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Teotihuacan – Empire of Enigma

Two pyramids at Teotihuacan,

Pyramid of the Sun, Pyramid of the Moon at Teotihuacan

Teotihuacan: Central Mexico Empire With Wide Influence into Maya Regions.

A huge city was built in the Basin of Mexico, not far northeast of modern Mexico City. It flourished in these highlands between 150 BCE-650 CE, and for much of that time it was the largest city in pre-Columbian Americas. Population at its height was estimated at 125,000, making it among the world’s top 10 cities at the time. The architecture and layout were unique. There were multi-family residential compounds, apartments of several stories, towering pyramids, streets laid out in a grid pattern, and a 1.3 mile-long central avenue bordered by splendid elite residences. Today Teotihuacan is the most visited archeological site in Mexico. Over 4 million people from around the world come each year. Visitors marvel at the immense Pyramid of the Sun, the elaborate Pyramid of the Feathered Serpent (Quetzalcoatl), and the long straight avenue leading to the Pyramid of the Moon. They stroll into the past through chambers and patios of the partially reconstructed

Avenue of the Dead leading to Pyramid of the Moon, Teotihuacan

Palace of Quetzalpapalotl, and ponder the vibrant murals and fine obsidian tools made by ancient artists and craftsmen. The site covers 32 square miles and was designated a UNESCO World Heritage site in 1987.

 

 

Palace of Quetzalpapalotl, Teotihuacan

The original name of the city is unknown. The Aztecs who came nearly 1,000 years later named it the Nahuatl word Teotihuacan, “place where gods were born.” They believed the gods created the universe at that location. The Classic Maya wrote its name in hieroglyphic texts, calling it puh,”Place of Reeds.” Such places were considered the locus of creation, which took place in swampy, reedy, and watery locations. These creation locations are also referred to as Tollan or Tula. Rich soils from swamps supported agriculture, and early settlers constructed raised beds called chinampas.

Who Were the Teotihuacanos?

The advanced culture that created Teotihuacan did not leave any writings in the strict sense. They used signs or symbols; 229 have been cataloged but their meanings are mostly unknown.  Our understanding of their civilization comes from study of buildings and pottery, placed in context of what is known of regional settlements.

Photo of painted mural signs

Signs painted on mural at Teotihuacan

Map of major sites in central Mexico

Major Sites in Central Mexico

Around 500 BCE several urban centers arose in central Mexico. The most prominent was Cuicuilco, with a population of 20,000 located on the south shore of Lake Texcoco. A volcano called Xitle erupted around 400-200 BCE and covered this city in ashes, prompting mass emigration toward the north valley. Researchers think that other peoples joined this migration from 13 small regional villages. There was a huge eruption of the volcano Popocatepetl in 200-1 BCE, forcing survivors in the Amecameca-Chalco-Xochimilco regions to migrate. Maybe Teotihuacan leaders capitalized on the Volcano Gods’ sparing their area of the valley to entice more settlers. The earliest buildings at Teotihuacan date to around 200 BCE, and the Pyramid of the Sun was completed by 100 CE.

Teotihuacan expert George Cowgill reports that “the people who first built and occupied Teotihuacan were simply some of the people whose ancestors had already lived for millennia in Mesoamerica.” (Cowgill, Ancient Teotihuacan: Early Urbanism in Central Mexico, 2015) He believes that asking who were the Teotihuacanos is a false issue; the better questions involve why and how the city and the state it ruled flourished so long, looking at its sociopolitical system, religion and ideology, environmental factors, and commercial enterprises. Teotihuacan built on the urban tradition already developed at Cuicuilco, stretching back to 500 BCE with Monte Alban in Oaxaca.

Teotihuacan Empire Lasted 800 Years

The city reached its zenith in 250-550 CE. Its population leveled off, the main structures were in place, and the city’s southern section filled in with about 2,300 residential compounds that housed people from all around its realm of influence. There were enclaves with foreign connections and craft specialists, including styles from highland Oaxaca, the Gulf Lowlands, the Maya area, and Michoacan to the west. There were distinct quarters occupied by Mixtec, Maya, Otomi, Zapotec, and Nahua people. The city’s influence continued to expand with growing political complexity. Early political institutions may have been collective, but the sheer scale of civic-ceremonial structures suggest talented and charismatic leaders responsible for the largest pyramids and increased human

Pyramid of the Feathered Serpent at Teotihuacan

sacrifice. They reached beyond the Basin of Mexico seeking resources, with outposts 124 miles to the west, and by 200 CE Teotihuacan had presences as far away as Pacific coastal Guatemala. Their tendrils reached far south to Maya preclassic sites such as Kaminaljuyu and Abak Takalik. Around 250 CE a burial in Altun Ha, Belize held 243 pieces of green obsidian from Teotihuacan’s mines in Pachuca. Altun Ha was a large-scale center for jade carving, obtained from mines in the Motugua Valley in southeastern Guatemala. Teotihuacan coveted jade and such elite trade goods underlay the empire’s expansion. This spurred greater incursion into Maya regions.

