leonidemartinblog

Welcome to my Maya-inspired blog

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Lennie at Palenque site, Chiapas, Mexico

Just think of me as 13-Rabbit, the “Circle Complete Maya Scribe” Ox Lahun Ub’aah.  The rabbit scribe is seen in many drawings, recording happenings in paper-bark folding codices.  As a contemporary Maya scribe, my writings tell stories of real and fictional ancient Mayans (historical fiction) and relate information about their advanced civilization (articles, presentations).  I’ve lived and traveled in Maya regions of southern Mexico, Belize and Guatemala learning from indigenous teachers.  My blog will focus on ancient Maya sites (called ruins), archeology and anthropology, current and past research, and their amazing culture.  I’ll post updates on my writings and other Maya related books/articles.  Research and writing about the ancient Maya are my main creative passions, though I have other interests including gardening, locavore eating, wine tasting, enjoying nature and of course my charming husband David and our two magnificent white cats.

Solar Eclipse–Potent Time for the Mayas

Solar Eclipse Was a Potent Time for the Mayas.

The ancient Mayas were the most advanced astronomers of their time. They calculated the solar year, lunar cycles, periodicity of the planets, solstices and equinoxes with amazing accuracy. They were able to readily predict lunar eclipses, and had calculated a pattern of dates for solar eclipses, including predicting the solar eclipse of 1991. (Bricker & Bricker)

Solar eclipses were known as chi’ ibal kin to ancient Mayas, translated as “to eat the sun.”

Glyph for Solar Eclipse – Serpent Eating the Sun

Dresden Codex
Solar Eclipse Tables with Serpent Eating the Sun

This phenomenon was depicted in the Dresden Codex as a serpent with huge open jaws about to devour the solar eclipse glyph. Although modern experts believe eclipses were a cause of distress for ancient peoples, terrifying because they did not understand the science behind such phenomena, this was not true for the Mayas. With their sophisticated knowledge of astronomy, the Mayas understood the movements of celestial bodies and how the moon moving between the sun and earth caused a brief blacking out of sunlight. To the Mayas, this held profound symbolic meaning, signaling a major shift of cosmic influences upon earth. Such potent occasions were prime time for ceremonies and invoking celestial powers into human actions.

In the story of K’inich Janaab Pakal, most famous Maya ruler who reigned in Palenque from 615-683 CE, the power of a solar eclipse was used to increase potency of a most important ritual. His prophesied mission was to restore the spiritual charter of his city, and resurrect the Jeweled Sky Tree that formed a portal to communicate with the Gods and ancestors. This version of a World Tree, called Wakah Chan Te by the Mayas, had its roots in the Underworld, its trunk rose through the Middleworld of earth, and its

Wakah Chan Te
Jeweled Sky Tree from Cross Group, Palenque

branches soared into the Upperworld of the cosmos. In Palenque, Pakal built a new temple in which to raise the Jeweled Sky Tree, since the original shrine was destroyed and desecrated in an enemy attack by Kalakmul during his childhood.

 

Although the history of Palenque’s defeat by Kalakmul is well known (Stuart & Stuart), and Pakal’s mandate to restore the damaged portal to the Upperworld has been described (Aldana), the actual process of resurrecting the Tree is a mystery. My task as an author of historical fiction was to use informed imagination to envision this process. This I did through the character of Pakal’s wife, Tz’aakb’u Ahau (Lalak in my story, called The Red Queen), whose training in sexual alchemy brought the immense power of life creation to join with Pakal in “conceiving and birthing” a new Wakah Chan Te. (Martin) To further enhance the potency of this event, the ceremony was enacted during a solar eclipse.

Historical records show there was a solar eclipse that crossed over Guatemala and southern Chiapas on February 2, 650 CE. Palenque, located in Chiapas, would have experienced at least partial solar eclipse between 1:00-4:00 pm that day, which worked perfectly for the ceremony done by Pakal and Lalak and resulted in the climactic moment of their story.

