some caution in assuming so, and reflect further on the descriptive language the Maya used in such records. The moon’s “arrival” is not simply the astronomical new moon, which corresponds to its dark, invisible phase. “Arrival” should be understood as referring to the moon’s first visibility, as a thin waxing crescent in the darkened sky. Landa made this point in his Relación, wherein he states that “they counted (the lunar month) from the time at which the new moon appeared until it no longer appeared” (Tozzer 1941:133). This is confirmed, I believe, by the form of the HUL logogram used in the vast majority of moon age records, which depicts a hand pointing at the crescent (see Houston 2012). The “pointing at the moon” form of HUL is especially clear in its Early Classic examples (Figure 5). All of this is to say that first visibility would fall a two or three days (depending on timing) after astronomical new moon. Thus ak’biiy huliiy can be best analyzed as an explicit statement about first visibility happening “yesterday,” falling two or even three days after the astronomical new moon.
Apart from Quirigua, there may be one other example of ak’biiy in a text from Coba. This is Panel D, the unusual rectangular panel or altar with a spiral-shaped inscription. This text opens with a Lunar Series, probably a continuation of a calendrical text now lost. The initial glyph of the text (Figure 6) is “Glyph D” of the Lunar Series, incorporating the verb hul-iiy (HUL-li-ya). Before this we have a glyph shows an infixed bi element and a ya suffix. I suggest the main sign here is the alternate logogram for AK’, known from the frequent dance verbs mention above (AK’-ta-ja) (see Figure 4a). At first I wondered if this could be a spelling of bix-iiy, using a logogram for BIX that I identified in 1996 (Stuart 2012). However, it is possible to distinguish that form from the somewhat similar AK’, which consistently shows two darkened elements along the internal curved line. BIX seems to regularly feature a single darkened element, with an infixed bi. I suspect that this AK’ is graphically related to the turkey head variant, perhaps originating as a pars pro toto of it.
The use of the turkey AK’ in these spellings brings up a couple of interesting points regarding hieroglyphic orthography. First, we have here the rare use of a logogram for purely phonetic purposes (the adverb ak’biiy having nothing to do with turkeys). It also reflects a high degree of phonetic sensitivity in Maya script. As we have seen, the derived form ak’b-iiy results from two morphophonemic process that work on the underlying noun ahk’ab, “night.” The first is vowel syncope. In Ch’olan languages, any stem of more than two syllables, such as that formed by the combination of ahk’ab and -iiy, sees the loss of its penultimate vowel, in this case a (Kaufman and Norman 1984:86). The second process is the loss of the h before a cluster of two consonants. The root for “turkey” is ak’, lacking the internal h we find in ahk’ab. As Marc Zender has pointed out to me (personal communication, 2020), a spelling such as a-AK’-bi-ya appears to be a remarkably precise means of representing the phonetic result of these standard processes. A similar situation presumably exists in the spellings of the verb for “dance,” usually spelled AK’-ta-ja (see Grube 1990), at times with the very same AK’ turkey sign. The proto-Ch’olan verb root is ahk’ot, and the addition of the intransitivizing suffix -aj necessitates the same two processes just described, the result being ak’t-aj, “(s)he dances.”
Thus far I have not encountered the temporal adverb ak’biiy outside of the context of moon age records. This is not terribly surprising, given how Lunar Series passages focus on short-term time frames involving less than thirty days, sometimes focused on time changes within a single day, as in sahm-iiy.
Moon Ages and Correlations
The ak’biiy huliiy statements may be significant in considering the astronomical correlations of certain Maya calendar dates. For example, the Long Count on Quirigua, Stela F is 18.104.22.168.0 1 Ahau 3 Zip, falling on March 11, 761 according to the 584283 correlation. This is astronomical new moon, which occurred in the pre-dawn hours of that day.
New Moon First Quarter Full Moon Last Quarter
Mar 11 05:43 Mar 18 01:19 Mar 25 04:59 Apr 2 05:49
(dates and times in Universal Time minus 6 hours).
It should be emphasized that astronomical new moon describes a phase of complete invisibility before the first sliver of the crescent is visible. Yet we know in Maya terms that the moon’s “arrival” was its first appearance to the naked eye, as discussed above, and as indicated by the visual forms of several HUL logograms (Prager 2020). It is very difficult to see the young waxing crescent of the moon within 24 hours of astronomical new moon, in fact, suggesting that visibility with the naked eye during the night spanning March 11 and 12 would have been extremely unlikely. The night of March 13 is a more likely time for the moon’s true “arrival” and visibility. If we align these lunar phenomena with the different correlation constants for 22.214.171.124.0, we have:
584283, night of March 11, 761 – Astronomical new moon (invisible)
584284, night of March 12, 761 – initial waxing crescent, minimal visibility
584285, night of March 13, 761 – waxing crescent, newly visible
584286, night of March 14, 761 – one day after visibility
Here we see that the moon record on Stela F, explicitly stating that the moon “arrived yesterday,” accords best with either the 584285 (March 13) or perhaps even more so with the 584286 correlation (March 14) proposed by Martin and Skidmore (2012).
The ak’biiy huliiy date on Zoomorph O’ is the accession of the ruler we know as “Sky Xul,” on 126.96.36.199.18 9 Edznab 1 Kankin. In the 584283 correlation this falls on October 9, 785. New moon, the period of invisibility, had occurred just before midnight on October 7, into October 8, and would have continued for another 24 hours. First visibility would most likely have been no earlier than the night of October 10 or 11.
New Moon First Quarter Full Moon Last Quarter
Oct 7 23:02 Oct 15 17:35 Oct 22 08:42 Oct 29 12:08
(dates and times in Universal Time minus 6 hours).
Using the 584285 constant, the accession date is October 11, and with the 584286 it falls on October 12. The ak’biiy statement on Zoomorph O’ therefore is in keeping with either of these correlations, but not so much with the 584283. Of the two, the 584286 may even seem more fitting, marking the arrival of the moon, or first visibility, on October 11. Zoomorph G celebrated the Period ending 188.8.131.52.0 5 Ahau 3 Muan, only 22 days after the accession of Sky Xul. Its moon age is recorded is recorded as 23 days, precisely what we would expect if we reckon from Zoomorph O’ and its ak’biiy statement of the moon being first visible on October 11. It is worth noting that these two uses of ak’biiy at Quirigua also correlate well with the probable eclipse record at Santa Elena Poco Uinic Stela (July 16, 790), which seems best anchored in the 584286 correlation, as discussed by Martin and Skidmore (2012).