The Maya “Entrada.”

Just over 100 years later, in 378 CE, a group from Teotihuacan changed Maya history in the Peten region. A warlord named Siyaj K’ak (Fire is Born, Smoking Frog) led his warriors to overcome Maya cities of Uaxactun and El Peru. From there his warriors entered Tikal, a venerable city and major power, and the death of Tikal’s ruler Chak Tok Ich’aak  on that same day was recorded. The next ruler was Yax Nuun Ayin, the son of a Teotihuacan lord or ruler called Spearthrower Owl (translated in Mayan as Jatz’om Kuh). It is thought Yax Nuun Ayin married into the local Tikal dynasty, perhaps a royal woman named Une Balam who may have been the Tikal ruler’s daughter. (Janice Van Cleve, “Who Was Queen Une Balam?”) Tikal Stela 31 records these events; shortly afterwards Teotihuacan imagery and building styles such as talud-tablero architecture appeared in Tikal.

Less than 50 years later Teotihuacan influence spread south to Copan, Honduras. Yax K’uk Mo’ (First Quetzal Macaw) was a warrior who spent his early years near Tikal, according to strontium isotope analysis of his bones. He became the “first” ruler of Copan in 426 CE, although there must have been a local dynasty since the city had existed for years. He is portrayed in typical

Photo of Yax K'uk Mo figure

Yax K’uk Mo figure with Tlaloc goggle-eye mask

Teotihuacan battle dress wearing the “goggle-eye” mask typical for the god Tlaloc. He was buried in a rich grave inside Temple 16, and his image has first position in the carvings on Altar Q showing 16 rulers of Copan. His descendants attributed Teotihuacano heritage to their founding ruler. Yax K’uk Mo’ possibly accompanied Siyaj K’ak in the earlier invasion of Tikal as a youth, and continued to spread Teotihuacan’s reach to important jade sources in the Motagua River region. He installed a vassal who had traveled with him, named Tok Casper, at nearby Quirigua. Both these settlements lie on the river network leading from the Motagua Valley to the Caribbean Sea. This gave links for Teotihuacan to control the jade trade.

Photo of structures in talud-tablero style

Talud-tablero architecture at Teotihuacan

Variants of the Teotihuacan talud-tablero building style are found in Tikal, Kaminaljuyu, Copan, Becan, and Oxkintok, especially in the Peten Basin and central Guatemala highlands.

Reasons for Teotihuacan’s success appear to be built into their sociopolitical and religious systems. Some experts think they offered a new, attractive world view that blended religion and government in a unique way. The extensive urban planning and awe-inspiring monuments still observable today provide testimony to this well formed civic-spiritual ideal. The Teotihuacano fusion of extreme religious rituals that included human sacrifice, formalized social structure, and astute political organization formed a powerful matrix that controlled the lives of all who lived within it, and many in distant locales. How closely the ruling elite administered outposts is debated; more likely their agents influenced trade arrangements and local dynastic politics. Cultural diffusion led to adoption of Teotihuacan styles and traits to emulate the powerful empire.

 

Collapse of an Empire

The enigmatic leaders of Teotihuacan appear by the mid-500s to hold sway over much of Mesoamerica. They mainly accomplished this through political alliances and vassal rulers. By controlling trade networks, they kept the Teotihucano people well fed and living in comparative luxury in an advanced city with running water, sewers, brick homes, neighborhood communities, and multi-level residences. Public rituals with human sacrifice that played out before thousands of viewers maintained priesthood and elite power. Eventually the system did fail by 650 CE. As with collapse of other major civilizations, a number of factors were involved. Perhaps most insidious was internal competition between priests, elites, and leaders. Resources were siphoned off from central government, weakening the discipline and social control systems. A series of long droughts occurred around 535-536 CE, with evidence of famine and malnutrition. It is possible the eruption of the Ilopango volcano in El Salvador in 535 CE created climate changes. There was increased warfare and internal unrest. Popular rebellion led to burning elite dwellings and major civic structures along the Avenue of the Dead. Sculptures inside palaces were shattered. Population declined to 20,000 and Teotihuacan’s power diminished. Many of the elite may have fled the city, going on to create new cultural centers to the south. Other nearby centers such as Cholula, Xochicalco, and Cacaxtla competed to fill the power void. This led to rise of the Totonac, Toltec, and later Aztec peoples.

