ThePARI Journal
A quarterly publication of the Pre-Columbian Art Research Institute
Volume X, No. 3, Winter 2010
In This Issue:
Religious Imagery in
Mayapan’s Murals
by
Susan Milbrath
Carlos Peraza Lope
and
Miguel Delgado Kú
PAGES 1-10
•
Glyph F of the
Supplementary
Series: TI’ HU’N,
Mouth of the Book
by
Scott A. J. Johnson
PAGES 11-19
•
Morley’s Diary:
April 26–27, 1932
PAGE 20
Joel Skidmore
Editor
[email protected]
Religious Imagery in Mayapan’s Murals
SUSAN MILBRATH
CARLOS PERAZA LOPE
MIGUEL DELGADO KÚ
Murals at Mayapan in Yucatan provide
a rich picture of the changing nature of
religious imagery in the Postclassic period.
Mixteca-Puebla traders from Central
Mexico or Oaxaca may have introduced
foreign religious cults at the Postclassic
Maya capital as early as 1325 or 1350.
Relationships with the Mixteca-Puebla
style are evident in Mayapan murals that
date between 1350 and 1400. Later, Aztec
stylistic elements were introduced in architectural sculpture and murals, dating circa
1400-1450, probably through itinerant
artists accompanying traders from the
Valley of Mexico. These stylistic changes
also relate to modifications in religious
imagery, the main focus of discussion
here. Dates for the murals are based on
Mayapan’s archaeological chronology and
comparisons with murals from other sites
in Mesoamerica (Milbrath and Peraza
2003).
Sala de los Símbolos Solares
The latest murals at Mayapan are painted on the Sala de los Símbolos Solares
(Structure Q.161), an addition to the
Castillo that dates to the last decades of
Mayapan’s occupation (Milbrath and
Peraza 2003:19, Table 1; Peraza et al. 2001)
(Figure 1). The solar disks on Mayapan’s
Structure Q.161 can be compared to
Late Postclassic Aztec sculptures and to
Mixteca-Puebla codices and murals at sites
such as Mitla and Santa Rita (Figures 2–3).
The Mayapan solar disks with only four
rays seem simplified when compared to the
more complex Aztec and Mixteca-Puebla
forms, but this is not a significant stylistic
difference because there is considerable
variety in Mixteca-Puebla and Aztec
solar disks (Miller 1982:Figure 109; Nuttal
1975:9, 10, 19, 21; Pasztory 1983:Plates 36,
85, 90, 234; Taube 1992:Figure 77).1 More
Marc Zender
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Figure 1. Structure Q.161, one of eight similar scenes with solar disks (photo by Joel Skidmore).
The PARI Journal 10(3):1-10.
1
Milbrath
Figure 2. Solar disk from Structure Q.161 (photo by Joel Skidmore).
significant in terms of style is the fact that the Mayapan
forms are rendered with broad color areas, lacking the
black lines that form detailed cell partitions in murals
and codices painted in the Mixteca-Puebla style or its
East Coast variant known from sites like Tulum and
Santa Rita (Robertson 1970).
The Mayapan murals from Q.161 share some stylistic
elements with Aztec art. The striding profile figures
facing each other across a sun disk in the murals resemble the central relief on the Aztec Teocalli (Pasztory
1983:Plate 127).2 The costuming, proportions, and pose
of the profile figures in Mayapan’s Q.161 mural are like
those seen in early Aztec art, especially murals from
Phase II of the Templo Mayor, ca. 1375-1427 (López
Luján 2006:122; Milbrath and Peraza 2003:29).
Mayapan’s Sala de los Símbolos Solares is painted
with broad areas of color more closely resembling the
Templo Mayor murals, but the paintings lack the thin
black outlines seen in the Phase II Aztec murals (de la
Fuente et al. 1999:Colorplates 69 and 145) (Figures 1–2).
The panels in the Q.161 mural include a green border,
a color not seen in the Templo Mayor murals, and the
lavish use of Maya Blue in the background is also a
distinguishing feature. Apart from these differences,
2
both murals share a color palate featuring red, blue,
yellow (ochre), and white (Lopez Luján 2005:17, Figure
8). The use of Maya Blue in the Templo Mayor murals
may provide a key to possible connections between the
Aztec area and the Mayapan area, one of the principal
sources of Maya Blue. The Aztecs or their Canul trading
partners may have obtained the blue pigment from the
area of Mayapan as early as 1375 (Milbrath and Peraza
2003:30).3
Sun disks with solar deities are represented in
1
Like Aztec examples of sun disks, the Church Group murals
from Mitla represent a solar disk with eight rays, four terminating in
scroll ends, and a multitude of jade and feather symbols (Milbrath
1999:Figure 5.6h). The Santa Rita sun disk has primary solar rays
with scroll ends and bands with beads at the ends in between these
rays (Figure 3). This format resembles the solar disks on Codex
Nuttall 9 and 21 (Nuttal 1975:9, 21), but the codex also represents
solar disks with rays lacking scroll ends (Nuttall 1975:10, 19, 21).
2
Compositions with two figures facing each other across a
central object are typical of early Aztec sculptures dating prior to
1427, according to Emily Umberger (1981:225-226). Nonetheless,
Leonardo López Luján (2006:104, 114) points out that this conclusion
is based on a faulty chronology that places the benches of the Casa
de las Aguilas with its “Toltec” figures as among the earliest Aztec
reliefs when in fact they are purposefully rendered in an archaic
style to allude to a Toltec heritage.