These are only cursory observations about the correlation issue, and far more thought needs to go into these questions. The main point to stress is that, until recently, Maya epigraphers simply classified the two glyphs we can now read as ak’biiy and sahmiiy as general indicators of “new moon.” Now we can be more precise about their meanings. One is “earlier today,” and another is “yesterday.” The implications of these decipherments should be pondered further, for they might help in fine-tuning the correlation of the ancient Maya calendar with our own.
Kaufman, Terence, and John Justeson. 2003. A Preliminary Mayan Etymological Dictionary.
Kaufman, Terrence, and William Norman., 1984. An Outline of Proto-Cholan Phonology, Morphology and Vocabulary. In: J.S. Justeson and Lyle Campbell (eds.), Phoneticism in Mayan Hieroglyphic Writing, 77-166. Institute for Mesoamerican Studies Publication No. 9. SUNY, Albany.
Keller, Kathryn, and Plácido Luciano G.. 1997. Diccionario Chontal de Tabasco (Mayense). Serie de Vocabularios y Diccionarios Idígenas “Mariano Silva y Aceves,” Número 36. Tucson: Summer Institute of Linguistics.
Knowles, Susan Marie. 1984. A Descriptive Grammar of Chontal Maya (San Carlos Dialect). Ph.D. Dissertation, Tulane University.
Martin, Simon, and Joel Skidmore. 2012. Exploring the 584286 Correlation between Maya and European Calendars. The PARI Journal 13(2):3-16.
MacLeod, Barbara. 1990. Deciphering the Primary Standard Sequence. Ph.D. Dissertation, Department of Anthropology, University of Texas, Austin, TX.
Morán, Pedro [sic]. 1935. Arte y diccionario en lengua cholti. Edited by William Gates. Maya Society publ. 9.
Prager, Christian. 2020. A New Logogram for “to Arrive” – Implications for the Decipherment of the Month Name Cumku. Textdatenbank und Wörterbuch des Klassischen Maya, Research Note 13. Universität Bonn.
by David Stuart (The University of Texas at Austin)
This brief note presents evidence for the decipherment of Maya hieroglyphic sign syllable k’o in Maya hieroglyphic writing (Figure 1). While not a common element of the script, it has enough appearances and varied contexts to allow for a number of significant new textual readings and understandings, some of them touched upon here. Seeing this sign as a CV syllable represents a change of heart in my own thinking regarding the sign’s function, which earlier I had assumed to be a logogram of unknown value (Stuart 2012). Its syllabic function now seems clear however, based on substitution patterns and in light of the discovery of Altar 5 from La Corona, where it appears in a previously unknown verb spelling that strongly indicates a k’o value (Stuart, Canuto, Barrientos and Gonzalez 2018).
First a word on the sign’s graphic form. At first glance it appears to be composed of two elements and in fact Thompson, in his well-known sign catalog (1963), designated its components as two separate signs: T174:530. However, from its varied contexts it is clear that that it is a single element whose form varies little of the course of several centuries. The sign appears in both Early and Late Classic contexts, and as far as I am aware it does not appear in the codices. Its graphic or iconic origin is difficult to discern, but it seems to reflect a “stony” substance, given the common “cauac” markings on both lower and upper part. It is important to distinguish the sign under consideration from the similar combination of T174:528, where the lower part is the standard “cauac.” The upper element (T174) appears in a variety of other signs, including the logogram SIBIK (“ink, soot, charcoal”) proposed long ago by Nikolai Grube, and in the sign representing ink within a shell inkpot, possibly the syllable t’o (Zender 2004:260).
The sign in question is not the first k’o syllable identified in Maya writing. Another k’o representing a closed hand or fist was proposed a number of years ago by Linda Schele (Figure 2a). Her reasoning was based on the sign’s appearance with -jo in contexts that suggested the reading k’oj, “mask,” including the spelling of the personal name YAX-k’o-jo a-ku, Yax K’oj Ahk, which I would translate as “Green Mask Turtle” (Schele 1992:122-123) (Figure 3c) (Schele at the time advocated for a mythical role of this name, whereas I prefer to see it as a historical personage, associated with the court near Chancala, Chiapas). Her identification of the fist variant of k’o came to be widely accepted, especially in light of its consistent appearance with other Co value signs (Figure 2b-d). This sign is perhaps best known in the spellings k’o-ba or k’o-jo-ba that appear as part of the so-called “era expression,” a standardized sequence of terms usually associated with the supposed start date of the Long Count, 184.108.40.206.0 4 Ahau 8 Cumku (Figure 3). There has long been a temptation to see these pointing to the root k’ob found in the Yucatecan word for “hearth,” k’óoben, but such an analysis seems unlikely, as it is cognate to an original root k’uub found in Eastern Mayan languages (see Kaufman and Justeson 2003: 438). As we will see, its range of contexts and the occasional inclusion of jo suggest a more likely connection to the root k’oj or k’oh and related words for “mask, image,” as in the spellings first noted by Schele.
As shown in Figure 4a below, this hand variant of k’o appears in a woman’s name on Tortuguero Monument 8 (Figure 4a), spelled IX-ya-na-k’o-jo, perhaps Ix Yan K’oj (the fist is oriented differently, but this is a known pattern of variation of k’o signs at nearby Palenque). In an alternate version of the name on Monument 6, the fist looks to be replaced by T174:530 (Figure 4b). These appear in parentage expressions for the local ruler Bahlam Ajaw (see Gronemeyer 2004), so there can be little doubt they refer to his mother, as alternate spellings of the same name. In the case of Monument 6 (Figure 4b), the form of the final jo sign first identified by Houston (1988) appears more elaborate than what we usually see, with the addition small u-shaped nubbins to one side and a “ma”-like element above. I believe that these are features of the jo sign’s original and unabbreviated form. Figure 5 shows a range of jo forms over time. Working from the idea that the final element in the name on Monument 6 is jo, I then considered the possibility that T174:130 might be an alternate version of k’o.