Read the historical fiction story of Pakal, his wife Lalak–The Red Queen, and the solar eclipse ritual to resurrect the Wakah Chan Te:

 

The Mayan Red Queen:  Tz’aakb’u Ahau of Palenque  

 

 

 

Mayan Priests Gathering at Chichen Itza Observatory

How the Mayas predicted solar eclipses.

Predicting lunar and solar eclipses is more complex than determining sunrise, sunset, solstice, and equinox. Movements of the earth, the sun, and the moon all must be taken in to account because this involves correlating the synodic lunations with the solar calendar. Because the orbital plane of the moon is inclined by 5 degrees to the plane of earth’s orbit, eclipses do not happen at every full and new moon. Rather, they take place only when the moon enters the ecliptic plane at the same time that it is in correct position between the sun and earth.

Maya astronomer priests were able to determine the nodes when the paths of moon and sun cross, which occurs every 173.31 days. In this time period, eclipses may occur within 18 days of the node. Most would result in lunar eclipses; the Dresden Codex contains eclipse tables made of columns and rows based on the numbers 177 (6 lunations), and 148 (5 lunations). The Codex is a

Dresden Codex
Eclipse Tables

folding bark-paper book with pages coated in thin stucco, with glyphs painted in red and black and many symbolic figures. There are tables containing predictions of the phases of Venus over a 104-year interval, and predictions of lunar phases for 33 years. The Mayas used these to calculate solar eclipses.

The average interval between solar eclipses is 153.79 days. They had calculated a synodic lunar period as 29.533 days (modern value 29.530 days). Since the Mayas did not use decimals, they varied between 28 and 29 days for lunations. A grid of dates in the Codex linked Venus phenomena with lunar nodes to predict solar eclipses. Using the derived multipliers they were able to determine solar eclipse intervals that varied by +7 and +8 days. Combining an inferior conjunction of Venus with the predicted solar eclipse gave better accuracy.

The Dresden Codex is one of only four Mayan manuscripts that escaped destruction by the Spaniards when they invaded Mexico in the 16th century. The surviving codices are 11-12th century copies of older Mayan books. When researchers recently compared dates of Mayan calendars with our current one, then used modern data on planetary orbits and cycles, they found the Maya’s data was surprisingly accurate. The Maya astronomical calendar correctly predicted a solar eclipse to within one day in 1991, centuries after Classic ancient Mayan civilization ended. (Bricker & Bricker)

Mural of Maya Astronomy
Mexicolore

 

Solar Eclipse

 

Had the Classic Mayan civilization continued, undoubtedly they would have predicted our current eclipse occurring on August 21, 2017.

 

 

 

 

More about Leonide Martin’s Mayan Queen books: www.mistsofpalenque.com

References

Aldana, Gerardo.  The Apotheosis of Janaab’ Pakal. University of Colorado Press, 2007.

Bricker, Harvey & Bricker, Victoria.  Astronomy in the Maya Codices. American Philosophical Society, 2011.

Martin, Leonide.  The Mayan Red Queen: Tz’aakb’u Ahau of Palenque. Made for Success Pub., 2015.

Stuart, David & Stuart, George.  Palenque: Eternal City of the Maya. Thames & Hudson, 2008.

 

 

 

Poetry of Creation Myth Recited by Yohl Ik’nal

Palenque’s Creation Myth Recited by Yohl Ik’nal.

 

Yohl Ik’nal
Side of Pakal’s Sarcophagus

 

In her transformation to adulthood ceremony, Yohl Ik’nal recited the creation myth of B’aakal, her people and land. She correctly recited from memory, and was acknowledged as “bearer of the sacred royal blood” by the ruler of Lakam Ha. She became the first woman ruler of Palenque, ruling successfully for 22 years.

From The Visionary Mayan Queen: Yohl Ik’nal of Palenque. Book 1, Mists of Palenque Series.