Religious Imagery in Mayapan’s Murals
Aztec and Mixteca-Puebla art, including the mural
at Santa Rita painted in the East Coast International
style (Robertson 1970; Taube 1992:140-142, Figures 77–
78) (Figure 3). The diving figures in the center of the
Mayapan sun disks have their arms and legs forming
a design resembling a swastika (a “pinwheel pose”),
comparable to the representation of the Sun God on
Codex Nuttall 9 (Nuttall 1975:9), although the codex
figure is not represented in a diving pose. A figure in a
pinwheel pose on an Aztec sun disk could represent a
sacrificed warrior rather than the Sun God (see catalog
number 11/8220 in the National Museum of the
American Indian; Saville 1924:Figure 41). Because the
figure has a dart in his mouth and his heart has been
extracted, he could represent a warrior sacrificed to the
sun, in keeping with the concept of a deceased warrior
serving as a companion to the sun from sunrise to
noon in Aztec accounts (Sahagún 1950-82:Book 6:162).
On the other hand, Leonardo López Luján (personal
communication 2009) interprets this warrior as an
image of the deceased Sun God, Tonatiuh.
In the Mayapan murals, there were originally eight
different figures on the sun disks, each represented in
a descending pose (Figure 4).4 The diving figures could
be deceased warriors comparable to Aztec images,
but the grouping of eight solar disks suggests an
alternate interpretation. The eight sun disks in Q.161
may symbolize eight solar years in the Venus almanac,
equivalent to five Venus cycles (5 x 584 = 8 x 365 days;
The Templo Mayor includes Maya Blue made from indigo,
a plant grown in tropical regions. Through a heating process,
indigo was combined at a molecular level with palygorskite clay
from northern Yucatán, or alternatively the combination included
mixed palygorskite and sepiolite clay from the area of Campeche
(Lopez Luján et al. 2005). It is not clear whether the Aztecs made
the pigment from imported raw materials or whether they or their
trading partners imported Maya Blue as a prepared pigment. There
is some evidence of changes in the sources of Maya Blue over time.
One sculpture tested from the Templo Mayor was originally painted
with Maya Blue made with clays comparable to the Campeche
sources, but was later painted over in a repair that used a Maya
Blue made from the type of clay characteristic of northern Yucatán
(Lopez Luján et al. 2005:26, n. 62). A third unknown source of clay
used for Maya Blue may be from Oaxaca (Lopez Luján et al. 2005).
It seems likely that the Aztecs began to exploit clay sources near
Mayapán through trade or some other form of contact because there
are Mayapán sculptures that seem to be inspired by those from
Central Mexico, and Landa recounts that there was an influx of
“Mexicans” shortly before an internal revolt led the city to collapse
around 1450 (Milbrath and Peraza 2003:25-26, 30-31).
4
Only eight scenes are preserved, and six of these preserve solar
disks, four of which have descending figures that are still visible
(Figure 4). Although the eight panels are not completely preserved,
it is possible that the design represents eight solar deities. There
are also fragmentary murals in the area where the corner of Q.161
meets the eastern staircase of the Castillo. Given the loss of stucco in
other parts of the walls, it is likely that there were other subsidiary
scenes, but these areas do not seem large enough to fit in another
complete sun disk panel.
3
Figure 3. Sun Disk from Mural at Santa Rita (Gann 1900:Plate 31).
Milbrath 1999:58-59; Milbrath and Peraza 2003:28). In
this case, the descending figures would be different
avatars of the sun representing different years in the
Venus almanac. At least one of these seems to be dead,
his body pale and covered with what appear to be death
spots (Figure 2).
A connection between the murals and the Venus
cycle has been proposed in studies of the alignment of
Structure Q.161 (Sala de Símbolos Solares). Observing
times when the light of the rising sun illuminated the
murals resulted in dates that divide the year into a 2/3
ratio in relation to the summer solstice, and these dates
have been used to derive numerical coefficients that
link the solar year with the synodic cycle of Venus by
marking the dates that Venus could be seen behind the
tower of the Templo Redondo (Q.152) when viewed from
Q.161 (Ruiz Gallut et al. 2001). The Q.161 structure itself
does not have an orientation to a significant horizon
position for Venus, but its north and northwest walls are
illuminated by the rising sun on the summer solstice,
and its south wall is illuminated by the winter solstice
sunrise. Observations made from the Templo Redondo,
which clearly functioned as an observatory, indicate that
alignments toward the Castillo and the adjacent Q.161
mark important solar dates (Aveni et al. 2004). Venus
alignments were not evident along the same trajectory,
but an interest in the solar cycle in relation to Venus may
be evident in the grouping of eight sun disks, one for
each year of the Venus almanac.
3
Milbrath
Figure 4. Reproduction of murals in Structure Q.161 showing remains of the original eight panels on the the north,
northwest, and south walls (Barerra and Peraza 2001:Plates 16–17).