Chart of timeline, Mesoamerican cultures

Timeline of Mesoamerican Cultures

 

In October 2018 I visited Teotihuacan for the first time–it was on my bucket list! I went with archeologist Edwin Barnhart on his Maya Exploration Center tour of Basin of Mexico sites. No better way to experience and learn about ancient Mesoamerican cultures. Visit Maya Exploration Center for more information. Dr. Barnhart also made a video lecture series for Great Courses on Maya to Aztec: Ancient Mesoamerica Revealed.

Photo of author at Teotihuacan

Leonide Martin at Teotihuacan, October
2018

 

Resources

George Cowgill.  Ancient Teotihuacan: Early Urbanism in Central Mexico. Cambridge University Press, 2015.

Edwin Barnhart.  Maya to Aztec: Ancient Mesoamerica Revealed. The Great Courses, 2017.

Simon Martin & Nikolai Grube.  Chronicles of the Maya Kings and Queens. Thames & Hudson, 2000.

David Stuart.  “The Arrival of Strangers.” Teotihuacan and Tollan in Classic Maya History. PARI Online Publications, Newsletter #25, July 1998.

Janice Van Cleve.  “Who Was Queen Une Balam?” Research Paper published online, 2003.  http://www.mayas.doodlekit.com

Leonide Martin.  Facebook Page Photo Album, November 2018.  https://www.facebook.com/leonide.martin

 

 

 

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The Devil is in the Detail

MayaShamanXC

Mayan Shaman or Brujo

“The Devil is in the Detail” implies that although something might look simple at first, there is a catch hidden in the details.

Often an idea seems wonderful, but turns out impossible to implement. We may be able to agree on generalities, but come to blows on specifics. A project may appear straightforward and easy, but takes more time and effort to carry out than we expected. “The Devil”—our difficulties and challenges—hides in the details.

This is the contemporary understanding of the idiom. But, it was not always interpreted this way. Use of the phrase goes back at least to the early 1800s when French writer Gustave Flaubert (1821-1880) said “Le bon Dieu est dans le détail.” By saying “The good God is in the detail” Flaubert was emphasizing that details were sacred and significant.

Photo of Gustave Flaubert, French Novelist

Gustave Flaubert (1821-1880) French Novelist

Whatever one was doing, it should be done thoroughly and with full attention. Details are important.

The actual source of the idiom is unknown. It’s generally accepted that German-born architect Ludwig Mies van der Rohe (1886-1969) used it, but almost certainly did not invent the phrase. It was a favorite of German art historian Aby Warburg (1866-1929) although his biographer could not be certain it originated with him. Some have attributed it to Michelangelo (1475-1564). Bartlett’s Familiar Quotations lists it as an anonymous saying.

Whether “The Devil” or “The Good God” is in the detail, we are led to conclude that details are very important, even possibly sacred. Writers of historical fiction know this all too well. Get the details or facts wrong, and you’ll never stop hearing about it from readers and critics. Put in too many details, in hopes of giving readers a rich and full experience of a culture and time period, and you’re criticized for unnecessary information that slows down the plot. Put in too few details, and readers complain they cannot get a good sense of the setting, culture, character, time period, geography, and so forth. The historical fiction author has then failed in the all-important task of “world-building.”

Books about well-known societies and cultures have fewer challenges in world-building. Most readers already know the Regency or Victorian era, the Tudor or Plantagenet dynasty, Renaissance Italy, medieval times, and popular ancient cultures such as Rome, Greece, or Egypt. Historical fiction authors writing about less known cultures have more need for thorough world-building. In particular, I have in mind ancient Mesoamerican civilizations. Even indigenous groups in North America lived in worlds generally less understood by most readers. In these cases, putting in sufficient details is important.

Photo of three Egyptian pyramids

Great Pyramid Complex in Egypt

Photo of Mayan Three Temple Complex, Palenque, Mexico

Mayan Three Temple Complex in Palenque, Mexico

 

 

 

 

 

 

 

 

 

My HF novels are set in ancient Mayan civilization. There is a dearth of literature focused on this culture; even the Aztecs and Incas get more press. Because of this, my books include details of everyday life, technology, arts, and cosmology to provide a fuller picture of this advanced culture. I weave this information into the story with several writers’ caveats in mind: whenever possible “show rather than tell,” make expositional dialogue seem natural, make the details serve the plot or character development. Most importantly, keep it interesting.

