Jungla de piatră / William Carlsen / Maya- civilizarie, religie, arhitectura
Jungla de piatră
William Carlsen
Early Explorers of the Maya Civilization: John Lloyd Stephens and Frederick Catherwood
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The names of John Lloyd Stephens and Frederick Catherwood are forever linked to the Maya and Mayan studies as the two great explorers who documented the ruins from Copan in the south to Chichen Itza in the north. The stories told by Stephens in his Incidents of Travel in Central America, Chiapas and Yucatan (1841) and Incidents of Travel in Yucatan (1843) complemented by Catherwood's illustrations, focused international attention on the Maya civilization. Catherwood's publication of his book of lithographs Views of Ancient Monuments in Central America, Chiapas and Yucatan (1844) furthered the world-wide interest and lifted the Maya civilization out of obscurity and into world consciousness.
As noted elsewhere, Stephens and Catherwood were not the first explorers of the ancient Mayan sites (though they are routinely designated so). They were, however, the first to visit so many sites and, more importantly, to document what they found there with precision and accuracy.
John Lloyd Stephens was born 28 November 1805 in Shrewsbury, New Jersey, graduated Columbia with a law degree, and practiced law in New York until he was diagnosed with a throat infection. Following the advice of his doctor, Stephens left New York for a change in climate and traveled extensively through Europe, the Mediterranean, Asia Minor, Palestine, and Egypt. These travels would result in the publication of his first two books, Incidents of Travel in Egypt, Arabia Petraea and the Holy Land (1837) and Incident of Travel in Greece, Turkey, Russia and Poland (1838) both of which were immensely popular and earned Stephens the nickname `the American Traveler'.
Frederick Catherwood was born 27 February 1799 in north London and, by his twenties, was already well known as an architect, artist and traveler. He had already published his drawings of structures in Egypt, Palestine, Asia Minor, and Greece and, in 1833, was the first westerner to survey and draw the Dome of the Rock in Jerusalem. The two men met in London in 1836 where Catherwood's panorama `The Ruins of Jerusalem' was on display. Both men were interested in exploring the region so vividly depicted in the published accounts of Mesoamerica by earlier explorers like Antonio del Rio and Juan Galindo and the drawings of Mayan sites by Jean-Frederic Maximilien, Comte de Waldek (Drew, 54-56).They agreed to travel together to the region at the first opportunity.
MANY OF THE NOW-FAMOUS MAYA SITES WERE UNKNOWN EVEN TO THE INDIGENOUS PEOPLE OF THE REGION.
Stephens was famous enough as a world traveler and writer to have President Van Buren appoint him Ambassador to Central America from the United States and he and Catherwood left New York for British Honduras (modern day Belize) on 3 October 1839 (Drew, 37). Though conscious of his diplomatic duties, Stephens was primarily interested in exploring the ancient ruin of Copan and then moving on to Palenque. At this time, many of the now-famous Maya sites were unknown even to the indigenous people of the region. The centuries had slowly covered the great temples and pyramids and turned them into mounds of green hills. Only a few cities of the Maya were known to exist at this time, among them Copan, Palenque, Topoxte/Tayasal (called `Islapag' by Galindo) and the mysterious unnamed city deep in the jungle (which came to be known as Tikal). There were no accurate maps of the region and the two men often discovered sites through word of mouth in conversation (one example of this being Catherwood's discovery of Quirigua). They traveled without any of the extensive entourage which usually accompanied 19th century explorations. They had only a guide, some men to carry equipment, and a crudely drawn map which they had already been told was inaccurate. Even so, this did not stop them from exploring the jungles of Mesoamerica in search of the ancient sites which they had heard of and read about. In his Incidents of Travel in Central America, Chiapas and Yucatan, Stephens writes of his first impressions of Copan:
Diverging from the base, and working our way through the thick woods, we came upon a square stone column, about 14 feet high and three feet on each side, sculptured in very bold relief, and all four sides, from the base to the top. The front was the figure of a man curiously and richly dressed, and the face, evidently a portrait, solemn, stern, and well fitted to excite terror. The back was of a different design, unlike anything we had ever seen before, and the sides were covered with hieroglyphics. This our guide called an `Idol' and before it, at a distance of three feet, was a large block of stone, also sculptured with figures and emblematical devices, which he called an altar.