Venus Imagery in the Templo de los Nichos Pintados
The Venus almanac seems to be important in the Templo
de los Nichos Pintados (Temple of the Painted Niches or
Structure Q.80) excavated by the Carnegie archaeological
project in the 1950s (Milbrath and Peraza 2003:26-27)
(Figure 5). Mural paintings in Q.80 depict reptiles and
temples that reflect Mayapan’s participation in MixtecaPuebla traditions (Milbrath and Peraza 2003:26-27;
Barrera and Peraza 2001:443, Plates 5-11). The dentition
of the two preserved reptile faces clearly indicates that
the figures are serpents, most probably symbolizing
Quetzalcoatl. The serpents resemble examples known
from Coba (Lombardo 1987:Figure 46; Milbrath and
Peraza 2003:27) and those on Mixteca-Puebla pottery
from Cholula, dated circa 1350 to 1550 (McCafferty
1996:Figure 16f).
The murals depict small areas of blue, black, red,
white, and yellow outlined in black to form color cells
like those seen in Mixteca-Puebla codices (Milbrath
and Peraza 2003:29). This format is also seen on Mural
10 of Tulum’s Structure 16, one of the few polychrome
murals at the site (Miller 1982:Plate 33). Arthur Miller
(1982:70-73, Plates 25-40) notes that Mixteca-Puebla
stylistic elements in the Tulum paintings in Structures
5 and 16 indicate a date after 1400, but Leticia Staines
Cicero (1995:61) suggests these murals date between
1300 and 1450. The Q.80 murals represent the MixtecaPuebla style in an East Coast manifestation known as
the International Style (Robertson 1970). They date to the
last construction phase of the structure (Phase IV), but
the site chronology suggests that they are not the latest
murals at Mayapan (Milbrath and Peraza 2003:Table 1).
Although murals in Structure Q.80 have been known for
more than 50 years, their relationship to Mixteca-Puebla
4
Venus imagery has only recently been recognized
(Milbrath and Peraza 2003:19, 26). The five temples
represented in the murals may relate to the Venus cycle,
for there is one temple for each of the five synodic cycles
in the Venus almanac of eight solar years (Milbrath
1999:158-159). The five niches forming the entryway
to the temples were clearly intended for offerings, and
these offerings were probably made in accord with the
five divisions of the Venus almanac.
The five temples represented in the Mayapan mural
may relate to five serpent temples known from the central
area of Mayapan (Pugh 2001; Delgado 2004:123-129).
These buildings are the Castillo (Q.162), the Crematory
(Q.58), and Structures Q.143, Q.159, and Q.218. Timothy
Pugh (2001:255) notes that the Castillo, the largest of
these serpent temples, is positioned in the center of a
cosmic diagram marking five world directions. The
Castillo as the center point may have been the site of
calendar festivals related to the five Venus cycles in the
eight-year Venus almanac.
Mayapan’s Castillo is a copy of the Castillo of
Chichen Itza, an earlier structure known to have a
number of astronomical alignments (Aveni et al. 2004;
Milbrath 1999:66-68, Figure 3.1b; Milbrath and Peraza
2003:22, 38). Friar Diego de Landa clearly links Chichen
Itza’s Castillo to the Maya god of the feathered serpent,
known as Kukulcan, and he notes that the cult of
Kukulcan was brought from Chichen Itza to Mayapan
(Tozzer 1941:20-25). Kukulcan is the Maya counterpart of
Quetzalcoatl, a culture hero who was transformed into
the Morning Star according to the Anales de Cuauhtitlán
(Milbrath 1999:177). The religious cult of Quetzalcoatl
was introduced in Yucatan in conjunction with trade
from Central Mexico (Miller 1983:8-9; Ringle et al. 1998).
In the case of Mayapan, the cult seems to make its first
Religious Imagery in Mayapan’s Murals
Figure 5. Structure Q.80 with five serpent temples (Barerra and Peraza 2001:Plate 5).
appearance in serpent temples that range in date from 1325/1350 to 1400,
according to our study of the sequence of architecture at the site (Milbrath
and Peraza 2003:Table 1). The four serpents in between the five temples
in the Q.80 murals may be intended to represent serpent balustrades like
those on the Castillo, and they certainly symbolize a link with the cult of
Quetzalcoatl.
Although the serpent temples in the Q.80 mural are all similar in
form, they are slightly different in detail, suggesting their iconographic
variations may be significant (Figure 5). The one on the left has death
spots on a white ground comparable to one of the diving figures on Q.161
(Figure 2), possibly also related to an underworld band seen beneath a
temple on Codex Nuttall 15 (Figure 6). Another has a step fret like that
seen at the base of this temple. These may be symbolic components linked
in some way Venus imagery.
The five niches in Q.80 have vertical columns of dots, varying in
number from six to eight, painted either solid red or blue. This intriguing
detail may be a Central Mexican or Mixtec calendar inscription.
The variation in numbers could represent the number of days in the
disappearance interval for Venus in inferior conjunction (Aveni, personal
communication 2007). The Maya bar-dot combination is lacking, but the
alternation of red and blue color for the dots in the interior of the niches
is similar to the alternation of red and black numbers in Maya codices
(Delgado 2009:158).