Ah, there’s the rub. How much is enough and not too much? Reviewers have called my books “well-detailed,” “no light read,” full of detailed descriptions,” “complex world-building.” They also say the books “provide a realistic feel,” give “depth and meaning to overall events,” and make “the Mayan world and its underlying influences come alive.” But one review from a pricey and well-respected source felt there were just too many details. While the information was captivating, there was far too much for an enjoyable novel. Besides, they complained that readers really didn’t need to know about the “trapezoidal linear truss using high strength timber crossbeams” that made Lakam Ha’s architecture innovative.

Who would want to know? Anyone interested in ancient Mayan civilization.

One often pondered question is how the Mayas built their soaring pyramids of huge stones in a jungle environment

Photo of Maya Corbel Arch

Maya Corbel Arch

without metal tools. Ancient Lakam Ha (Palenque) is widely known as the most graceful and architecturally unique Mayan city. A good deal of literature examines how they built and what innovative technologies allowed Lakam Ha to create its harmonious structures. Mayas traditionally used a corbel arch technique to form ceilings of chambers and passageways. Not a true arch, this technique lacked support strength. At Lakam Ha, ceilings were higher and rooms wider than at other Mayan cities. The trapezoidal linear truss was the technology that made this possible.

Photo of Maya trapezoidal truss

Maya Trapezoidal Linear Truss

In any case, this is mentioned only once in a short passage of three paragraphs. The description is set in dialogue between ruler Pakal and his chief architect. To my thinking, it is such tidbits of detail that give readers a good sense of this remarkable culture’s immense creativity.

 

 

 

 

 

 

 

But perhaps I get carried away . . . in my most recent book about Mayan queens, publishing in October 2018, one major character is a brilliant astronomer and numerologist. Kan Bahlam II, who becomes ruler of Lakam Ha when Pakal dies, invented the 819-day calendar and a secret code language based on astronumerology called “Zuyua.” He conceived and had built The Cross Group, a three pyramid complex considered the ultimate statement of Palenque creation mythology. Panels in these pyramids are carved with hieroglyphs and figures that embed the secret codes and calendar, and weave them with Kan Bahlam’s personal history. It is pure creative genius.

Photo of stone carving of Kan Bahlam II, Temple XVII Tablet

Kan Bahlam II – Temple XVII Tablet

Drawing of Cross Group as reconstruction

Cross Group Panorama View
Artists Reconstruction

 

 

Therefore, I wanted to share this knowledge with readers. After sending the manuscript to my beta readers, however, their feedback made me realize that although captivating, this really was too much information. Several pages of explanations and examples of astronumerology were cut from the book. After all, it had taken me several years of study to understand it and I couldn’t expect readers to grasp it on first exposure.

Because the Devil is in the Detail.      

Photo of decorated skull

Dia de los Muertos Skull

 

 

BUY:  The Mayan Queens Series

The Prophetic Mayan Queen: K’inuuw Mat of Palenque

Book Cover The Prophetic Mayan Queen

Coming soon! Publication date October 2018 (paperback and ebook). Watch for pre-order page on Amazon or ask your local bookstore.

What’s In A Name?

Romeo and Juliet

Romeo and Juliet

In Shakespeare’s play about the eternal love story Romeo and Juliet she asks:

“What’s in a name? That which we call a rose, by any other name would smell as sweet.” Juliet was referring to their last names, for she was a Capulet and Romeo was a Montague, two feuding families of medieval Verona. As we know, things did not end well for the star-crossed lovers. It appears there is more to a name than Juliet imagined.

Names are important when writing historical fiction. They conjure personalities, attitudes, strengths and weaknesses, traits and inclinations. Can you imagine King Melvin of the Round Table instead of King Arthur? Mildred instead of Joan of Arc? Consider how much mystery would be lost if we mourned over the travails of Sam and Sally rather than Heloise and Abelard.

In historical fiction, names convey a sense of time and place. Names are part of creating the “imagined world” in which the story takes place. When the characters’ names are discordant with the period and culture, it creates a jarring dissonance for readers. How characters are named adds to mood and theme, as well as signaling qualities that shape their personalities.

That said, what if you’re writing about a culture and time that is far removed from the experience of most Western-educated people? How do names then figure into the construction of world and characters? Herein lies a difficulty for writers of ancient worlds fiction, set in cultures that are vastly different than those of historic Europe. Consider the complexity of names from ancient Egypt, Mesopotamia, Asia, Polynesia, and my area:  the ancient Mayas of Mesoamerica.

Picture of hanging gardens of Babylon

Babylon in Mesopotamia

 

 

Picture of Palenque in Chiapas, Mexico

Palenque in Mesoamerica
National Geographic

Names in ancient languages vs names translated into English.