The sight of this unexpected monument put at rest at once and forever, in our minds, all uncertainty in regard to the character of American antiquities, and gave us the assurance that the objects we were in search of were interesting, not only as the remains of an unknown people, but as works of art, proving, like newly discovered historical records, that the people who once occupied the Continent of America were not savages.
Stephens paid fifty dollars for the city of Copan and, as he says, was thought a fool by the owner for buying such useless land. He hoped to move the city en masse to a museum in New York but found no means of doing so. He became convinced, after only a short time in the region, that the theories regarding Hebrew or Egyptian or Atlantean origins for the Maya ruins and glyphs were wrong and that the structures and language were both autochthonous. Having mapped and recorded the site of Copan, they moved on through the jungle, mapping and recording sites such as nearby Quirigua and Zaculeu on their way to Palenque.
Stephens and Catherwood explored each site together and then set themselves to their respective tasks of writing and drawing the area. Catherwood used a device called the camera lucida which would project the image from the lens onto paper so that the artist could draw it more accurately. It is because of the use of this device that Catherwood's depictions of the Mayan sites are so precise right down to the intricate scroll work and inscriptions on the buildings (Danien, Sharer, 15). Although some have criticized his work as `overly romantic', his lithographs have been used by Mayanists in the modern day in helping to restore the buildings and temples depicted in his work. Catherwood does sometimes seem to take license in placing items, objects, or figures in a composition for artistic purposes but the depictions of the buildings themselves are regarded as completely accurate. At Palenque, Catherwood contracted malaria but continued to work in spite of his illness. Stephens describes him as refusing to rest and continuing to draw wearing gloves and netting to keep the mosquitoes away. Stephens' narrative is very descriptive in detailing the problems encountered with ticks, mosquitoes, stinging flies, bats, and mice not to mention having to hack through thick jungle and clearing the sites enough to see what lay beneath the overgrowth.
In New York, Stephens had met a man named Simon Peon who owned a large tract of land in the northern Yucatan called Hacienda Uxmal and had provided Stephens with a rough map to find the ruins he said were there. Leaving Palenque, and stopping at any site they came across or heard about, they made their way up to Uxmal. Among the sites they discovered or documented on this trip were Copan, Kabah, Merida, Palenque, Quirigua, Q'umarkaj (Utatlan), Sayil, Tonina, Topoxte, and Uxmal. Although they did not visit Tikal, Stephens mentions the white towers of the city and notes their approximate location. They remained at Uxmal, documenting that site extensively, until 31 July 1840. By this time, Stephens had also contracted Malaria and they left the Yucatan for the United States. The book which was published from these travels fascinated the world and prompted another trip to the Yucatan (this time along with Dr. Samuel Cabot) in 1841-1842 which resulted in the publication of Incidents of Travel in the Yucatan and, later, Catherwood's book of lithographs, Views of Ancient Monuments in Central America, Chiapas and Yucatan. On this second trip they documented sites such as Ake, Chichen Itza, Dzibilnocac, Itzamal, Labna, Mayapan, Tulum, and re-visited Uxmal. They mapped, surveyed, drew and wrote about 44 distinct Maya sites all of which have become national treasures and, some, world famous attractions.
After the second trip both men decided to retire from travel. John Lloyd Stephens directed his energies to running the Ocean Steam Navigation Company and, after that, the Panama Railroad Company. He personally went to Panama to oversee the laying of the track and clearing of the land. Either in Panama or Bogota he is said to have suffered an accident and this, along with the toll taken by his travels, is thought to have caused his death on 13 October 1852 at his home in New York at the age of 46. Frederick Catherwood went west after their adventures and opened up a supply store in San Francisco, California to capitalize on the miners flocking there after the Gold Rush of 1849. His reputation endured as an artist, however, and his works were displayed in Manhattan salons and galleries. Returning from a trip to London aboard the S.S. Arctic in 1854, Catherwood was among the over 350 passengers who died when the ship entered a thick fog bank and was rammed by the steam ship Vesta on 27 September. He was 55 years old.