All five temples apparently had symbols for jade or “precious stone”
(chalchihuitl) painted on the upper walls (Figure 5). According to Tatiana
Proskouriakoff’s 1962 reconstruction of the mural, these symbols were
also found on the roof (see Milbrath and Peraza 2003:Figure 23). The
Mixteca-Puebla symbol for jade on the five temples can be compared to
a similar symbol on a skyband in Structure 16 at Tulum (Mural 3), where
an astronomical context is clearly evident (Barrera and Peraza 2001;
Milbrath and Peraza 2003:27; Miller 1982:Plate 39). A chalchihuitl symbol
is also prominent on the roof of Quetzalcoatl’s temple on Codex Nuttall
15 (Figure 6). A Mixteca-Puebla image of the feathered serpent wraps
around the temple in the Codex Nuttall image. Alfonso Caso (1979, I:56)
had designated the Codex Nuttall temple as Quetzalcoatl’s Temple of
Figure 6. Detail of Codex Nuttall 15
(Nuttall 1975:15).
5
Milbrath
Figure 7. Mural from Structure Q.95 showing Quetzalcoatl, the Chicchan Serpent, and a bound crocodile. (The image is oriented to
represent the viewpoint from the entry to the chamber, as seen in Figure 9.) Drawing by Barbara Escamilla Ojeda.
Figure 8. Chicchan serpents in Madrid Codex 11-14 (Milbrath 1999:Cover).
6
Religious Imagery in Mayapan’s Murals
Figure 9. Mural in Structure Q.95 (photo by Susan Milbrath).
Turquoise in Acatlan, Puebla, but more recently it has
been identified as the round “wind temple” of the Place
of the Red and White Bundle, located in the Mixteca
Alta of Oaxaca (Byland and Pohl 1994:76-80, Figure 30).
In any case, the Codex Nuttall temple houses the sacred
bundle of the culture hero Nine Wind, indicating a link
with the Venus cult associated with Ehecatl-Quetzalcoatl.
Quetzalcoatl is a paramount deity in the Venus complex
(Milbrath 1999:177-186).
Astronomical Symbolism in the Templo del Pescador
A Mixteca-Puebla style mural discovered by the INAH
project in Structure Q.95 is known as the Templo del
Pescador (Peraza et al. 2001:286-287; Peraza et al.
2003:47-55) (Figures 7, 9). The scene shows a marine
setting with waves, three triggerfish, and a crocodilian
that is probably Morelet’s crocodile (Crocodylus moreletii),
well known in mangroves along the coast of Yucatan.
The mural also depicts an elaborately dressed male who
apparently has speared two of the fish and the crocodile
(Barrera and Peraza 2001:Figure 31, Pl. 32).
The Templo del Pescador mural is rendered with the
small color cells outlined in black, like Mixteca-Puebla
style murals and Mayapan’s Templo de los Nichos
Pintados (Milbrath and Peraza 2003:29) (Figure 5). The
Templo del Pescador also has ties to early murals from
Tulum, especially the substructure of Tulum’s Castillo
(Structure 1), a relatively early mural that depicts a
“ring-tailed fish” and a crocodile amid undulating
waves similar to those in the Mayapan mural (Barrera
and Peraza 2001:443, Figure 33; Miller 1982:Pls. 13, 14).
Although this iconographic comparison could suggest
that the Mayapan mural is as early as the substructure
of Tulum’s Castillo, the dense polychrome cells more
closely resemble the style of Mural 10 in Structure 16,
tentatively dated between 1300 and 1450 (Milbrath and
Peraza 2003:27-28; Staines 1995:61).
A number of scholars link the anthropomorphic
deity in the Structure Q.95 mural with Quetzalcoatl
(Masson and Peraza 2007:82; Stuart 2005:179). Careful
study of the costume on the Mayapan figure suggests
that chalchihuitl symbols are painted on the loincloth
(Delgado 2009:197). This symbol is also found in the
context of Venus imagery in Structure Q.80 and in the
Codex Nuttall (Nuttall 1975:15, 17). The shell worn by
the male figure in Q.95 seems to be an Oliva, suggested
by the markings at the ends and the crenellations along
the lateral opening. In the Dresden Codex 4a, the same
shell is used in a necklace worn by God H, considered to
be a manifestation of Quetzalcoatl-Kukulcan (Milbrath
1999:Figure 5.4a; Taube 1992:59-60, Figure 27a). A
similar shell is devoured by a fish in the lower mural of
Tulum Structure 5 (Miller 1982:Pl. 28). This type of shell
also appears with chalchihuitl symbols in the skyband
of Mural 3 in Structure 16 at Tulum, suggesting it is a
celestial symbol in some contexts (Miller 1982:Pl. 39).
Equally intriguing in terms of celestial counterparts
is the fish-snake in Q.95, which is closely related to the
Chicchan serpent in the Madrid Codex (Milbrath and
Peraza 2003:28) (Figures 7–8). Both display body stripes
with paired parallel lines and serpent spots like the
day sign Chicchan (“celestial snake”). These symbols
have also been compared to the Mexican symbol for
chalchihuitl seen in the Templo de los Nichos Pintados
(Q.80; Barrera and Peraza 2001:430). The Madrid Codex
imagery suggests a link between rain, serpents, and
Venus imagery (Milbrath 1999:261). Chicchan serpents
are rain serpents associated with the cardinal directions
among the Chorti, and they may also be linked with
Venus (Milbrath 1999:36).5
The crocodile in the Templo del Pescador has its
front feet bound by ropes like the crocodiles on the
The Mayapán mural may show the serpent with a fish tail, or
perhaps a flower, if Karl Taube (2007) is correct in relating it to a
pattern linking the feathered serpent and flowers.