My approach to naming characters has been to use actual ancient Mayan names as phonetically spelled by researchers and epigraphers. Since conventions for these spellings have changed over the years, I had to choose which to use and selected those that seemed friendliest to English-speakers. Not all writers of ancient Mayan historical fiction do this; several use English translations of Mayan names, or a combination of translated and phonetically spelled names. I feel it’s important to use historic characters’ actual names phonetically spelled in Arabic letters. This preserves the cadence and qualities of ancient Mayan speech and helps create the feeling tone of their “imagined world.” To me, saying their names creates a vibration that resonates with their personality and attitudes. If I used English translations of their names, an essential quality would be lost, a sense of different place and culture that puts the reader into the aura of ancient Mayan civilization.

For example, these are the actual Mayan names of the four queens in my “Mists of Palenque” series, with the English translations. The Mayan names are pronounced using romance language vowel sounds: a = ah, e = eh, i = ee, o = oh, u = ooh.

Mayan name                           English translation

Yohl Ik’nal                               Her Heart/Center of North Wind

Sak K’uk                                   White Resplendent Quetzal

Tz’aakb’u Ahau                       Accumulator/Producer of Lords

K’inuuw Mat                           Sun-Possessed Cormorant

To me, a great deal is lost when these Mayan names are not used. I’ve read other books where the Maya characters have names such as Jeweled Skirt, Red Flint, Snake Jaguar, Tree Orchid, Iguana Wind, and Big Deer. These are easier for English-speakers to remember and pronounce, but lack cultural ambiance that sets mood and tone.

What’s In a Name is a Great Deal.

To disagree with Juliet, I believe names matter a lot in stories. My choice to use Mayan names for characters and places has led to bad reviews by some readers, who give low ratings with complaints that they couldn’t get past the difficult names. I wonder if they feel the same way about fiction set in ancient Egypt or Biblical times, with long and complex names but more familiar to

Picture of Toltec king on throne

Toltec City in Mesoamerica
Iztaccaltzin on Throne

European-based cultures. Moving beyond one’s comfort zone is essential to appreciate cultures that are very different from your own. Indigenous Mesoamerican cultures have some of the most complex names I’ve found, yet are rich in history and accomplishments. Recently I read a book about the pre-Aztec cultures around Lake Meztliapan, the Toltecs and Chichimecs. Many actual names were used—Ihuitimal, Eloxochitl, Topiltzin, Citlallotoc, Tlazolteotl—and I preferred these to translated names that were also used, such as Black Otter, Spear Fish, and Jade Flower.

 

One Concession to Difficult Names.

Of the four queens in my series, the third has the most difficult name:  Tz’aakb’u Ahau. This name does not roll easily off the tongue. To make reading (and writing) go more smoothly, I gave this queen the childhood name Lalak. There was no information about what her actual childhood name might have been, for she only appears in hieroglyphs after being granted her royal name. Since the love story between her and the ruler of Palenque is a dominant theme in the book, I found nice parallelism in the pairing of their names:  Lalak and Pakal—eternal Mayan lovers but with a happier ending than Romeo and Juliet.

 

Newly released print version–March 1, 2018!

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

The Mayan Red Queen

 

Join me for book release events:

March 8, 7-8 pm         Another Read Through in Portland, OR

March 23, 7-8 pm       The Book Bin in Salem, OR

April 7, 4-6 pm           Silverton Grange in Silverton, OR

Photo of Leonide Martin at El Mirador, Guatemala

Leonide Martin at El Mirador, Guatemala

The Writing Process: Inspiration for The Mayan Red Queen Story

Writing Process

Leonide Martin engrossed in The Writing Process

Exploring The Writing Process With Leonide Martin.

In this new series of posts, I’ll be taking a look at The Writing Process. Whenever I’ve done an author interview, one question always asked is how I navigate the process of writing. Every author follows a personal writing process, so no single formula fits for all. There are common steps we all go through in conceptualizing, developing, planning, researching, writing routine, revising, editing, and publishing. This series will explore each step in the writing process, using my own experiences as examples.

The book I most recently completed is The Mayan Red Queen: Tz’aakb’u Ahau of Palenque. This is the third book in the Mists of Palenque series Book Cover for The Mayan Red Queenabout four remarkable ancient Mayan women. Released in 2017 as an ebook, it’s now in the process of getting into print with publication date March 1, 2018. The Mayan Red Queen is the example through which I’ll dissect my journey through The Writing Process.