A similar substitution also appears in spellings of a term found on several small stones that evidently served as censer stands or pedestals. These appear to be based on the same “image, mask” term noted above k’ojob ~ k’o(h)ob), where we see the “fist” k’o alternating with the new form under discussion here (Figure 6). The spellings are either U-k’o-ba li, possibly for u k’o(h)ob-il,”the image of…,” or the slightly more elaborated U-k’o-ba-TUUN-li, for u k’o(h)ob tuun-il, “the image-stone of…”. This agrees with Schele’s early ideas on k’o-ba or k’o-jo-ba in other contexts. K’ojob or k’o(h)ob are based on the noun root k’oj or k’oh, “mask, image” (note Chontal k’oh-op, “mask”), and they are fitting terms of reference for these small stone pedestals carved with personal portraits. I suspect these sculptures may have served as the bases for ceramic effigies or burners. At Palenque, these inscribed censer stands assume a more elaborate form as upright, three-dimensional heads (Figure 6c), stone versions of the massive ceramic stands found throughout the Cross Group and elsewhere (Cuevas García 2008). It seems reasonable to suppose that, at Palenque at least, a k’o(h)ob tuun is a stone version of a k’o(h)ob, an “image” or “mask” that would refer to the ceramic forms of such portraits.
Taken together, the evidence suggests a value of k’o for the single sign T174:130, and its appearance on Altar 5 of La Corona, in a previously unknown spelling, adds what I take to be a final confirmation (Stuart, et. al. 2018) (Figure 7). This verb appears at block 9, a CVC-Vy intransitive spelled ?-to-yi, where the initial sign is T174:530. We can assume, on the basis of synharmony, that we have a verb with the shape Cot-oy, indicating that the first sign is syllabic Co. As far as I can determine there is really only one attested intransitive root in Ch’olan languages that fits this pattern: k’ot, as in Ch’orti’ k’otoy, “to arrive (there)”. What immediately follows in the second part of block 9 ought to be a place name, and it seems to be written with the skeletal head variant of BAAK before TUUN-li. I’m guessing this is a name for a place where a local lord named Chak Tok Ich’aak journeyed to celebrate the Period Ending. The narrative here is highly unusual, but it seems to fit the well-known pattern we see in later La Corona texts, where local lords are often on the move to other locales.
The k’o reading is further strengthened by its appearance in yet another spelling of another distinctive –Vy verb, this time on a lidded tripod excavated long ago in Burial A19 of Uaxactun (Smith 1955:fig.8j) ceramic report (Figure 8a). This looks to be lo-k’o-yi, as a fully syllabic version of the familiar verb lok’oy, “he leaves, exits,” that is otherwise spelled as a logogram despicting a snake emerging from a hole (Figure 8b). The context of the verb makes it difficult to confirm its semantic role, but the syllabic combination is nonetheless highly suggestive, lok’-oy being one of the very view possible correlates.
One common setting for this new k’o syllable is in the glyph that I had previously analyzed as a noun meaning something like “effigy,” even though its phonetic reading was then unclear (Figure 9). Its uses at Palenque, Copan and Quirigua suggested that it refers to an object that is venerated, associated with deceased rulers or patron deities — what I called a “commemorative thing.” It was in this environment that I originally supposed that T174:130 functioned as a logogram, but I was mistaken in retrospect. As Stephen Houston has pointed out to me, if we analyze this grouping of signs as ya-k’o-la, we may well have the possessed noun y-ahk’ol, which we know is a relational noun for “above” or “on top of” in lowland languages (pCh *ahk’ol, Yuk *ok’ol). In the main inscription on Copan’s Altar Q, y-ahk’ol appears before the name of the dynastic founder, K’inich Yax K’uk’ Mo’. Here it seems that the dedication of an object (perhaps of a K’awiil effigy?) occurred “above” the deceased king — an apt physical description of the altar’s placement before Structure 16, atop Copan’s deep architectural stratigraphy, on the general axis point of the Hunal tomb where the founder was buried. Houston and I are presently completing an article that explores the important spatial aspects of the term ahk’ol, and its archaeological implications at Copan, Quirigua and elsewhere (Stuart and Houston, n.d.).
In the tablets of Palenque’s Temple of the Inscriptions, this same term occurs in passages pertaining to the dressing and bejeweling of the three local patron deities known as the Palenque Triad (Macri 1990). There the ya-k’o-la glyph occurs as part of a repeating phrase u k’alhu’n yahk’ol…, “(it is) the paper (headband)-raising above…,” followed by the names of the Triad gods. This would seem to be in reference to the ritual adornment of gods or god-effigies with hu’n paper-cloth, perhaps headbands or headdress streamers much like those attested in the presentation of Aztec deity images.
This informal note provides a quick outline of the evidence behind the new k’o variant. I believe it emerges from the varied settings as a firm reading, forcing me to change my earlier thinking on the sign’s possible role as a logogram. One question that remains is whether this k’o syllable can be reduced to T174 by itself. I suspect this may prove to be the case, but I have yet to come across a definitive example. Also, there are a few other contexts of this k’o sign at Copan, Holmul, and other sites that remain to be fully analyzed and explained, and these may await further discussion in Maya Decipherment.
I thank Tomás Barrientos, Dimitri Beliaev, Marcello Canuto, Stephen Houston, Simon Martin and Marc Zender for their help in the research leading up to this note.
Cuevas García, Martha. 2008. Los incensarios efigie de Palenque. Mexico, D.F.: UNAM and INAH.
Houston, Stephen D. 1988. The Phonetic Decipherment of Mayan Glyphs. Antiquity, 62(234), 126-135.
Gronemeyer, Sven. 2006. The Maya site of Tortuguero, Tabasco, Mexico: Its History and Inscriptions. Acta Mesoamericana vol. 17. Markt Schwaben, Germany: Verlag Anton Saurwein.
Macri, Martha. 1990. Prepositions and complementizers in the Classic Period inscriptions. In Sixth Palenque Round Table 1986, ed. by V. Fields, pp. 266-272 (Merle Greene Robertson, series editor). Norman: University of 0klahoma Press.