 

 

Glyph of Muwaan Mat

“It was before the Fourth Creation, in times long ago

Ix Muwaan Mat was born.

Of her birth it is said, she entered the sky

On the Day of Lord (Ahau), Month of Conjuring (Tzek),

For she was to bring the new creation.

Seven tuns after her birth came the new Creation,

When all counts of the long calendar returned to zero.

The Gods of the sky, of the earth, of the underworld

Knew what they must do.

They did three stone-bindings in the sky:

The Jaguar Throne Stone at the 5 Sky House;

The Water Lily Throne Stone at the Heart of the Sky;

The Serpent Throne Stone at the 13 Sky Earth-Cave.

These three stones formed the First Hearth Place,

Patterned the stars so homes on earth would have hearthstones.

(more…)

Palenque Creation Myth: Lady Cormorant and the Birth of the Triad

Cormorant Goddess from Dresden Codex

The ancient Maya city Palenque (Lakam Ha) had a unique creation myth that linked the origins of their ruling dynasty to primordial goddesses and gods.

All the Maya regions in southern Mexico, Belize, Guatemala, and Honduras shared a common creation myth about the Hero Twins and how they outsmarted the Death Lords of Xibalba and resurrected their father, securing life on earth for their people. This legend is recorded in the Popol Vuh, an 18th century copy of the original codex rendition that has been lost. Palenque’s unique myth incorporates deities widely known in their region, but nowhere else honored in the same way. The Triad deities were the patron gods of ancient Lakam Ha, bringing the blessings of abundance and prosperity when properly attended and worshiped. The ruling dynasty was believed to be descended from these gods and their mother, Lady Cormorant (Muwaan Mat in the Mayan language). (more…)

Solstice, Equinox, and the Mayan Calendar

Mayan Sun God -- K'inich Ahau

Mayan Sun God — K’inich Ahau

The movements of the sun were particularly important to the ancient Mayas.

The sun god, represented as the K’in glyph in Classic times, had a Roman nose, central notched tooth, and crossed eyes with square pupils. Considered a male deity and addressed as Father Sun, he was ruler of time and space, and oversaw the seasonal agricultural cycles. K’inich Ahau—Sun-Faced Lord—was identified with ruling lineages and connected with the Maize God, bringer of fertility and renewal.  In the late Classic many Maya rulers added K’inich to their names, signifying their oneness with the sun deity. To demonstrate this unity, rulers needed astronomical knowledge to predict exact timing of the sun’s annual cycle. Through this they directed farmers when planting and harvesting should take place. The sun’s arrival at important stations during the year was celebrated with rituals, and correct timing was essential. The ruler’s sacred duty required properly performing these rituals, offering the deities suitable gifts, and thus maintaining beneficent relations between Gods and humans. (more…)

Silver Medal for The Red Queen

DD_Red Queen GeBA SilverSilver Medal GEbA

Silver Medal Winner of the 2016 Global Ebook Awards

The Mayan Red Queen: Tz’aakb’u Ahau of Palenque receives award in Fiction-Historical Literature-Ancient Worlds.

It was an exciting moment when I received the notice in August that my book won a Silver Medal in the Dan Poynter Global Ebook Awards for 2016!

Book awards mean a lot to authors. They validate our efforts and help bring our books to the LM_red hat-2attention of readers and booksellers. The Mayan Red Queen has been given favorable reviews in The Midwest Book Review (2016) and by Writer’s Digest (2016), but this is her first award. So, I am very happy and invite you to share the moment by recalling the story if you’ve read it, or reading the book if not.

“The Mayan world and its underlying influences come alive, making for a thriller highly recommended for readers who also enjoy stories of archaeological wonders.” The Midwest Book Review, Diane Donovan, Editor and Senior Reviewer.