 

 

Inspiration for The Mayan Red Queen Story

My husband and I bought a house in Mérida, Yucatan, Mexico in 2005 and lived there for five years. Our main purpose was for me to become immersed in Mayan culture and history to better write historical fiction about this great civilization. Yucatan was a perfect location, peppered with Maya ruins and infused with a vibrant modern Mayan culture. I had already written my first historical fiction about the Mayas before we moved to Mérida, and now had a new book in mind. The first book, Dreaming the Maya Fifth Sun: A Novel of Maya Wisdom and the 2012 Shift in Consciousness, is a story of two women separated by centuries yet connected by

Writing Processa web of history, whose destinies intertwine as the end of the Maya Calendar on December 21, 2012 approaches. Of course, the Mayas never predicted the calendar—much less the world—would end in 2012. For them, one great cycle rolled over into the next. This perspective is dramatized in the story.

While visiting Mexico during the years before we moved there, I’d been captivated by the ancient city Palenque located in southern Chiapas. I’d already done considerable research to write the first book, but was spurred to delve more deeply into the archeology and history of Palenque. Several famous archeological things happened there:  John L. Stephens and Frederick Catherwood wrote their Incidents of Travel books that became international best-sellers in the mid-1800s and put Palenque on the map.  Alberto Ruz Lhuillier excavated the tomb of famous ruler K’inich Janaab Pakal in 1952; it compares in riches to King Tut’s of Egypt. The series of Mesa Redondas conducted by Linda Schele and Merle Green Robertson during the 1970s brought together Mayanists from several disciplines; their combined skills deciphered the “king list” of Palenque rulers. Excavations by Arnoldo Gonzalez Cruz and Fanny Lopez Jimenez uncovered the tomb of a royal woman in 1994, her skeleton permeated with red cinnabar; it was the first queen’s burial ever found among the ancient Mayas.

Enter The Red Queen

Here is where the inspiration for my next book about the Mayas began. As I stood in the narrow passageway and peered into the chamber holding her empty sarcophagus, I wondered who this woman was. Her bones had been removed to Mexico City in a museum for preservation and study. Her burial adornments were in the Palenque museum; a jadeite mask, jade diadem, jade and stone jewelry, ceramics, tools, symbols of status. The partially restored pyramid housing her tomb (Temple XIII) adjoined the huge burial monument for Pakal (Temple of the Inscriptions); this made researchers think there was a relationship. By pure luck, I was browsing through Dante Books in Mérida and came upon a book about her:  La Reina Roja by Adriana Malvido.  I’d never have found this book unless I was in Mexico; I’d never been able to read it unless I had continued studying Spanish while there.

Red Queen sarcophagus Temple XIII

Sarcophagus of The Red Queen, Temple XIII

Jadeite Burial Mast of the Red Queen

Jadeite Burial Mask of The Mayan Red Queen

 

 

 

Temples of Inscriptions, XIII, XII at Palenque

Temple of the Inscriptions, Temple XIII, Temple XII at Palenque

 

La Reina Roja: El secreto de los mayas en Palenque was written in 2006 by a journalist from Mexico City, working in consultation with INAH, Mexico’s institute for preserving national culture and history. It read like a novel yet contained extensive factual information about the archeological excavation and historical background. I learned that the woman whose red bones were interred might be Pakal’s grandmother, mother, wife, or daughter-in-law. At that time, good techniques for analysis of teeth and bones were not available. It took over ten years for scientists to determine that the Red Queen’s skeleton and Pakal’s skeleton did not share DNA, and their teeth had different strontium isotope signatures. This eliminated his grandmother and mother; making his wife

Bust of K'inich Janaab Pakal, Palenque ruler

K’inich Janaab Pakal
Ruler of Palenque 615-683 CE
Portrait carved in limestone

most likely to receive such an honored and richly adorned burial.

Reading Malvido’s book, I learned about the other candidates for the burial and became fascinated by this lineage of royal women. Pakal’s grandmother Yohl Ik’nal was the first Mayan women to rule independently, causing a shift in dynastic succession. His mother assumed the throne after her brother was killed in Palenque’s worst defeat. She weathered opposition and chaos to keep the throne until her son Pakal came of age. His wife was from another city, lived many years in Palenque and bore him four sons. His daughter-in-law kept the dynasty going although she married his youngest son; the older sons had no surviving heirs.

 

The Nucleus of a Story Emerges

It was simply evident that I had to tell the stories of these four great Mayan queens. At first I conceptualized a single book in four parts, did lots more research and made an outline. While in Mérida I began writing about Yohl Ik’nal, but the writing process was difficult. Anyone who has lived the ex-pat life knows how many distractions abound. Eating out at fine restaurants was inexpensive;  there was abundant good wine; too many parties and musical performances; endless excursions to interesting sites around Yucatan; discussion groups and teas and local fiestas and carnivals. Serious writing had to wait until we returned to the States and then I discovered there was too much material for one book. The result: The Mists of Palenque series of four books, each dedicated to a queen.