Schele, Linda. 1992. Workbook for the XVIth Maya Hieroglyphic workshop at Texas, March 14-14, 1992. Department of Art and Art History and the Institute for Latin American Studies, The University of Texas.
Smith, Robert E. 1955. Ceramic Sequence of Uaxactun, Guatemala, Vol. II: Illustrations. MARI Publication no. 20. New Orleans: MARI, Tulane University.
In 1990 Jorge Orejel, then a graduate student at the University of Texas at Austin, made an important contribution to Maya epigraphy with his decipherment of the “axe/comb” hieroglyph as ch’ak, “to chop” (Orejel 1990). This glyph appears in the Dresden Codex as well as in historical inscriptions where it represents a term for conquest and military defeat, as we have explored recently in the complex chronicles of warfare on Naranjo’s Stela 12. Jorge wrote his decipherment in the series Research Reports on Ancient Maya Writing, published by The Center for Maya Research and its later iteration, the Boundary End Archaeological Research Center. Several years ago he submitted another study on the fascinating text on Step VII of Yaxchilan’s Hieroglyphic Stairway 2, where the same ch’ak verb occurs three times in a mythological context. My father George Stuart, the editor of the RRAMW since it inception, was ill around the time Jorge submitted his second contribution, and with my dad’s passing in 2014 the paper failed to appear as part of that long-lasting series.The Research Reports may yet be re-conceived as an ongoing publication, but in many ways its function has been supplanted by other outlets, including this Maya Decipherment blog. In that spirit we here present Jorge’s paper at long last in on-line form, without further delay, appearing many years after it was first written.
I would like to thank Jorge for his infinite patience, and to Jeff Splitstoser for his hard work in getting the article formatted.
– David Stuart
Orejel, Jorge L. 1990. The “Axe/Comb” Glyph as ch’ak. Research Reports on Ancient Maya Writing, number 31. Center for Maya Research, Washington, D.C.
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.
The written history of the Classic Maya names many important war captives, most of whom are only vague to us as historical figures. Typically they appearin terse statements such as “so-and-so was captured,” with little if any historical context. For example, we know precious little about “Jeweled Skull,” the celebrated prisoner of Yaxuun Bahlam IV (Bird Jaguar IV) of Yaxchilan, nor do we know the backstory of K’awiil Mo’, the Palenque lord taken by the king of Tonina. This shouldn’t be too surprising, since many of these obscure characters were warriors or junior members of rival courts, not terribly prominent even in the records of their home communities. Exceptions come about when high kings are defeated and taken, such as the Copan ruler Waxaklajuun UBaah K’awiil, who was famously defeated in war by his Quirigua rival.
Here I point to another interesting exception, a prisoner who seems to have had an eventful life both before and after he was taken as a prisoner of war. His name was Xub Chahk (or perhaps Xuxub Chahk, “Whistling Chahk”), and he ruled at the present-day site of Ucanal during the late eighth century (Note 1). In 796 CE he was captured by the king of Yaxha, K’inich Lakamtuun, during a time of unusual political instability and warfare in the eastern Petén, spurred by the wars of an aggressive ruler of Naranjo named Itzamnaaj K’awiil. A handful of inscriptions of the period highlight these wars, especially Naranjo’s Stela 12 and the recently excavated “Komkom Vase” from Baking Pot, Belize. Xub Chahk (as we will call him) was on the losing end of the conflict with Yaxha, but from there his story continued and took on new complexity. As I will explore here, he was later displayed as a prisoner of Caracol’s king, years after his capture. Somehow he was “transferred” from one kingdom to another and perhaps even had a longer life than most war captives. Xuxub Chahk’s complex story consists of short, terse episodes of written history, and the means by which we can interpret them relies (as is usually the case) on circumstantial evidence and a good deal of reading between the lines. Nevertheless, his narrative seems unique in the annals of Classic Maya history, as a ruler of one realm who became a prisoner of two others.
Yaxha Stela 31 and the Capture of Xub Chaak
What we know of Xub Chahk’s story begins in 796 CE with Stela 31 of Yaxha, a Late Classic monument that was erected in that site’s Plaza E, just to the south of the impressive North Acropolis (Figure 1). The front of the stela displays a complex scene of what might be called “ritual capture,” with a richly dressed warrior-king – clearly a god-impersonator – standing above a diminutive captive who is stripped of nearly all clothing. The inscription of six glyph blocks (A1-B3) provides some key historical information about the scene (Figure 2).
The Calendar Round (CR) date is 13 Ix 2 Zac, followed by a playfully conflated spelling of the verb chuhkaj, “(he) was captured” (chu-ka-ja, with the first and third syllabic elements graphically combined). Using a date recorded on the left side of the stela (to be discussed momentarily) we can narrow down the CR date to 12 Ix 2 Zac CR date to 18.104.22.168.14, or August 11, 796 CE. The name of the captive comes in the following two blocks followed by what seems to be a title at B3, with a damaged glyph topped by AJAW.
Inspection of the details on the original monument shows that the name is spelled xu-bu (B2) CHAHK-ki (A3), and the final glyph is surely K’AN-na-WITZ-NAL-AJAW(B3). This is the place or emblem glyph we know to be associated with the archaeological site of Ucanal, Guatemala, located approximately 22 kilometers to the south of Yaxha (first identified by Peter Mathews) (See Stuart 1987). The text on the stela’s front is therefore a simple and direct statement of a conflict with Ucanal and of Xub Chahk’s capture.
We also find two small glyphs within the scene, placed just above the head of the small captive (see Figure 1). The two glyphs are somewhat eroded but they clearly seem to constitute another Calendar Round date. Visible is the day 12 Ben and an eroded month sign that is surely one of the Sihoom months (Ch’en, Yax, Zac, and Ceh). I suspect that this msut be 12 Ben 1 Zac, exactly one day prior to the date recorded in the main caption, thus 22.214.171.124.13 12 Ben 1 Zac. Why would it be included here as a “secondary text”? We can speculate that the smaller date, more integral to the scene that the larger caption above, gives us the specific time of the defeat in battle, whereas his formal capture and tying-up came a day later. Whatever the case, it is interesting that the ancient historian and designer who composed this complex scene decided to differentiate the two events.