The work they did lay the foundation for all future study of the Maya civilization. They meticulously documented the sites they visited, carefully charted the courses they took, and logged the time in travel between one site and the next. In reading Stephen's narrative, and following the maps drawn by Catherwood, other explorers were able to expand upon their work to bring the Maya Civilization to light. In 1857 Desire de Charnay arrived in the region and used their work to help chart his own exploration to more Mayan sites. Teobert Mahler also made use of their books in his photographic journey of the sites in 1876. In 1891 Sir Alfred Percival Maudslay came to the region and dramatically changed the scope and depth of all further excavations. Maudslay is understood as the first explorer to employ a strict scientific method in excavating and examining the sites of the ancient Maya. He helped to preserve and protect many notable sites and set the standard for future expeditions and excavations. Following Maudslay, many very notable explorers made further great advances in clearing, documenting, and photographing the Maya sites. William Holmes began work at Palenque in 1895, the same year Teobert Maler documented Tikal, and was followed by Alfred Tozzer. In 1914, Sylvanus Griswold Morley first came to the region, best known for leading the team which excavated Chichen Itza in 1923. In 1925 Franz Bloom so extensively documented Palenque that his work, like Morley's, remains important reference material for Mayanists in the field today. In less than one hundred years since Stephens and Catherwood began their first journey, the Maya Civilization had become recognized as one of the greatest produced by the ancient world.
Maya architecture is best characterized by the soaring pyramid temples and ornate palaces which were built in all Maya centres across Mesoamerica from El Tajin in the north to Copan in the south. The Maya civilization was formed of independent city-states and, consequently, there are regional variations in architecture but almost all buildings were constructed with a precise attention to position and layout and a general style prevails. Multi-level elevated platforms, massive step-pyramids, corbelled roofing, monumental stairways, and exteriors decorated with sculpture and mouldings of Maya glyphs, geometric shapes, and iconography from religion such as serpent masks are all typical features of Maya architecture. Interestingly, unlike many other cultures, Maya architecture makes no particular distinction between religious and non-religious buildings.
Influences & Materials
The Maya were certainly aware of, and were often admirers of, the Mesoamerican cultures which had gone before them, especially the Olmec and at Teotihuacan, and so they took inspiration from this Mesoamerican heritage when developing their own unique architecture.
Maya architects used readily available local materials, such as limestone at Palenque and Tikal, sandstone at Quiriguá, and volcanic tuff at Copan. Blocks were cut using stone tools only. Burnt-lime cement was used to create a form of concrete and was occasionally used as mortar, as was simple mud. Exterior surfaces were faced with stucco and decorated with high relief carvings or three-dimensional sculpture. Walls might also have fine veneers of ashlar slabs placed over a rubble core, a feature of buildings in the Puuc region. Walls in Maya buildings are usually straight and produce sharp angles but a notable idiosyncrasy is seen at Uxmal's House of the Governor (10th century CE) which has outer walls which lean outwards as they rise (called negative batter). The whole exterior was then covered in stucco and painted in bright colours, especially red, yellow, green, and blue. Interior walls were often decorated with murals depicting battles, rulers, and religious scenes. Mansard roofs were typical and made in imitation of the sloped thatch roofing of the more modest wooden and wattle dwellings of the majority of the population.
MAYA BUILDINGS WERE POSITIONED TO TAKE ADVANTAGE OF SOLAR AND OTHER CELESTIAL EVENTS OR SIGHT LINES.
The earliest monumental Maya structures are from the Petén region, such as the 1st century CE pyramid at Uaxactun known as E-VII-sub, and are low pyramids with steps on all four sides rising to a top platform. Postholes in the platforms indicate superstructures of perishable material once stood there. The pyramids also carry sculptural decoration, masks in the case of E-VII-sub. Even at this early stage buildings were constructed on precise plans according to such events as the winter and summer solstices and equinoxes. In addition, the outline of structures when seen from above was also deliberate and could form or resemble Maya glyphs for, for example, completion and time. Indeed, many structures were built to specifically commemorate the completion of important time periods such as the 20 year katun.