“The quality of this novel is top notch . . . beautifully written. The plot was interesting and very unique. The author’s best skill is in crafting believable yet mythical characters that carry the story almost effortlessly. . . fans of complex world building will be absorbed by this one–with pleasure!” Writer’s Digest 3rd Annual Self-Published e-Book Awards 

(more…)

Photography Comes to Palenque

Temple of the Inscriptions in 1985 Maudslay photo from Meosweb

Temple of the Inscriptions in 1895
Maudslay photo from Meosweb

Excerpts from the archeological field journal of Francesca Nokom Gutierrez, fictional archeologist in the Mists of Palenque series. Early photography in Palenque by Desire de Charnay, Teobert Maler, and Alfred Maudslay is described by Francesca in The Controversial Mayan Queen: Sak K’uk of Palenque, Book 2 in the Mayan queens’ series.

 

 

 

Photography initiated a new era in documentation of Maya ruins.

Before the camera, on-site drawings or white paper cast molds were the best techniques available.  Drawings depended on the skill and perseverance of the artist, and molds were subject to melting in the extremely wet and humid tropical climate.  In 1839 Daguerre invented the first camera using a complicated “wet” chemical process.  The enterprising French explorer Desiré de Charnay used this camera on his expedition to Palenque in 1860.  He spent nine days there, using the cumbersome process to take the first photos of the ruins. (more…)

Palenque Goes International: Stephens & Catherwood

Catherwood Drawing of Palenque

Catherwood Drawing of Palenque

 

Excerpts from The Visionary Mayan Queen: Yohl Ik’nal of Palenque

 

Incidents of Travel Vol-1_

The Travel Writers of Their Time

Thanks to the remarkable four-volume books Incidents of Travel, by John L. Stephens and Frederick Catherwood, we are given much insight into the hardships of travel and the impact of this splendid and high civilization on these explorers.

 

John Lloyd Stephens

John Lloyd Stephens

John Lloyd Stephens is a masterful storyteller and Frederick Catherwood a fine artist.  Their first two-volume book, featuring Central America, Chiapas and Yucatan, was published in 1841.  It became an instant success, with publisher Harper and Brothers in New York making 11

Frederick Catherwood

Frederick Catherwood

printings of 20,000 copies each in only three months.  I keep a copy with me to enjoy comparing their impressions with present-day Palenque.  Although his prose is typical for that period, it’s richly descriptive and amusing.  Stephens weaves details of their harrowing adventures, gives astute character profiles, evocative descriptions and levelheaded reasoning, spiced with wry humor.  Catherwood provides distinctive drawings and quality architectural designs with floor plans, elevations and outside views of Palenque’s major structures.  Thirty-one of his Palenque drawings were converted to engravings and published in the two Central American volumes.

You get a real sense of travel in the mid-1800s in the back-country of Mexico and Central America. 

Stephens and Catherwood came from Guatemala to Ocosingo and followed the same route Dupaix took thirty years earlier, an ancient Indian path over mountains giving “one of the grandest, wildest, and most sublime scenes I ever beheld.” They made the trip in five days to reduce nights in the wild during the rainy season.  Clambering along steep paths hovering over thousand-foot precipices, they mostly walked leading mules and occasionally risked being carried in a chair by an Indian using a tumpline across his forehead.  The chair-bearer’s heavy breathing,

Trek over mountains Catherwood carried in "silla" by Maya bearer

Trek over mountains
Catherwood carried in “silla” by Maya bearer

dripping sweat and trembling limbs failed to inspire confidence and made them feel guilty, so they used the chair very little.  The descent was even more terrible than the ascent, and the sun was sinking.  Dark clouds and thunder gave way to a violent rainstorm, men and mules slipping and sliding.  Stephens admits “. . . it was the worst mountain I ever encountered in that or any other country, and, under our apprehension of the storm, I will venture to say that no travelers ever descended in less time.”