The inscribed sides of the monument begin with a Calendar Round for the Period Ending 126.96.36.199.0 9 Ahau 3 Ceh, which is most likely the stela’s dedication date. Some hieroglyphs are difficult to make out due to erosion and damage, but the last three on the left side, following the date, seem to record one or more ancient place names corresponding to the location of the stela. One of these locational glyphs reads hi-HIX-BIH-TUUN-ni, hix bihtuun, “Jaguar Causeway(?),” perhaps the proper name of the plaza or alternatively of the long sacbe feature running roughly north-south from Lake Yaxha towards the Maler Group. Stela 31 is located directly on this path, just to the east of the site’s massive E-Group. Several hieroglyphs on the right side of the stela are also damaged or missing, but clearly at the end we find mention of a scattering ceremony and the recognizable name of K’inich Lakamtuun, one of only a handful of historical names we can associate with Yaxha’s dynasty (Figure 3). This ruler, the last we know from Yaxha’s history, is otherwise known from his portrait on Yaxha Stela 13, dedicated a few years earlier on 188.8.131.52.0, and, as we will see, also through several mentions in historical texts from Naranjo and Baking Pot, Belize, where he appears as the victim of military attacks against Yaxha in the year 799 (Helmke, Hoggarth and Awe 2018:70-71). We can be sure that K’inich Lakamtuun is the victorious warrior depicted on Stela 13 a few years before this own defeat at the hands of Naranjo’s ruler.
Stela 31 is an unusual sculpture. K’inich Lakamtuun wears a massive ornate headdress and he seems to move with a bit more dynamism than we usually see in a Maya king. His spear appears as a diagonal line running toward the prisoner, clearly indicating the moment of capture. Depictions of captives are common on stelae, of course, but such scenes of violence and defeat are exceedingly rare on the monuments of the central lowlands. Far more common are the standard portraits of kings or queens in their ritual attire, overseeing a Period Ending and from time to time accompanied by a depiction of a bound prisoner.
The scene is also highly unusual among other capture scenes in Maya art in being overtly mythologized. K’inich Lakamtuun is far more than an armed warrior; he displays the features of the Jaguar God of the Underworld, and his massive headdress looms above, replete with cosmological and ancestral imagery. The three large hieroglyphs at the very bottom of the scene emphasize the ruler’s divine attributes, stating that the capture “is the work of Chak ? Ik’ Chiwooj?,” a name that corresponds nicely with the jaguar attributes of the portrait. We can assume that this is the supernatural identity of K’inich Lakamtuun, given he is the protagonist of the stela and the side inscription.
Stela 31’s record of a war between the rulers of Yaxha and Ucanal is the first known historical connection between these two important centers of the eastern Peten. Their relationship must have been eventful over the course of the Classic period, however, given their close proximity, yet this history is largely missing due to the relative lack of legible texts at both sites, despite their importance, have very few legible inscriptions. Those of Yaxha are badly fragmented and date mostly to the Early Classic era. Of its Late Classic monuments, only Stela 13 and 31 have any legible contents and both date to the reign of our protagonist K’inich Lakamtuun. Ucunal’s surviving texts are small in number as well, and cluster more toward the Terminal Classic era, without a single identifiable mention of Yaxha. One of its prominent rulers of the Classic period was Itzamnaaj Bahlam, who would later be captured by K’ahk’ Tiliw Chan Chahk of Naranjo in 701 CE; presumably he was Xub Chahk’s distant predecessor on the throne, and likely a royal ancestor.
K’inich Lakamtuun’s own personal history as a ruler of Yaxha provides a good case study of the political infighting among kingdoms in the region at the end of the eighth century. We have direct indications that he ruled at Yaxha in 793 (Stela 13) and in 796 (Stelae 31), but he was defeated by Naranjo’s king Itzamnaaj K’awiil only short time later, in 799, as recorded as part of a very complex historical narrative recounted on the back of Stela 12 of Naranjo (see Figure 6). In that inscription Yaxha is repeatedly cited as a target of attacks and conquests throughout the summer of that year, seemingly led by Itzamnaaj K’awill against his enemy K’inich Lakamtuun, who ultimately was captured on or before September 4, 799 (184.108.40.206.13 1 Ben 6 Ceh). K’inich Lakamtuun’s capture of Xub Chahk was only a short-lived victory, therefore, for he himself was forced to flee Yaxha on at least two occasions before being captured only three years later. But what was the fate of his own illustrious prisoner?
Caracol Altar 23 and the Display of Xub Chahk
Altar 23 of Caracol was dedicated on the Period Ending 220.127.116.11.0 10 Ahau 8 Zac (August 16, 800 CE), just shortly after the accession of the new local ruler K’inich Joy K’awiil (Figure 4). It was one of several monuments dedicated on this date, representing a time of significant political and artistic revival at the site after a number of years of relative quiet. The well-preserved sculpture presents two bound captives who each sit upon large table-like stones or “altars” in a bilateral composition, surrounded by text captions (Chase, Grube and Chase 1991:7-11). It is likely that Altar 23 itself was once such a pedestal monument, and that the carved image is self-referential, depicting two unfortunate prisoners who were separately displayed on Altar 23 as part of the celebration of the new king’s Period Ending.
The main text of the altar is placed in a vertical band between the two prisoners, opening with a record of the 10 Ahau 8 Zac (A1-B1) or 18.104.22.168.0. The ensuing two glyphs note that the Peried Ending is u k’altuun, (U-K’AL-TUUN) “his stone-raising,” ti tahnlamaw, “at the half-diminishing” (a half-period). The name of the ruler K’inich Joy K’awiil comes next at C1 (K’INICH-JAY-K’AWIIL-li), followed by the standard Caracol emblem title at C2 (k’uhul k’antu[?] maak). The main passage continues with a second verbal statement directly related to the scene, opening with chuhkaj, “he is captured” and a non-specific subject, simply given as U-BAK-ka, u bak, “his prisoner(s).” The owner of the captives is then given with the following three blocks as a lord named Tum Yohl K’inich (C4: tu-mu-OHL-K’INICH), accompanied by the titles “three k’atun lord” (B4) and baahkab (B5: ba-ka-ba). It is noteworthy that Tum Yohl K’inich – no longer the king at this time — lacks the distinctive Caracol emblem glyph we found earlier with K’inich Joy K’awiil. The final glyphs of the main passage tell us that the capture episode was “overseen” by K’inich Joy K’awiil (D1), who does take the emblem (D2) and an additional bahkaab title (D3). Evidently we have a complex relationship to ponder here, between the current Caracol king and another person who bears a familiar name found with several other Caracol rulers. We will return to this question momentarily.