Copan Site Plan
by Arjuno3 (CC BY-SA)
Town Planning
Maya sites display evidence of deliberate urban planning and monuments are often laid out on a radial pattern incorporating wide plazas. Topography usually determined where larger buildings were constructed - see, for example, Palenque where use was made of natural rock rises - but they could also be connected via elevated and stuccoed roadways (bajos) within a single sacred complex. Buildings themselves were oriented along, for example, a north-south axis, and were so positioned to take advantage of solar and other celestial events or sight lines. Buildings might also be sited to take advantage of natural panoramas or even mimic the view itself such as in the ballcourt at Copan.
Pyramids
Maya pyramids soaring above the surrounding jungle, such as the 65-metre high Temple IV at Tikal (8th century CE), are amongst the most famous images from the ancient Americas. Pyramids were used not only as temples and focal points for Maya religious practices where offerings were made to the gods but also as gigantic tombs for deceased rulers, their partners, sacrificial victims, and precious goods. Pyramids were also periodically enlarged so that their interiors, when excavated, sometimes reveal a series of complete but diminishing pyramids, often still with their original coloured stucco decoration. In addition, individual shrines could be amalgamated into a single giant complex over time as Maya rulers attempted to impress their subjects and leave a lasting mark of their reign. A good example of this development can be seen at the North Acropolis of Tikal.
Temple of the Inscriptions, Palenque
Temple of the Inscriptions, Palenque
by Jan Harenburg (CC BY)
Palenque's Temple of the Inscriptions, built c. 700 CE, is a model example of a Maya temple structure. A single steep staircase climbs several levels to reach a top platform topped by a single structure with several chambers. The pyramid is rich in symbolic meaning with nine exterior levels representing the nine levels of Xibalba, the Maya underworld, and a 13-level secret passageway descending to the tomb of King Pakal in the interior representing the 13 levels of the Maya heavens. In contrast to this standard approach, the Pyramid of the Magician at Uxmal (after 600 CE) is distinctive for its rounded corners which make it almost oval in shape when seen from above, making the pyramid unique in Maya architecture. Another two common Maya features of pyramids are a chamfer or deep horizontal groove running around each platform and rounded inset corners. The overall effect of these huge monuments is of a mountain, a feature of the landscape which the Maya held as sacred.
Palaces
The larger Maya buildings used as palaces and administrative centres, like the temples, very often have sections with corbelled roofing - that is flat stones were piled one upon another, slightly over-lapping so that they formed a narrow enough gap that it could be spanned with a single capstone. Further support to these unstable vaults was given by the addition of wooden crossties. This technique was further refined at Palenque where the central wall of parallel corbelled passageways could support exterior roof comb structures which presented a lattice-work effect in stone. The use of corbel roofs can also be seen in the inner burial chambers of some pyramids, notably the tomb of Kink Pakal deep within Temple of the Inscriptions at Palenque. A further innovation for increasing the structural integrity of roofing is found at Uxmal and especially in the Nunnery Quadrangle building (pre-1000 CE), which has boot-shaped stones in its vaults.
Nunnery Quadrangle, Uxmal
by Wikipedia User: HJPD (CC BY)
The Nunnery complex at Uxmal is also a good reminder that Maya royal residences too had religious functions and were designed, like the temple pyramids, to visually represent the Maya view of the cosmos. The north building of the Nunnery has 13 doorways - the levels of the heavens, the south building has 9 - the levels of Xibalba, and the west building has 7 - the Maya mystic number of the earth.
Larger Maya buildings could have colonnades (or more commonly piers) and towers. The best surviving example is the palace at Palenque with its unique three-storey tower. Doorways are often multiple and of the post and lintel type in wood (usually sapodilla) or stone. They can also present relief carvings of rulers; especially fine examples are found at Yaxchilan. Alternatively, doorways could be carved to represent, for example, the mouth of a fierce monster, as in Structure 22 at Copan and the Pyramid of the Magician at Uxmal. These portals represented the mouths of sacred caves, traditionally considered portals to another world. Finally, besides halls, sleeping quarters, cooking areas, and workshops, some palaces, as at Palenque, also had luxury features such as lavatories and steam rooms.