Once on the plains below and camped for the night, they suffered an onslaught of “moschetoes as we had not before experienced.”  Even fire and cigars could not keep the vicious insects at bay.  After a sleepless and much-bitten night, Stephens went before daylight to the nearby shallow river “and stretched myself out on the gravelly bottom, where the water was barely deep enough to run over my body.  It was the first comfortable moment I had had.”

“Moschetoes” and rainstorms continued to plague the explorers after they arrived at the ruins of Palenque.  They no sooner got their wood frame beds and stone slab dining table set up, with a meal of chicken, beans, rice and cold tortillas prepared proudly by their mozo Juan, than a loud thunderclap

Catherwood Drawing Palenque Palace Interior

Catherwood Drawing
Palenque Palace Interior

heralded the afternoon storm.  Though located on the upper terrace of the palace and covered by a roof, the fierce wind blasted through open doors followed instantly by a deluge that soaked everything.  They moved to an inside corridor but still could not escape the rain, and slept with clothes and bedding thoroughly wet.

Rather, they tried to sleep but “suffered terribly from moschetoes, the noise and stings of which drove away sleep. In the middle of the night I took up my mat to escape from these murderers of rest.”  Finding a low damp passage near the foot of the palace tower, Stephens crawled inside and spread his mat as bats whizzed through the passage.  However, the bats drove away the mosquitoes, the damp passage was cooling and refreshing, and “with some twinging apprehensions of the snakes and reptiles, lizards and scorpions, which infest the ruins, I fell asleep.”

They solved the mosquito problem by bending sticks over their wood beds and sewing their sheets together, draping them over the sticks to form a mosquito net.  Not all insects were odious.  At night the darkness of the palace was lighted by huge fireflies of “extraordinary size and brilliance” that flew through corridors or clung to walls.  Called locuyos, they were half an inch long and had luminescent spots by their eyes and under their wings.  “Four of them together threw a brilliant light for several yards around” and one alone gave enough light to read a newspaper.

Exploring the Ruins

To explore the heavily forested ruins they hired a guide, the same man employed by Waldeck, Walker and Caddy.  It’s hard now to imagine how dense the jungle was then, trees growing on top of every structure and filling plazas.  Without the guide, they had no idea where other structures lay and “might have gone within a hundred feet of all the buildings without discovering one of them.”  The palace was most visible and could be seen from the northeast path leading to the ruins.  Stephens described its many rooms, stuccos, tablets, and ornaments while Catherwood rendered detailed floor plans and copied images.  Stephens hoped their work would give an idea of the “profusion of its ornaments, of their unique and striking character, and of their mournful effect, shrouded by trees.”  Perhaps readers could imagine the palace as it once was “perfect in its amplitude and rich decorations, and occupied by the strange people whose portraits and figures now adorn its walls.”

Catherwood Sketch of Palace

Catherwood Sketch of Palace

Catherwood Drawing Principle Court of Palace

Catherwood Drawing
Principle Court of Palace

 

 

 

 

 

 

 

 

According to the guide, there were five other buildings that Stephens numbered, but none could be seen from the palace.  The closest was Casa 1, a ruined pyramid that apparently had steps on all sides, now thrown down by trees that required them to “clamber over stones, aiding the feet by clinging to the branches.”  From descriptions and drawings, this structure is the Pyramid of the Inscriptions Bas-relief stuccos on the four piers of the upper temple were reasonably well preserved, depicting four standing figures holding infants.  The famous hieroglyphic tablets covering the interior wall were also in good condition.

Catherwood Sketch and Architectural Floor Plan Temple of Inscriptions

Catherwood Sketch and Architectural Floor Plan
Temple of Inscriptions

Casas 2, 3 and 5 are part of the Cross Group.  Stephens and Catherwood were deeply impressed by the stuccos and tablets that we now know belong to the Temple of the Cross and Temple of the Foliated Cross.  The fantastic tablets from the first temple were incomplete and only the left tablet containing glyphs was in place.  The middle tablet with two figures facing a cross had been removed and carried down the side of the pyramid, but deposited near the stream bank below.  A villager intended to take it home, but was stopped by government orders forbidding further removal from the ruins.  The right tablet was broken and fragmented, but from remnants they saw it contained more glyphs.