5
7
Milbrath
the Katun 13 Ahau with a flood, after which his throat
was cut when the “word of the katun” came to an end
(Edmonson 1982:41). This account and a similar one in
the Chilam Balam of Mani both place the flood event in
Katun 13 Ahau, the last in the katun cycle, linking the
decapitated crocodile to the concept of completion and
renewal, when the world was restored and the katun
cycle reestablished (Taube 1989:9).
Following up on an interpretation of the Mayapan
mural published by David Stuart (2005), Gabrielle Vail
(2006) suggests that the mural refers to the epic flood
associated with a cosmic crocodile. She notes that
instead of the Maya image of the great flood alluding
to the decapitation of the crocodile, the Mayapan image
evokes Central Mexican imagery, with the crocodile
speared by Quetzalcoatl. Vail relates the destruction of
the earth in the form of a crocodile or caiman to a Venus
heliacal rise event, with the Venus god hurling his dart
into the water, as seen in the Venus almanac on Codex
Borgia 53.
Concluding Remarks
Figure 10. Paris Codex 6 Katun pages (Villacorta and Villacorta 1976).
Paris Codex katun pages (Milbrath and Peraza 2003:28)
(Figure 10). A bound crocodile serves as a throne on all
of the surviving katun pages of the Paris Codex (Love
1994:18). The bound crocodile in the Q.95 mural relates
to both Postclassic katun ceremonies in the codices and
possibly also to cosmological events described in the
books of Chilam Balam. Maya accounts of the flood say
that a cosmic crocodile (Itzam Cab Ain) was decapitated
or dismembered. The Pérez Codex notes that Bolon ti
Ku cut the throat of the crocodile just after the flood
(Velásquez 2006:6-8). The Chilam Balam of Tizimin
says that Itzam Cab Ain (the earth monster) ended
8
Studying the imagery in Mayapan’s murals seems to
indicate changes in cosmological themes over time. Of
the three murals discussed here, the earliest may be the
“flood” scene preserved in the Templo del Pescador
mural (Q.95). Here Maya imagery predominates, but
the mural also incorporates the paramount Central
Mexican Venus god, Quetzalcoatl. The imagery alludes
to creation cosmology in relation to the Maya katun
cycle, for ceremonies of world renewal are implicit in the
cycle of katuns. The intrusive element seems to be Venus
symbolism linked with Quetzalcoatl. A similar fusion
is seen in the context of Venus imagery in the Maya
Dresden Codex (46-50), which depicts three Central
Mexican deities among the five Venus gods in the Venus
almanac (Milbrath 1999:173-174; Taube 1992). Glyphic
texts on page 60 of the Dresden Codex refer to Katun
11 Ahau, the first katun in a cycle of 13 katuns that ends
on Katun 13 Ahau (Thompson 1972:78-79). The scene
on page 60 represents a Maya Venus god (God L), the
same god associated with the heliacal rise of Venus on
Dresden 46 in the Venus almanac (Milbrath 1999:173).
Painted around the end of the tenth baktun in 1224, the
Dresden Codex provides a bridge between the Classicperiod calendar with its emphasis on Ahau dates as
katun endings and the Postclassic Venus calendar with
its focus on Ahau dates as heliacal rise events (Milbrath
2008). The Q.95 mural represents a similar fusion of
katun imagery associated with katun endings and the
Postclassic Venus almanac, suggesting a calendar reform
was in progress at Mayapan by around 1350-1400.
Around this time or shortly thereafter, a fully
developed Mixteca-Puebla Venus cult appears in the
Temple of the Niches (Q.80), which shows a number of
features that are comparable to the Codex Nuttall and
Religious Imagery in Mayapan’s Murals
the East Coast International Style. Feathered serpents
are flanked by five Venus temples that may represent
the five Venus cycles of the eight-year Venus almanac.
Still later, solar imagery seems increasingly important in
relation to the eight-year Venus almanac, as seen in the
eight solar disks represented in the Sala de los Símbolos
Solares (Q.161). These murals were inspired by contact
with the area of Central Mexico and reflect an increasing
emphasis on solar imagery that may be part of religious
reforms introduced around 1400 to 1450 at Mayapan.
Acknowledgements
We would like to thank Gabrielle Vail and Leonardo
López Luján for reading and commenting on earlier
drafts of this paper. Thanks also to the entire INAH team
at Mayapan, whose work have made this publication
possible.
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Glyph F of the Supplementary Series:
Ti’ Hu’n, Mouth of the Book
SCOTT A. J. JOHNSON
Tulane University
TI’
HUN
na
Fx
F1
TI’
TI’
TI’
TI’
HUN
hu
HUN
HUN
na
na
F2
na
na
F5
F4
F3
Figure 1. Common Glyph F variants (redrawn from Calvin 2004).
Glyph F appears as a regular part of the Supplementary
Series that has long been known to define the role of
the Lord of the Night. Although it has been discussed
by a number of scholars, there has been no agreed-upon
reading or interpretation of this glyph block. Many
interpretations are based on inferred semantic meanings,
totally divorced from phonetic readings. Others utilize
the phonetic values of the signs but the readings do not
make semantic sense. This article will briefly describe
Glyph F and its variants. A database of dates with Glyph
F variants is statistically examined for variation over
time and space. The previous interpretations which are
most often used today are examined critically before
a new interpretation based on phonetic readings and
logical context is given.