Ball Court, Copan
by Adalberto Hernandez Vega (CC BY)
Ballcourts
Used to play the ballgame of Mesoamerica which involved two teams of players trying to bounce a rubber ball through a single ring without the use of hands or feet, the most splendid Classic Maya ballcourt is to be found at Copan. Built in c. 800 CE its elegant sloping sides perfectly frame the distant view of the hills. The ballcourt at Uxmal is unusual in that its sides are vertical and one example at Tikal has a unique triple-court. The ballgame could have a religious significance with losers being sacrificed to the gods, and the orientation of the court is, therefore, typically positioned between the north and south - the celestial and underworlds respectively - and an integral part of the city's sacred complex.
Legacy
Maya architecture would, then, pass on the architectural baton from older Mesoamerica to subsequent cultures such as the Toltec civilization and Aztecs, especially at the noted centres of Xochicalco, Chichen Itza, Mitla, and Tenochtitlan. Maya influence even stretched into the 20th century CE when such noted architects as Frank Lloyd Wright and Robert Stacy-Judd incorporated elements of Maya architecture into their buildings.
Maya religious beliefs are formed on the notion that virtually everything in the world contains k'uh, or sacredness. K'uh and k'uhul, similar terms which are used to explain the spirituality of all inanimate and animate things, describe the most divine life force of existence. Maya belief establishes the creation and sanctity of human beings, the earth, and all things sacred. This divine sanctity can be translated into Maya creation myths as well.
The Maya Creation Myth
Before explaining the Maya creation myths, it is important to understand the difference between the two sources that the Maya creation stories have been found in. These sources include the Popol Vuhand the Books of Chilam Balam. The Popol Vuh is associated with the highland Maya of what is today Guatemala. It contains text about human creation, prophecies, and traditional myths and histories. TheBooks of Chilam Balam are normally associated with the lowland Maya of the Yucatán area of Mexico. There are several books of ChilamBalam which are named for the area in which they were written. The most famous and influential books include the books of Chumayel, Tizimin, Mani, Kaua, Ixil, Tusik, and Codex Pérez. The books are written by a Jaguar priest, a literal translation for Chilam Balam. These books date to colonial Spanish times, circa 1500s CE, and there is a clear influence of Spanish colonialism on the creation stories of the Chilam Balam.
For the Maya the creation of the earth is said to have been a deed of Huracán, the wind and sky god. The sky and earth connected, which left no space for any beings or vegetation to grow. In order to make space, a Ceiba tree was planted. The tree grew roots in all the levels of the underworld and its branches grew into the upper world. The tree trunk grew to leave space on earth for animals, plants, and humans. According to Maya belief, animals and plants were extant before humans. The gods were not satisfied with only the animals because they could not speak to honor them. From there, humans were made in order to honor the gods.
The Many Epochs of the Maya
According to Maya texts, thus far, there have been three creations. Two of these creations have ended or, in other words, the creatures have been destroyed. There are many variations of the three creations. Some have been influenced by Christianity, however, the basic events of the creations are detailed in the following explanation from the Popol Vuh of the highland Maya.
Built from Mud
The first creation saw the people who were made of mud. The mud people were not the most productive as many were not able to think in the capacity that modern-day humans do and, according to Maya sacred texts, these men “spoke but had no mind.” They could not move because they were made of mud and they also were not technically mortal. The gods were not happy with their first creation, so they destroyed the mud people with water.
Built from Wood
For the second creation, the deities made men from wood and women from reeds. These people could function as humans do, but had no souls and did not honor the gods. They were also immortal. When they died, they only remained dead for three days and would rise from the dead. The destruction of the tree men and reed women was caused by an inundation of boiling hot water. The few who may have survived this apocalypse are thought to have become the monkeys that exist today.
Built from Maize
The third creation saw the birth of modern-day humans. These humans are made of white and yellow maize dough and the blood of the gods. The first humans were four men and four women. These men and women were deemed too wise by the gods. The Maya deities believed these intelligent humans were a threat to their authority and almost destroyed them as well. However, Heart of Heaven (also known as Huracán, but in the creation story he is the Heart of Heaven, Heart of Earth, or Heart of Sky) clouded their minds and eyes so that they would become less wise.