Each of the captives is identified by name and place of origin. The short glyph caption behind the figure at left reads LEM?-TI’-BAHLAM, probably for Lem Uti’ Bahlam, “Shining is the Mouth of the Jaguar.” He also has an emblem glyph title, labelled as the k’uhul ajaw or ruler of a dynasty or place bi-TAL or BIH-TAL. No archaeological site has been ideitified as yet with the name “Bital” (as I will provisionally refer to it) but we know of three other mentions of the site, two from war records at Naranjo (see Chase, Grube and Chase 1991:9), and another from an Early Classic vessel more recently excavated in a tomb at Caracol. The place named Bital presumably exists somewhere in the area of these two sites. The caption continues with ye-te, a relationship term perhaps based on et or eht (y-et, “his companion”[?]), and then with the name we have already seen, Tum Yohl K’inich or Tutum Yohl K’inich.
Turning to the portly captive shown at the right on Altar 23, his caption reads xu-bu-cha-ki (G1) and he carries the Ucanal emblem glyph (G2: K’UH-K’AN-WITZ-NAL-AJAW). This of course repeats the prisoner’s name on Yaxha Stela 31. He again is named as the y-eht, “the companion(?) of” Tum Yohl K’inich (G3, G4). Given the proximity of the dates, the two mentions of “Xub Chahk, the Holy Lord of K’anwitznal (Ucanal)” at Yaxha and Caracol must refer to the same individual. On Stela 31 his capture by K’inich Lakamtuun was given as August 11, 796, and on Caracol Altar 23 we see him presented — and also “captured” — nearly four years later to the day, on August 16, 800.
To my knowledge this this the first attested example of one captive being portrayed as a prisoner at two sites, and it naturally raises a number of interesting questions. These center not only on Xub Chahk’s unfortunate history, but to some extent on the nature of Maya warfare and history during this turbulent period at the beginning of the Terminal Classic.
The Wars of 799
How did Xub Chahk, captured by Yaxha’s king, end up four years later on display at Caracol? As with much of Maya history this is impossible to answer through direct evidence. Apart from Stela 31 and Altar 23, no historical sources at our disposal make reference to Xub Chahk, nor do any texts fill in the blanks about his apparent “transfer” or movement from one site to another. However, it is important that we view his story in the larger historical context of those times, and specifically within the setting of wider political instabilities at the very end of the eighth century.
As we have seen, this was an era of frequent conflict and strife in the region of the eastern Petén, as especially revealed by two important sources — Stela 12 of Naranjo and the extraordinary “Komkom” Vase recently excavated at Baking Pot, Belize (Helmke, Hoggarth and Awe 2018). Stela 12’s very long text (Figure 5) focuses on a series of military engagements waged by the Naranjo king Itzamnaaj K’awiil against Yaxha (Stuart 1993:414-5), leading up to the Period Ending 22.214.171.124.0 (Note 1). This important narrative has gained renewed attention based on fascinating parallels between it and the lengthy text on the Komkom vase, which Helmke has found to repeat much of the same historical informatiot with a slightly different “spin” and perspective (see Helmke, Hoggarth and Awe 2018:82-86). The vase was produced much later than the history its text recounts, in the early ninth century, as a record of retrospective history – perhaps as a gift or “momento” of wars in the recent past.
Stela 12’s long storyline contains a nine very closely grouped dates, beginning in February 15, 799 and leading up to the Period Ending 126.96.36.199.0 on August 16, 800 (the same date we saw recorded on Caracol’s Altar 23). A number of war-related events such as conquest and “fleeing” are mentioned over these eighteen or so months, several involving attacks on Yaxha. The first of these occurs on 188.8.131.52.16 12 Cib 9 Uo, or February 18, 799, when we read of a conquest of some unknown locale named Ux K’awiil, said to be “within Yaxha” (tahn ch’een yaxa’) (see Helmke, Hoggarth and Awe 2018:68) (Figure 5b). Part of the passage is damaged, but it continues with a verb reading ahn-i “he flees” (AN-ni, using an interesting logographic variant of the more common syllabic a-ni spelling also found in this text), suggesting an event of conquest or disruption (Note 2). The subject is effaced, but given patterns later in this same text and parallel metnions on the Komkom Vase, it was surely K’inich Lakamtun who “fled” on this day (Helmke, Hoggarth and Awe 2018:70-71). An accompanying verb of movement t’ab-iiy, “goes up (to)” appears next on Stela 12, with an unclear place name and subject. Again we find a parallel on the Komkom Vase, where the a place name is preserved, spelled u-su-la, possibly for Usu’l (ibid.:71). Even these ambiguities and unclear participants, it is clear that this passage on Stela 12 features an attack on Yaxha and the displacement K’inich Lakamtuun as a result. And it is the first of several such statements, each echoing the same general pattern.
Fifty-five days later, on 184.108.40.206.11 2 Chuen 4 Tzec, we read:
2-KAj?-yi K’INICH-LAKAM(TUUN) YAX-a-AJAW ?-?-?K’AWIIL?-li MUT-AJAW-wa cha’ kahji k’inich lakamtuun yaxha’ ajaw u kabjiiy(?) k’awiil mutul ajaw
He settled(?) again, K’inich Lakamtuun, the Yaxha Lord, by the doing of ?, the Mutul Lord.