Writing Process

Leonide Martin doing research in The Writing Process

 

 

 

 

 

 

 

 

 

Gift to you:

Sign up for my blog and receive PDF of my white paper “Why the World Didn’t End in 2012.”Pyramid at Chichen Itza 2012

Already signed up? Email me and request the white paper at lenniem07@yahoo.com

 

 

 

Resources

Precolumbian Art Research Institute. PARI Online Publication. Palenque Round Tables 1-8. (Mesas Redondas). 1973-1993.  http://www.mesoweb.com/pari/round_table.html

Precolumbian Art Research Institute. PARI Online Publication. The First Mesa Redonda of Palenque. 1973. http://www.mesoweb.com/pari/publications/RT01/RT01_00.html

Adriana Malvido.  La Reina Roja: El secreto de los mayas en Palenque. Conaculta/INAH, Mexico City, Mexico, 2006.

John L. Stephens. Incidents of Travel in Central America, Chiapas and Yucatan. Volume I.  With illustrations by Frederick Catherwood. Dover Pub., Inc., New York, 1969. Originally published in 1841 by Harper & Brothers, New York.

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

Arnoldo Gonzalez Cruz.  The Red Queen. Mesoweb Online Publications, 1994 excavations of Temple XIII, Palenque.  http://www.mesoweb.com/palenque/features/red_queen/text.html

Arnoldo Gonzalez Cruz.  La Reina Roja, una tumba real en Palenque, 2011. (Wikipedia)

 

 

 

 

 

Mayan Queens Kept Worlds in Balance

Mayan Queen

Mayan Queen Holding Effigies of Two Deities

Mayan Queens and Kings were Shaman-Rulers charged to Maintain Balance between the Three Worlds of the Maya Cosmos.

Mayan Queens were powerful leaders in ancient Maya culture. Women rulers are well-documented during the mid to late Classic Period, 300-900 CE. Called K’uhul Ixik, Holy Lady in classic Mayan language, their role included entering shamanic states to access spirit domains and drawn upon the powers of deities and ancestors. The rituals rulers performed, and the sacred architecture of pyramids and temples in which rituals took place, were symbols of creation in the cosmos.

 

Pyramid-Temples

Temple of Inscriptions – Temple XIII – Temple of Skull (c.700)

 

 

“They are all instruments for accessing spiritual power from the creative act . . . they are signposts on the Maya road to reality stretching across the landscape of history.”  ̶  Maya Cosmos

 

 

 

 

 

Mayan queens and kings did rituals of sacrifice and sympathetic magic.

Accessing powers of Otherworld Gods and Ancestors was not easily achieved. Mayan queens or kings had to make appropriate offerings and know how to call the deities’ names properly. The most common sacrifice was self-bloodletting, because blood was ultimately sacred as itz, sticky fluid that was ch’ulul, the life force energy, life-essence and creative substance. The shaman-ruler let blood from tongue, earlobes or genitals to concentrate and channel this life force from the Otherworld.

“In a sense, the shamans were like modern engineers. But instead of nuclear power plants and electrical grids they used pyramids and Vision Serpent portals. Instead of electron flows they used itz. The spilling of blood, like the throwing of a giant breaker switch, brought life giving energy pouring into the universe from the underlying force fields of the Otherworld.”  ̶  The Shaman’s Secret

Maya shamans

Mayan Shaman-Priests

 

Rituals for accessing spiritual powers propelled the shaman-ruler into altered states of consciousness, both by the act of self-bloodletting and use of mind-altering substances. The objective was to receive a tangible vision and an overwhelming experience of the deities; essentially a state of Divine Union or Communion. It is sympathetic magic through conjuring Divine beings, often intentional calling of a certain deity. Since all things mirror each other, in Mayan cosmology, when rituals re-enacted events from Creation Mythology, or conjured a warrior ancestor to guide a king through battle, these supernatural events were reactivated and manifested on earth.

 

Lady Kab’al Xoc Conjures an Ancestor Warrior

Lady Kab’al Xoc, first wife of Itzamnaaj Bahlam of Yaxchilan, was a famous Mayan queen. She is shown on carved lintels doing a bloodletting ritual, drawing a rope embedded with thorns through her tongue. As her blood fell on bark paper in a censer, it was set on fire and the rising smoke turned into the Vision Serpent. An ancestor warrior emerges from the snake’s open jaws, brandishing a shield and spear with Teotihuacan imagery (Tlaloc face mask, mosaic war helmet, double pointed spear). The ancestor brought important messages to guide the king during the upcoming battle.