THE MOST IMPORTANT CONCEPT TO UNDERSTAND ABOUT MAYA RELIGIOUS BELIEF IS THAT TIME AND THE CREATION OF HUMANS ARE THOUGHT TO BE CYCLICAL.
The different Maya groups believe in a variety of creation myths. The most important concept to understand about Maya religious belief is that time and the creation of humans are thought to be cyclical. This means that some Maya believe that contemporary humans will be destroyed and another creation is imminent. However, this does not necessarily equate to the popularized notions that the Maya believed in an “end of the world” event. Belief in the end of humanity isn't the end of the world, it is the end of an era and, perhaps, the beginning of a new epoch of the gods.
The gods destroyed the different versions of “humans” because they either could not or would not worship their creators. This is a crucial consideration for the gods. They could not afford to have creations which were unworthy and incapable of providing sustenance to the gods.
Major Maya Gods & Goddesses
Typically, Maya gods are fluid and have diverse personalities. This sometimes makes it difficult to distinguish one god from another. However, it may be simpler to keep in mind that although the Maya deities are numerous, the most consequential gods sometimes morph with the less notable gods and share characteristics of both deities. The incorporation of connectivity in Maya culture, not surprisingly, applies to Maya deities as well. Some deities even have conflicting personality traits.
The multiplicity of the deities' personalities are furthered by their appearance. Many gods are an amalgamation of a human and particular animal. They are also associated with different cardinal directions and an individual god's importance can vary depending on historical context. This fluidity is precisely why scholars refer to some Maya deities with the letters of the Latin alphabet
Itzam Ná is the god attributed to creation. Not much is known about him and the same can be said of his counterpart, Ix Chebel Yax. Itzam Ná is often depicted as a squinty-eyed, long-nosed old man or sometimes even an iguana. Ix Chebel Yax was the wife of Itzam Ná and is also depicted as an iguana. Both she and Itzam Ná are considered to be high in the hierarchy of gods. The spelling of their names can vary, as can the spellings of many Maya names can.
Huracán
Huracán, another significant Maya god, is often referred to as the Heart of Heaven, Heart of Sky, or Heart of Earth. While there is not much direct evidence about Huracán being the supreme creator god, the Popol Vuh does imply in one of its prayers that Huracán is a “giver of life.” The same prayer also refers to Huracán as the Heart of Heaven and Earth, which also suggests his importance as a creator. Due to the fluidity of Maya gods, it's not vital to make an absolutely clear distinction between the creator gods. Having said that, however, Huracán is typically associated with the Quiché Maya of Guatemala. The Quiché believe that Huracán formed the earth and created it for humans. He, too, formed people by making them out of maize dough and is lord of fire, storms, and wind.
K'inich Ajaw
K'inich Ajaw (pronounced Ah-how), sometimes known as God G or Kinich Ahau, is the “Sun-faced Lord.” K'inich Ajaw is typically portrayed as rising or being born in the East and aging as the sun sets. This fierce sun deity would then turn into a jaguar and become a war advisor in the underworld. The sun deities are both worshipped and feared because, while they offer the life-giving properties of the sun, they can sometimes provide too much sun and cause a drought.
The maize god, Hun H'unahpu, is perhaps the most important of the celestial beings as well. Also referred to as God E, Hun H'unahpu is considered to be the creator of modern humans by the lowland Yucatec Maya. This is because his maize and blood are what made humanity possible. He is a symbol of life and fertility and is portrayed as a young, long-haired man.
Chak
Chak, the seeming counterpart of K'inich Ajaw, is the rain god or God B. Chak is both part human and part reptile and he is usually shown with a lightning bolt, a serpent, or an axe. This fearsome god sometimes is shown painted in blue and with snake-like whiskers protruding from his face. The Maya believe that Chak lived in caves where he would make lightning, thunder, and clouds. Chak, too, was both feared and worshipped. He brought the needed rains for the people, but also produced floods, threatening lightning, and behaved much like a wild storm. He also demanded blood sacrifices in payment for the rains that he provided.
K'awil
God K, or K'awil, is the keeper of the scepter. He is predominantly the protector of the royal line and is known for being linked to lightning as well. He is usually pictured with a piercing of a smoking torch or a grisly axe blade. In addition to his frightful piercings, he also has a snake as one foot and an upturned snout for the other. K'awil is credited with discovering cocoa and maize after striking a mountain with one of his lightning bolts.