Glyph F Background
Glyph F is a regular, yet unexplained, part of the
Supplementary Series. Although sometimes omitted, it
is usually present either directly following or conflated
with Glyph G. The superfix and subfix are constant,
while the main sign can vary or even be left out when
conflated with Glyph G. The superfix (T128) consists of
three elements in a line, illustrated in Figure 1. The leftmost segment is “leaf-like,” often with three diagonal
dots (Thompson 1960:212). The center element is either
two or three dots in a vertical line or a wavy, pointed
element, much like the ya (T126) central element. The
right part also looks like the curved loop of the ya
syllabic sign. These elements together are read TI’
(and appear to be a representation of a rare full-figured
head variant), known through a substitution with ti’i on the La Esperanza ball court marker, meaning
“mouth,” “lips,” “opening,” or “edge” (Stuart 1998,
personal communication 2009; Stuart et al. 1999:II-38;
Zender 2004:212-213). The subfix is a syllabic na (T23)
and almost always present. When Glyph F is combined
into a single block with Glyph G, the main signs are
The PARI Journal 10(3):11-19.
frequently conflated (Figure 2a–b), or Glyph F’s main
sign can be entirely suppressed leaving only the TI’ and
na (Figure 2c).
The variable main sign can take at least five forms,
all illustrated in Figure 1. The most common is the HUN
logogram (T60) shaped like a knotted cord or cloth. This
is called the “normal form of Glyph F of Lunar Series”
by Thompson (1962:46) and will be referred to as F1. The
next-most-common element is a head-variant with a
barbel emanating from its mouth, a squarish drop-pupil,
fish- or foliage-like protuberances, and a “shiny” sign
on top; the reading of this must also be HUN from its
context. This will be called F2. A third main-sign variant,
F3, is the upended frog head lacking dots across the top
(T740), giving the syllable hu; long known to be a Glyph
F variant (Thompson 1962:320). The fourth version, F4,
is a jaguar-pelt-bound codex (T609b; compare to the
codex of the rabbit scribe on the Princeton Pot), which
must read HUN. This is not to be confused with the
similar jaguar-pelt-covered diadem or cushion (T609a)
differentiated with the po/TZ’AM dimple. A final
variant is a square sign with dots falling from a small
“T”-shaped element and two spikes coming in from
either side (T522), also given as HUN, here referred to
as F5. Thompson (1962:126) notes that this sign “occurs
only in [the] Chiapas area, at Tikal, and [in the] Codex
Paris.” From the HUN-(na) and hu-n(a) transliterations
above, a reading of hun can be suggested, discussed at
A
B
C
Figure 2. Common Glyph G and F conflations, Lord of the Night
components shaded (redrawn from Calvin 2004).
11
Johnson
Data
Row Proportions
Glyph F
by Site
F1
F2
F3
F4
F5
Total
F1
F2
F3
F4
F5
Total
COB
CPN
ITB
NAR
PAL
PNG
PUS
QRG
TIK
TNA
UAX
YAX
3
2
2
2
4
9
3
0
4
2
2
3
0
0
0
0
1
6
0
2
0
0
0
1
0
0
0
0
3
0
0
0
0
0
1
4
0
1
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
0
0
0
0
0
0
3
3
2
2
8
16
3
2
4
2
3
8
100%
67%
100%
100%
50%
56%
100%
0%
100%
100%
67%
38%
0%
0%
0%
0%
13%
38%
0%
100%
0%
0%
0%
13%
0%
0%
0%
0%
38%
0%
0%
0%
0%
0%
33%
50%
0%
33%
0%
0%
0%
0%
0%
0%
0%
0%
0%
0%
0%
0%
0%
0%
0%
6%
0%
0%
0%
0%
0%
0%
100%
100%
100%
100%
100%
100%
100%
100%
100%
100%
100%
100%
Total
36
10
8
1
1
56
64%
18%
14%
2%
2%
100%
Period
F1
F2
F3
F4
F5
Total
F1
F2
F3
EC
LC
12
21
0
4
1
7
0
1
0
1
13
34
92%
62%
0%
12%
Total
33
4
8
1
1
46
72%
9%
F1
F2
F3
F4
F5
Total
F1
G1
G2
G3
G4
G5
G6
G7
G8
G9
2
0
1
4
2
0
3
6
24
3
0
0
1
0
1
1
1
4
0
4
0
0
0
0
1
0
2
0
0
0
0
0
0
0
0
1
0
0
0
0
0
0
1
0
0
5
4
1
5
2
1
6
7
31
Total
42
11
7
1
1
Conflation
F1
F2
F3
F4
Conflated
Not Confl.