This statement (not illustrated here) is important in bringing Tikal into this complex political mix, as the overseer or patron of the K’inich Lakamtuun. The main verb at the beginning of the text refers to the establishment or “founding” of ruling centers, and perhaps reads KAJ, for kaj, “start, begin, settle,” as suggested by Dimitri Belaiev (personal communication 2015). Evidently K’inich Lakamtuun had been in exile from Yaxha, perhaps having fled at the time of the initial attack recorded against Yaxha, on 12 Cib 9 Uo. This new statements suggests that he may have returned from exile after a period of 55 days, or was otherwise somehow reinstated, under the watchful eye of Tikal’s own ruler. Tikal’s role here is fascinating, for the use of the term u kabjiiy implies a hierarchical relationship as the political superior of Yaxha – a relationship that resonates also in the archaeology and architectural layout of Yaxha, with its Twin Pyramid group. And it is worth noting that around 799 CE Tikal’s own dynastic record is largely invisible. No monuments of the time appear at Tikal, so that the royal name on Stela 12, while damaged and unreadable, would have filled an important gap in the later portions of Tikal’s dynastic sequence.
Stela 12 continues by noting that 91 days after K’inich Lakamtuun’s possible re-enstatement at Yaxha he was again attacked by Narnajo on 2 Ik 15 Ch’en (220.127.116.11.2)(Figure 5c). The verb has the numerical adverb cha’, “two,” or “again,” and his destination is different, though unclear. The first glyphs of the passage read:
2-CH’AK-ja YAX-a a-ni K’INICH-LAKAM(TUUN)-ni T’AB-yi ya-?-? cha’ ch’ahkaj yaxha ahni k’inich lakamtuun
“Again Yaxha was attacked and K’inich Lakamtuun fled”
As Helmke, Hoggarth and Awe (2018:69) note, a parallel episode is recorded on the Komkom vase, coming four days later on 18.104.22.168.6 6 Ik 19 Ch’en. On this day K’inich Lakamtuun (with a misspelled name) was the victim of an attack. The common phrasing and circumstances suggests that this must refer to the same overall episode as recorded on Stela 12, although on a slightly different historical time-frame.
K’inich Lakamtuun’s fate gets worse, as we continue to read the account on Stela 12. On 22.214.171.124.13 1 Ben 6 Ceh he falls victim to yet another “axe” event, a defeat at an unknown locale when for a third time the Yaxha ruler must flee (ahn-i) to another place. Subsequent passages on Stela 12 go on to refer to the Naranjo’s sacking and taking of Yaxha’s wealth (in the final columns of the text we read y-ikaatz yaxa ajaw, “the load ([of jade] of the Yaxha lord”), an extraordinary statement regarding the material consequences of Maya warfare (Note 3).
The day 1 Ben 6 Ceh appears to represent the culmination of prolonged warfare by Naranjo against Yaxha. In fact the same date is highlighted as a single, freestanding event in the fascinating inscription on Naranjo’s Stela 35, a monument dedicated on the same Period Ending as Stela 12, but couching the conflict in more mythological terms. There war is described as a like-in-kind recurrence of a primordial “burning” of a god, or group of gods, whose names look identical to those cited on Stela 31 of Yaxha as the supernatural identities of K’inch Lakamtuun. The attack on Yaxha’s king on 1 Ben 6 Ceh involves the “axing” of a temple and the defeat of K’inich Lakamtuun’s god, clearly a historical reflection of that earlier myth. Thus Stela 12 and Stela 35, both dedicated on the same day, serve complimentary roles as historical and mythic records of warfare.
These two Naranjo texts can be analyzed in far more detail, but I need not go over them here, especially given the excellent new comparative analysis of Stela 12 by Helmke and his colleagues. Suffice it to say that Xub Chahk’s capture and subsequent “transfer” must be understood in terms these unusually detailed records of conflict in the year 799, when his own captor was constantly on the run across the eastern Peten.
The attacks against Yaxha by Naranjo’s king in the 790s apparently involved some degree of inter-familial strife, given the close dynastic connections between the two centers. Several mentions of Itzamnaaj K’awiil’s mother in the texts of Naranjo refer to her with the royal title Ix Yaxa’ Ajaw, “The Noblewoman of Yaxha,” revealing that she was married into the Naranjo dynasty as the wife of Itzamnaaj K’awiil’s father, K’ahk’ Kalaw Chan Chahk. Itzamnaaj K’awiil’s wars were therefore against his mother’s home community, and presumably against some fairly close relatives, who might have included K’inich Lakamtuun himself. And the conflicted connections between these two neighboring centers appear to have run very deep. Earlier in Naranjo’s history we read of another conquest or defeat of Yaxha on 126.96.36.199.18 8 Etznab 16 Uo (March 20, 710), given as the Initial Series date on the side of Naranjo, Stela 23. The young king K’ahk’ Tiliw Chan Chahk, the grandfather of Itzamnaaj K’awiil, was the agent of this war. That was a particularly destructive episode, involving the “burning” of the city of Yaxha (its “cave,” ch’een) and the opening and defilement of the tomb of its deceased king, Yax Bolon Chahk. Just a few years later another Yaxha lord participated in a dance performance by K’ahk’ Tiliw Chan Chahk, in 714, as recorded in the opening passage of Stela 30. The wars against Yaxha at the end of the eighth century exhibit a rupture within a complex family network that existed throughout most of the previous decades.
Xub Chahk is nowhere to be found in Naranjo’s own detailed narratives of the Naranjo-Yaxha war. Was he taken by Naranjo’s court? Or was he set free by Naranjo’s king, as an enemy of an enemy? There is no satisfactory answer at present, but we should keep in mind that Ucanal had itself once been a long-standing enemy of Naranjo, conquered, as we have seen, by Itzamnaaj K’awiill’s grandfather earlier in the seventh century. This might suggest that Xub Chahk would not have met a friendly fate at the hand of the Naranjo king when he defeated K’inich Lakamtuun. By 820 CE Naranjo’s relationship with Ucanal seems to have warmed, as indicated by the ritual visit of a subsequent Naranjo king to that site as recorded on Stela 32. In short, we can’t know the nature of political relations between Naranjo and Ucanal in 799, whether they were amicable or not.