The second temple contained another tablet in near-perfect condition.  It had a central panel with two figures facing a large mask over two crossed batons, flanked on each side by panels of glyphs.  The four piers of the temple’s entrance once contained sculptures; the outer two adorned with large medallions were still in place.  The other two panels had been removed by villagers and set into the wall of a house.  Copied earlier by Catherwood, these panels depicted two men facing each other.  One was richly dressed and regal, the other an old man in jaguar pelt smoking a pipe.  Later these famous sculptures were moved to the village church, and again later to the Palenque museum.

Temple of Foliated Cross L. Schele drawing, FAMSI

Temple of Foliated Cross
L. Schele drawing, FAMSI

Smoking Lord, Temple of the Cross L. Schele drawing, FAMSI

Smoking Lord, Temple of the Cross – L. Schele drawing, FAMSI

 

 

 

 

 

 

 

 

 

 

 

 

Casa 4 was farthest away, southwest of the palace.  It sat on a pyramid 100 feet above the bank of the river with the front wall entirely collapsed.  The large stucco tablet inside showed the bottom half of a figure sitting on a double-headed jaguar throne, the lovely Beau Relief partially destroyed by Waldeck.  Stephens regretted this loss greatly (as do I) because it appeared to be “superior in execution to any other stucco relief in Palenque.”  This small structure is now called Temple of the Jaguar.

The Beau Relief drawn by Jean-Frederic Waldeck

The Beau Relief

 

This story is told in my post:

The Palenque Beau Relief: A Maya Beauty Vanishes.

 

 

 

Difficult Working Conditions

Temple of the Inscriptions in 1985 Maudslay photo from Meosweb

Temple of the Inscriptions in 1895
Maudslay photo from Meosweb

Stephens complains that artists of former expeditions failed to reproduce the detailed glyphs in Casas 1 and 3, and omitted drawings of Casa 2 altogether.  He believes these artists were “incapable of the labour, and the steady, determined perseverance required for drawing such complicated, unintelligible, and anomalous characters.”  Catherwood used a camera lucida to project a light image of the glyphs and sculptures onto paper, and then drew the images to accurate scale and detail.  He divided his paper into squares for copying glyphs to give accurate placement, reducing these large images and hand correcting the later engravings himself.

One must admire these two men, working under terrible conditions with limited equipment, yet providing such a thorough account of the Palenque structures they saw.  They needed to scrape off green moss, dig out roots, clean away layers of dissolved limestone, use candles to light dark inner chambers, build scaffolds to access high places, and endure a plethora of climate and insect assaults.  They paid the price of multiple mosquito bites, for both men contracted malaria and suffered repeated episodes of illness.

They left us a few astute conclusions.  Stephens proved more insightful than later Mayanists by writing, “The hieroglyphics doubtless tell its history” and “The hieroglyphics are the same as were found at Copan and Quirigua . . . there is room for belief that the whole of this country was once occupied by the same race, speaking the same language . . .”

Itzamna Painted on Vase Performing Ritual

Itzamna Painted on Vase Performing Ritual

“Here were the remains of a cultivated, polished, and peculiar people, who had passed through all the stages incident to the rise and fall of nations; reached their golden age, and perished, entirely unknown . . . wherever we moved we saw the evidences of their taste, their skill in arts, their wealth and power.”  John Lloyd Stephens

 

 

 

 

Excerpts from The Visionary Mayan Queen: Yohl Ik’nal of Palenque

These excerpts from the Archeological Field Journal of Francesca Nokom Gutierrez, a fictional archeologist in my books, describe the history of archeological exploration at Palenque. I’ll be doing several posts taken from her journal in the first 3 books in my “Mists of Palenque” series.

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