12
29
2
9
2
5
Total
41
11
7
Glyph G
F4
F5
Total
8%
21%
0%
3%
0%
3%
100%
100%
9%
2%
2%
100%
F2
F3
F4
F5
Total
40%
0%
100%
80%
100%
0%
50%
86%
77%
60%
0%
0%
20%
0%
100%
17%
14%
13%
0%
100%
0%
0%
0%
0%
17%
0%
6%
0%
0%
0%
0%
0%
0%
0%
0%
3%
0%
0%
0%
0%
0%
0%
17%
0%
0%
100%
100%
100%
100%
100%
100%
100%
100%
100%
62
68%
18%
11%
2%
2%
100%
F5
Total
F1
F2
F3
F4
F5
Total
1
0
0
1
17
44
71%
66%
12%
20%
12%
11%
6%
0%
0%
2%
100%
100%
1
1
61
67%
18%
11%
2%
2%
100%
Table 1. Frequency and row proportions of Glyph F variants and various comparisons (site codes per Graham and Mathews 1999).
length below (possibly huun or hu’n, as per Houston et
al. 2004 or Lacadena and Wichmann 2004 respectively).
Collected Data
The data collected for this study were primarily drawn
from the Corpus of Maya Hieroglyphic Inscriptions
(Graham 1975-present) and Morley’s (1937) Inscriptions
of Peten, supplemented by various readers and informal
collections of inscriptions. Each inscription was recorded,
noting the Long Count, Tzolk’in, Haab, Glyph G, Glyph
12
F (labeled according to the divisions in Figure 1), Glyph
G and F conflation, and the presence or absence of a
syllabic u- Glyph F prefix. Impossible long count and
calendar round combinations were noted. Complete
dates were not needed for all of the analyses, as long
as Glyphs G and F were legible. In total, 64 inscriptions
were compiled into a small database, shown in Table 1.
Correspondences between Glyph F variants and site,
chronological period, Glyph G, or likelihood of conflation
were examined. A further correspondence between sites
and Glyphs G and F conflation was explored.
Glyph F of the Supplementary Series
Glyph
FGlyph
the
Series
Glyph
Glyph
FofGlyph
of
FGlyph
of
the
Supplementary
Supplementary
Series
Series
Glyph
Fthe
the
Supplementary
Series
Glyph
FSupplementary
of
the
Fof
ofthe
Supplementary
Supplementary
Series
Series
F
Supplementary
Series
Fthe
of
the
Supplementary
Series
Glyph
F the
of
Glyph
Supplementary
Fof
the
Supplementary
Series
Series
Glyph
Fof
of
the
Supplementary
Series
Canter and Pentecost
Site
Inscription
Day
No.
Ba.
Ka.
Tu.
Wi.
Ki.
Tzolkin
Haab
Haab
G
Confl
+u
Site
Site
Inscription
Inscription
Day
Day
No.
No.
Ba.
Ba.
Ka.
Ka.
Tu.
Tu.
Wi.
Wi.
Ki.
Ki.Ki.
Tzolkin
Tzolkin
Haab
Haab
Haab
Haab
F
F GFG
Confl
+u
+u+u
Site
Inscription
Day
No.
Ba.
Ka.
Tu.
Wi.
Ki.
Tzolkin
G
FF
Confl
Site
Site
Inscription
Inscription
Day
No.
Day
No.
Ba.
Ba.
Ka.
Ka.
Tu.
Tu.
Wi.
Wi.
Ki.
Ki.
Tzolkin
Tzolkin
Haab
Haab
Haab
G
Confl
Confl
+u
Site
Inscription
Day
No.
Ba.
Ka.
Tu.
Wi.
Ki.
Tzolkin
GG
G
FF
Confl
Site
Inscription
Day
No.
Ba.
Ka.
Tu.
Wi.
Ki.
Tzolkin
G
G
FConfl
Confl
+u+u+u
Site
Inscription
Site
Inscription
Day
No.
Ba.
Day
No.
Ka.
Ba.
Tu.
Ka.
Wi.
Tu.
Wi.
Tzolkin
Ki.
Haab
Tzolkin
Haab
G
Confl
Confl
Site
Inscription
Day
No.
Ba.
Ka.
Tu.
Wi.
Ki.