Mayan Queen Sacrifice

Lady Kab’al Xoc Performing Self-Bloodletting

 

 

Mayan Queen Vision

Lady Kab’al Xoc Invoking Warrior Ancestor

Equinox Rituals Brought the Worlds Into Balance

An important responsibility of Mayan queens and kings was to perform rituals at key times according to their calendars. The Mayas had numerous calendars and many rituals were needed. Solar calendar events were especially potent: equinoxes, solstices, zenith, and eclipses. Each mid-fall and mid-spring, the sun reaches a point in its ecliptic when day and night come into balance. The concept of balance was critical to the Mayas; rulers were charged to keep the three worlds—Underworld, Middleworld, and Upperworld—in harmonious relationship. Only when the needs of deities of each realm were satisfied, and communion with deities was performed correctly, would humans enjoy lives of peace and abundance on earth.

Mayan solar priests, K’inob, used techniques to track the sun’s movement and predict accurately when the day of perfect balance arrived.  On the equinoxes, rulers would undertake the prescribed rituals, making offerings to the Gods of the calendar periods and drawing their blessings into the world. Rulers conjured the Vision Serpent and sought prophesy for the coming calendar period.

There were dire consequences if balance was not maintained between the worlds. When balance was lost, the natural world was in danger. If this world, the Middleworld of earth , remained out of balance with the other two worlds long enough, it could bring destruction to a city, a region, or perhaps the entire Maya lands. Many experts believe that losing balance in the natural world is what led to the collapse of Maya civilization. The “Maya Collapse” is a complex phenomenon, not readily explained by any single factor, following different courses and timelines in various parts of the Maya lands. Beyond doubt environmental changes played a major role.

 

El Mirador

El Mirador in Guatemala
300 BCE – 150 CE

El Mirador Out of Balance

The collapse of El Mirador is reasonably well explained. It was a thriving Pre-Classic city of about 100,000, surrounded by satellite cities in northern Guatemala that flourished between 300 BCE and 150 CE. Perhaps the largest Maya city, its main pyramid sat on plazas covering 45 acres, on a platform 980×2000 feet, rising 230 feet tall. Toward the end of its occupation, extravagant building programs using inordinate amounts of plaster were carried out; some of the thickest plaster coatings ever found. To create lime plaster and cement, the Mayas burned massive amounts of wood, causing deforestation in surrounding areas. The swampy regions that supplied water and rich mud for agriculture were destroyed by clay runoff from damaged forest floors. With no close-by rivers, and perhaps a time of relative drought, the once great city faced declining water, food, and wood for fire. Between 100-200 CE, El Mirador and other cities of Mirador Basin were abandoned. Archeologist Richard Hanson, prime investigator of El Mirador, says the underlying reason for its decline was a loss of balance with the natural environment. The rulers and elite became immersed in “conspicuous consumption” through over-building using excessive resources, trying to sustain an image of wealth and progress. This lack of foresight and judgment—an imbalance between the worlds—led to the collapse of civilization in the region.

Mayan queens and kings were successful at keeping the worlds in balance for over a millennium. Thousands of large cities thrived in a difficult tropical jungle climate. The Mayas learned to adapt agriculture and conserve natural resources, and created the most brilliant, artistically and technologically advanced civilization in the Americas. While they upheld their expansive cosmology and properly honored the Gods and Ancestors, their culture succeeded. They lived an ongoing re-creation of their worlds by mutual Divine-human interaction; in essence, shaman-rulers became “mothers” of the Gods even as the Gods gave birth to humanity and the worlds.

Around 900-1000 CE that creative partnership dissolved. Not only environmental factors, but an internal spiritual dissonance led to abandonment of Maya cities. The Holy Lords and Ladies lost ability to fulfill their mandate, the deities were no longer satisfied, and the common people left for better livelihoods elsewhere. But this is yet another story.

 

Read about how Mayan queens kept worlds in balance in my book series about Mayan Queens in the ruling lineage of Palenque.

Click Links Below:

Mayan Queens Books

Mists of Palenque
Series About Mayan Queens

 

The Visionary Mayan Queen: Yohl Ik’nal of Palenque

The Controversial Mayan Queen: Sak K’uk of Palenque

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

 

 

 

Resources

Chip Brown. El Mirador, the Lost City of the Maya. Smithsonian Magazine, May 2011.

John Clark and Richard Hansen.  The Architecture of Early Kingship. In Royal Courts of the Ancient Maya, Vol. 2 (Eds. Takeshi Inomata and Stephen Houston. Westview Press, Boulder, CO, 2001.

David Freidel, Linda Schele, and Joy Parker.  Maya Cosmos. Three Thousand Years on the Shaman’s Path. William Morrow and Co., New York, 1995.

Douglas Gillette.  The Shaman’s Secret. Bantam Books, New York, 1997.

 

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…)

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