Kisim
Kisim, or God A, is known as the “flatulent one.” Don't let the humorous name fool you, though. This deity is a terrifying god of death and decay. Kisim has been portrayed as a veritable decomposing skeleton or zombie. Sometimes, Kisim was accompanied by an owl. In Maya belief, owls are messengers of the underworld.
Ix Chel
God O, or Ix Chel, is the goddess of rainbows. While rainbows may symbolize goodwill in western culture, Ix Chel should not be confused as a god of goodwill. The Maya actually believe that rainbows are the “flatulence of demons,” and bring bad luck and disease. Ix Chel also represents these things because of her association with rainbows. In her typical form, Ix Chel is a fanged, clawed, and dilapidated crone. However, in conjunction with the duplicity of Maya beings, Ix Chel also has a more benevolent form. She occasionally represents fertility and childbirth and, in these contexts, she is pictured as youthful and beautiful.
Finally, the legend of the Hero Twins entails the adventures of two brothers, Xbalanque and Hunahpu, through the underworld. The legend, chronicled in the Popol Vuh, begins with the conception of the brother-gods. The Twins' father was the god Hun H'unahpu. Hun H'unahpu and his brother were lured to the underworld to be sacrificed through decapitation. However, because Hun H'unahpu was immortal, his decapitated head survived and turned into a fruit on a tree. Hun H'unahpu's fruit head spit into the hand of the goddess Xquic, who ultimately gave birth to Xbalanque and Hunahpu, the Hero Twins.
The twins faced many challenges, but the most epic story is of their journey through Xibalba (pronounced Shee-bahl-bah), the Maya underworld.
The twins were summoned to the underworld after playing a raucous and loud ballgame above the heads of the lords of Xibalba. The lords challenged the twins many times, but through wit and cunning, the twins were able to best the lords of Xibalba. Xbalanque and Hunahpu grew tired of the endless challenges and devised a way to escape the underworld. They disguised themselves as travelers and entertained the underworld gods with tricks and games. The lords were so impressed with their trick of bringing a person back to life after they were sacrificed that they asked the twins to sacrifice them and bring them back to life. However, instead of bringing the gods back to life, the twins left them dead and made the underworld a place for the wretched. The Hero Twins and the lords of Xibalba now reside in the night sky as stars. Kings were thought to follow the trials of the Hero Twins after their death and make their journey to the heavens or upper world.
There are many more celestial beings, but the aforementioned are those which occur most frequently. They can come in many forms and their multiplicity is a pillar of the connective ideals of Maya religion.
Heaven, Hell, & The Cardinal Directions
Contrary to contemporary western ideas of heaven and hell, the Maya believed in different levels of these realms. There are three main areas to distinguish from one another, however. The Maya understand supernatural levels not as heaven and hell, but as the upper world, middle world, and underworld.
The upper world consists of thirteen levels, the middle world is one level, and the underworld is nine levels. The Ceiba tree is believed to grow through all of the realms, from the highest level of the upper world to the lowest level of the underworld. The Ceiba tree is vital to understanding the importance of the cardinal directions in the Maya world.
Maya deities, in particular, are linked to the cardinal directions. While we are familiar with the four cardinal directions, the Maya understood that there were five elements to the cardinal directions, the four directions and the center. Arguably, the most meaningful cardinal direction to the Maya is the east. The east is where the sun rises and it is associated with birth because of the Maya belief that the sun is born daily from the east.
These principles were also part of Maya daily life. Homes were designed to reflect the cardinal directions and the Ceiba tree. The Maya even built hearths at the center of their homes in order to represent the Ceiba-tree center of the cardinal directions.
Maya Rituals
The Maya participated in various religious rituals. Not all of these were related to human sacrifice, although sacrifice was a common practice in religious ceremonies. Contrary to popular belief, ritual sacrifice was not restricted to the gruesome death of a poor captive. While this did happen in the Maya world on a few occasions, it was a relatively rare occurrence. By far the most common sacrifice ritual was bloodletting.
BY FAR THE MOST COMMON MAYA SACRIFICE RITUAL WAS BLOODLETTING.