The immediate fate of Xub Chahk is unclear, at least until he reappears at Caracol. It is surely significant that Xub Chahk’s display occurred only a very short time after the accession of its new king K’inich Joy K’awiil on 188.8.131.52.9 6 Muluc 2 Kayab, or December 9, 799. This came after a noticeable gap or hiatus in Caracol’s own history, and within a short time K’inich Joy K’awiil erects a number of new and ambitious monuments, evidently reviving Caracol’s dynasty, at least for a time. We know little of his own family history or genealogical connections, but one possible key in our consideration of Xub Chahk is this new Caracol ruler’s relationship to the person named Tum Yohl K’inich, the “owner” of the captives mentioned three times on Altar 23. That altar says very little regarding Tum Yohl K’inich’s status, only that he was a “three K’atun Lord” and a baahkab. It might seem natural to assume that he was the predecessor of K’inich Joy K’awiil, as Martin and Grube (2000) suggest. Significantly, his name appears also on Caracol, Altar 12, perhaps in association with 184.108.40.206.0 12 Ahau 8 Pax (November 29, 780). The event there seems to refer to the “return” of someone at Ucanal, apparently in the wake of the latter’s defeat by Ixkun (Note 4).
Xub Chahk’s story, framed by these complex and vague interactions between Yaxha, Naranjo and Caracol, represent an especially belligerent moment in Classic Maya history when distinct conflicts, perhaps inter-related in some way, raged over much of the southern lowlands. The wars of the eastern Peten in 799 and 800 seem unusual in their character, at least rhetorically, compared to previous time periods (some earlier Naranjo narratives do anticipate it, however) . Naranjo’s Stela 12 and the Komkom Vase illustrate this interest in the presentation what might be called “concentrated warfare,” with its remarkably detailed narrative presentation, containing numerous dates and episodes of war spanning a remarkably short span of time. Of the ten dates recorded in Stela 12’s inscription, eight are concerned with the narrative of the Yaxha conflict and the ultimate victory over the desperate K’inich Lakamtuun. The similarly unfortunate Xub Chahk was an unwilling companion in the content movements of his captor.
Here it is also important to recall how Stela 31’s scene of violent, mythologized capture also falls well outside of the local traditions of stela design and thematic content. Before 800 or so, such overt images of war are virtually non-existent in Yaxha’s own monuments, nor are they very present in the overall artistic traditions of monument production in the central Petén. Such active depictions of capture simply don’t exist at Tikal, Uaxactun, Naranjo, and nearby centers. They are of course more standard in sculptures of the Usumacinata region, where reminiscent scenes of violent encounters occur at the centers of Dos Caobas (a regional vassal of Yaxchilan) and Moral-Reforma, also in the western region. Yaxha’s Stela 31 may possibly reflect some influences from western modes of sculpture, and at the very least represents an important departure in subject matter, much in the same way as the narrative presentation of war seems different and more intensified in the case of Stela 12, dating to just a few years later.
This lengthy note shines a spotlight on a curious group of events from Maya history when a prominent captive seems to have been kept and displayed at two different centers within the span of a few short years. The political context of Xub Chahk’s capture and transfer remains murky, despite the detailed war records references that come from his time. That his troubled captor was “on the run” during this time is surely part of that larger story, and may well account for Xub Chahk’s own curious movement and displacement. His situation was not unique, perhaps, but it represents a previously under-reported aspect of captives and prisoners in Maya history – that even as prisoners of war, they could have their own complex stories and biographies.
Note 1. Stela 12’s narrative has been studied by several epigraphers since my first notes on its connections to Yaxha in 1993. Most important are Helmke’s excellent consideration of its close parallels with the Komkom Vase, as well as the detailed reading of the texts presented in Beliaev and de Leon (2016:50-60). All of these studies have reached similar conclusions about the inscription’s historical content.
Note 2. The syllabic reading a-ni for ahn-i, “he ran, fled,” was first suggested to me by Stephen Houston in the late 1990s, in connection with its occurrence in the painted cave text of Yaleletsemen, Chiapas. The logographic form showing two legs and a lower torso was first identified by Alfonso Lacadena.
Note 3. In my previous brief study of Stela 12 (in Stuart 1993) I suggested that the mention of y-ikaatz on Stela 12 pertained to bundles of tribute paid by Yaxha as a consequence of its defeat. However, Dmitri Beliaev has shown me (personal communication 2019) that the verbal statement associated with the term is likely baak-w-aj, an alternate term for “capture” that indicates that the bundles were considered war booty.
Note 4. Ucanal’s own history during the Late Classic is extremely patchy, but it seems to have been regularly venerable to military attacks during the eighth century. According to the text on Ixkun, Stela 2, Ucanal (K’anwitznal) was “burned” on 220.127.116.11.4 2 Kan 12 Pop, or December 19, 779. This is probably a statement of military defeat, although the possibility ought to be considered that this also refers to a ceremonial fire of some sort being lit at K’anwitznal. This event came fifty days after Ixkun itself was burned by a ruler of Ucanal, probably indicating a military tit-for-tat between these centers (see Carter 2016). All of this came two decades before Ucanal’s defeat at the hands of Yaxha. The date of Ucanal’s possible defeat in 799 came less than a year before the 18.104.22.168.0 (780) Period Ending recorded as a retrospective date on Caracol, Altar 10, when Tum Yohl K’inich was involved in some sort of noteworthy ceremony at Ucanal. We must wonder therefore if Caracol was somehow indirectly involved in Ucanal’s “burning” in 779. We find no mention of Xub Chahk being present at Ucanal in connection with the events of 779 and 780, perhaps because he was not yet an adult actor.
Beliaev, Dmitri, and Mónica de Leon. 2016. Informe Técnico de Piezas Arqueológicas del Museo Nacional de Arqueología e Etnología. Proyecto Atlas Epigráfico de Peten, Fase III. Centro de Estudios Yuri Knorosov, Guatemala.
Carter, Nicholas P. 2016. These are are Mountains Now: Statecraft and the Foundation of a Late Classic Maya Court. Ancient Mesoamerica 27: 233-253.
Chase, Arlen F., Nikolai Grube and Diane Z. Chase. 1991. Three Terminal Classic Monuments from Caracol, Belize. Research Reports on Ancient Maya Writing, no. 36. Center for Maya Research, Washington, D.C.
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