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Maya Exhibit: Murals and Monuments

February 12, 2016 11:42 pm / Leave a comment

Balboa Park, San Diego Museum Complex

Maya Exhibit: Murals and Monuments

Balboa Park, San Diego Museum of Natural History

In December, 2016, while spending holidays with family in San Diego, I was fortunate to find a Maya exhibit at the Museum of Natural History in Balboa Park. After warning my family that I would spend hours perusing the exhibit, camera in hand, I was not surprised that no one wanted to accompany me. Alone and mesmerized by the wonderful display of Maya monuments, ceramics and art, I spent a most enjoyable afternoon. Many original pieces were on exhibit, loaned from other institutions, as well as reproductions of murals and larger monuments. In this blogpost, I’ll focus on murals and monuments, with other posts to follow for ceramics and artwork.

San Bartolo Mural

The Murals at San Bartolo, Guatemala

In 2001 William Saturno, of the University of New Hampshire and Harvard’s Peabody Museum, found an entrance into buried chambers while seeking shade. He ducked into a looters’ trench in an unexcavated pyramid, and when he shone his flashlight on the walls, he saw an elaborate, finely-painted mural. Called “Las Pinturas,” the structure’s murals were dated from 100 BCE and showed mythological scenes related to the origin of kings. Later excavations revealed additional murals, called a masterpiece of ancient Maya art. The 30 x 3 foot mural on the west wall reveals the Maya story of creation, the mythology of kingship and divine right of kings, and depicts two coronation scenes—one mythological and the other an actual king’s coronation. Other discoveries at the site include the oldest known Maya royal burial, around 150 BCE, and significantly older painted polychrome murals in a deeper chamber with Maize God images, dated around 200—400 BCE. Glyphs within the murals date to centuries before most other Maya texts, and remain hard to read. David Stuart of the University of Texas at Austin, leading Maya epigrapher, said one scene names a young god as “star man” and emphasizes his cosmological role within the larger creation myth represented.

The San Bartolo mural featured at Balboa Park is the scene of the Maya creation myth, the first known depiction in narrative form, according to Karl Taube, University of California, Riverside, an expert in ancient Mesoamerican history.

San Bartolo Mural Redrawn from Heather Hurst by National Geographic

In this mythological story, the Maize God travels through the underworld and is eventually resurrected, giving birth to the Mayan people. From left to right, the mural begins with an unusual birth scene; four infants scattering from a gourd that may represent the four cardinal directions, while a fifth emerges in the cleft or center of creation. A supernatural being with a serpent headdress witnesses the birth scene, and to its right is a stylized Flower Mountain that offers passage from the underworld, place of ancestors, to the Earth’s surface. This represents the birth of the people from the mythic cave of origin, depicted as a small serpent emerging from a hole at the base of the mountain. A kneeling woman near the cave offers a ceramic pot of tamales, symbolic of the people being formed from corn. In front of her, a kneeling black-faced man offers water in a gourd, symbolizing the essentials (food and water) needed to sustain life. The pair present their offerings to a red-bodied Maize God, who looks over his shoulder at two stacked kneeling women, waiting to take the offerings from him. They are possibly aspects of the wind goddess. Next is the Maize God’s wife, the only standing woman who is wearing an elaborate bird headdress. Behind her are two black and red figures bearing burdens on their heads and carrying ritual

Maize God in Center of Scene

Woman Kneeling by Flower Mountain

implements in loincloths. They carry sacred objects for the Maize God and his wife. The final figure is an immense serpent whose body underlies the entire scene. Its tail emerges from Flower Mountain and its upturned head with open mouth emits large red speech scrolls. Black footprints along the red part of the snake’s body indicate it is a path for supernatural travel. The snake-as-ground motif is found widely in Mesoamerica. The Maize God is the central figure in the scene, personification of cycles of life, death and rebirth. The woman may be dressing him for his journey to death and resurrection. Red spirals coming from his mouth indicate breath and speech. Two short columns of glyphs between the bearers are ancient, hundreds of years earlier than most known Maya glyphs.

Murals at Bonampak Procession of Lords

The Murals at Bonampak, Chiapas, Mexico

The Bonampak murals are perhaps the best known of all Maya wall paintings. Lying close to a tributary of the Usumacinta River, it was first seen by non-Mayans in 1946, but it’s unclear who first visited the site. Two American travelers were led to the ruins by a local Lacandon Maya; his people still visited the site to pray in ancient temples. The site itself is unimpressive, but a small structure on a low hill holds the famous murals. Structure 1 at Bonampak, which holds the murals, was dedicated on November 11, 791 CE. Bonampak had become a satellite community of nearby Yaxchilán, whose ruler Itzamnaaj Bahlam II (Shield Jaguar) appointed his nephew Chan Muwaan II to govern the city in 790 CE. Shield Jaguar hired Yaxchilán artisans to construct the Temple of Murals.

Murals at Bonampak
Ruler and Captives

Structure 1 has three rooms containing murals. The paintings show the story of a single battle and its victorious outcome. Among the best preserved Maya murals, these are noted for their vivid depiction of battle scenes, captive torture, sacrifice, and royal rituals and processions. They also depict women doing self-bloodletting by piercing tongues and earlobes with stingray spines. The battle scenes contradicted early assumptions that the Maya were a peaceful culture of mystics, a position long-held by influential Mesoamerican archaeologist, ethnohistorian and epigrapher from the Carnegie Institute of Washington, Sir John Eric Sidney Thompson.

Colors on the mural are intense and bright, although covered by a film of dissolved limestone when first discovered. Musical Instruments, costumes, body adornment, and weapons are documented from the

Murals at Bonampak
Women Performing Self-Bloodletting

period giving valuable information about Mayan culture. The vivid colored frescos of turquoise blues, yellows and rust colors are a treasure of data about royal life and ceremonies. Unfortunately the murals have deteriorated badly since their discovery. Early archeologists from the Carnegie Institution doused them in kerosene to remove the film and intensify the colors. This weakened the plaster, causing paint and plaster to flake and fall off.

Mary Miller of Yale University, who studied the murals extensively, wrote “Perhaps no single artifact from the ancient New World offers as complex a view of pre-Hispanic society as do the Bonampak paintings. No other work features so many Maya engaged in the life of the court and rendered in such great detail, making the Bonampak murals an unparalleled resource for understanding ancient society.”