Bloodletting
Bloodletting is precisely as it sounds, the spilling of blood as a practice of sacrifice. In the case of the Maya, bloodletting was constrained to the royal line. The gods demanded blood because of the initial creation where the gods spilled their blood in order to give life to humanity. Also, but not as often, bloodletting was performed in order to communicate with ancestors.
The practice of bloodletting marked significant dates in the Maya world. Royals participating in the practice would spend, sometimes, days performing purification rituals in order to prepare for bloodletting. Both men and women of royal lineages were expected to perform these rituals. Maya kings and queens would participate in varying forms of bloodletting, even making sacred tools to perform the ritual. Blood was usually taken from different parts of the body with specialized tools designed to produce more blood and perhaps more pain as well. The tools were typically made of stingray spines and adorned with different glyphs to show their religious significance. One frightful instance of sacrifice noted by Rubalcaba described how women, typically royal women, would use a thorned rope to pierce their tongue and draw blood to scatter over Maya icons. Men, on the other hand, would do the same, except on the penis rather than the tongue.
The practice of bloodletting would often serve to commemorate and sanctify important events such as births, ascents to the throne, and anniversaries. On the other hand, human sacrifice was reserved for the greatest Maya events.
Human Sacrifice
While wars were usually fought for reasons other than religion, when wars did occur, religion would become involved. Oftentimes, shamans or priests would help plan war strategies. A war priest was called a nacom. The Maya would often combine aspects of warfare and religion. Typically, this was in the form of taking prisoners for sacrifice.
Sacrifices were important in keeping the gods satisfied and were also vital in ensuring a military victory. When a king or queen would ascend to the throne and a political prisoner had been captured, they would commemorate the life-altering event with a human sacrifice. Typically, these prisoners would be royals or elites of an enemy state. The most high-up royals were saved for the sole purpose of recreating events from the Popol Vuh.
These sacrifices were performed in many ways, but there were three methods that were most common. The first method was through decapitation. The next method was the popularized method of removing the heart from the living person. The final, most popular, method was to throw a living person into a cenote, or natural well, as an offering to the gods.
While the most prevalent ritual associated to the ancient Maya is the practice of sacrifice, they also performed other kinds of rituals. Not all Maya offerings were so bloody and gruesome. While they may not seem quite logical to westerners, the alternative offerings do provide interesting ways to communicate with and satisfy the deities.
One rather startling and overlooked means of communication with the gods involved lowering children into cenotes. Children were placed in the wells in order for them to speak to the god or gods. After a few hours of being in the well, the children would be retrieved so that the message from the deities could be heard. Of course, the Maya also participated in offering to the gods precious items such as jade, gold, masks, shells, carved human bone, and ceremonial or sacred tools.
Marriage was another religious ritual and a cause for celebration. Maya marriages were typically arranged marriages within the same social class. Age at the time of marriage varied, but experts speculate that the marriage age was related to population growth and decline. When the Maya population declined, youths would marry at a younger age. Couples would be matched at a very young age, sometimes even when they were infants.
Marriages were performed by priests at the bridal home. Priests would burn incense to bring a fortuitous marriage and then a feast or other type of celebration would ensue. If the marriage was not deemed successful by either husband or wife, the couple could “divorce.” There is no known ritual for divorce, but it is intriguing that divorce was, more or less, an acceptable action.
Dance is another overlooked ritual. Dance rituals were performed to communicate with the gods. The dances would feature lavish costumes which depicted the visages of divinities. Often the Maya would wear or include ornaments such as staffs, spears, rattles, scepters, and even live snakes as dance aids. The Maya believed that by dressing and acting as a god, they would be overtaken by the god's spirit and therefore would be able to communicate with him or her.
The ancient Maya maintained a complex religion. The multifaceted gods and rituals have even persisted in today's Maya culture, however syncretized they have become. Their ideologies of creation, sacrifice, sacredness, and multiplicity are key to understanding the Maya religion.
I'm a content writer at Gainesville Coins and I'm lucky enough to be able to write about the things I'm passionate about, which are archaeology and most other anthropological subjects. I will also be graduating with my degree in Anthropology August 2015.
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