Tzolkin
F
F+u
Confl
Site
Inscription
Day
Number
Baktun
K’atun
Tuun
Winal
K’in
Tzolkin
Haab
F F G
Confl
CNC
STL
18
1368000
91368000
010
80181Kayab
9Kayab
CNC
CNC
STL
STL
18
18STL
1368000
1368000
91368000
9 1368000
10
0100 10
10Ajaw
Kayab
Kayab
9 9 9 9 1919 91 19 9191 1 1 1 11
CNC
STL
1818
010Ajaw
8 8Kayab
CNC
CNC
STL
18
STL
18
1368000
910
9 10910
0 0000 0 00 000000 0 00 01010Ajaw
18Ajaw
Ajaw
Kayab
8Kayab
Kayab
CNC
STL
0Ajaw
8Kayab
CNC
1818
1368000
9 910
Ajaw
8Ajaw
CNC
STL
CNC
18
STL
1368000
91368000
9910
010
1 Ajaw
81Kayab
18Ajaw
CNC
STL
18
1368000
10
1Ajaw
8Kayab
COB
STL
1STL
1275480
518
13
13
8
COB
COB
STL
STL
1COB
1 STL
275480
275480
1275480
1 275480
18
5185 18
10Ajaw
13
Mak
Mak
Mak
Mak
1 188
Confl
COB
1 11275480
010Ajaw
1 113
Ajaw
1313
Mak
11
Confl
COB
COB
STL
1STL
1275480
275480
118
1 18118
5 4545 54 45 5450404 40 04 401410Ajaw
1Mak
Ajaw
13
8 8 8 1
18Confl
Confl
Confl
COB
0Ajaw
1Ajaw
Ajaw
1313
Mak
Mak
88
11
Confl
COB
1 1STL
275480
1 118
8
81
1Confl
COB
1STL
STL
1275480
1118
518
1 Ajaw
13
Ajaw
Mak
Mak
Confl
Confl
COB
STL
275480
18
0113
1Mak
Ajaw
1Confl
Confl
COB
STL
20
1422000
91422000
010
Pax
9Pax
COB
COB
STL
STL
20
20STL
1422000
1422000
91422000
9 1422000
17
10
10 10
0100 10
12
Ajaw
Ajaw
812
Pax
8 Ajaw
Pax
9 9 9 9 1919 91 19 9191 1 1 1 11
COB
STL
2020
1717
012
12
Ajaw
8 8Pax
COB
COB
STL
20
STL
20
1422000
917
9 17917
10
0 0000 0 00 012
0 12
Ajaw
12
812
Pax
8Pax
Pax
COB
STL
1717
8Ajaw
COB
2020
1422000
9 917
0 0Ajaw
Ajaw
8Ajaw
Pax
COB
STL
COB
20
STL
1422000
91422000
910
010
Ajaw
08012
8Ajaw
Pax
12
COB
STL
20
1422000
917
1710
10
012
8Pax
COB
STL
6STL
91364400
010
13
99Pohp
COB
COB
STL
STL
6COB
6 STL
1364400
1364400
91364400
9 1364400
0100 10
20Ajaw
13
Pohp
Pohp
9 9 9 1919 91 19 9191 1 1 1 11
COB
6 661364400
020Ajaw
2 213
Ajaw
1313
Pohp
COB
COB
STL
6STL
61364400
1364400
9 9999 9 99 910
9 10910
0 0000 0 00 02020Ajaw
2Pohp
Ajaw
Pohp
Pohp
COB
0Ajaw
2Ajaw
Ajaw
1313
Pohp
COB
6 6STL
1364400
9 910
13
Pohp
COB
6STL
STL
91364400
9910
010
2 Ajaw
13
Ajaw
COB
STL
1364400
910
10
0213
2Pohp
Ajaw
13
Pohp
CPN
STL
6STL
88 8 X
010
Sotz’*
99Sotz’*
CPN
CPN
STL
STL
6CPN
6 STL
12
10
10 10
0100 10
18
18
Sotz’*
Sotz’*
9 9 9 1919 91 19 9191 1 1 1 11
CPN
6 66
1212
8*8*
1818
Sotz’*
CPN
CPN
STL
6STL
6STL
8 12812
10
0 0 0 0 0 08*
18
Sotz’*
Sotz’*
CPN
1212
8*8*
1818
Sotz’*
CPN
6 6STL
8 812
8*
18
Sotz’*
CPN
6STL
STL
8 812
810
010
18
Sotz’*
CPN
812
1210
10
08*8* 8*8*18
8*
18
Sotz’*
CPN
STL
63
1296000
91296000
13
13
9
CPN
CPN
STL
STL
63
63STL
1296000
1296000
91296000
9 1296000
80Ajaw
13
Keh
Keh
Keh
Keh
1 199
Confl
CPN
STL
6363
080Ajaw
8 813
Ajaw
1313
Keh
11
Confl
CPN
CPN
STL
63
STL
63
1296000
9 0909 90 09 9090000 0 00 000000 0 00 000000 0 00 08080Ajaw
8Keh
Ajaw
13
9 9 9 1
19Confl
Confl
Confl
CPN
STL
0Ajaw
8Ajaw
Ajaw
1313
Keh
Keh
99
11
Confl
CPN
6363
1296000
9
91
1Confl
CPN
STL
CPN
63
STL
1296000
91296000
8 Ajaw
13
Ajaw
Keh
Keh
Confl
Confl
CPN
STL
63
1296000
0813
8Keh
Ajaw
1Confl
Confl
CPN
STL
DSTL
1405800
91405800
515
Ch’en
8Ajaw
9
CPN
CPN
STL
STL
D
D STL
1405800
1405800
91405800
9 1405800
15
5155 15
10
Ajaw
Ajaw
810
Ch’en
8 Ajaw
Ch’en
8Ajaw
9
4 499
Confl
CPN
STL
DDD
010
10
Ajaw
44
Confl
CPN
CPN
STL
D
STL
D
1405800
915
9 15915
5 0505 50 05 5050000 0 00 010
0 10
Ajaw
10
810
Ch’en
8Ch’en
Ch’en
49Confl
Confl
Confl
CPN
9 9 9 4
99
44
Confl
CPN
DD
1405800
9 915
0 0Ajaw
Ajaw
Ch’en
Ch’en
94
4Confl
CPN
CPN
DSTL
STL
1405800
91405800
9915
515
Ajaw
08010
8Ajaw
Ch’en
10
8 8Ch’en
Confl
Confl
CPN
STL
1405800
15
010
8Ch’en
4Confl
Confl
DPL
STL
8STL
91384871
612
13*
*13*
DPL
DPL
STL
STL
8DPL
8 STL
1384871
1384871
91384871
9 1384871
12
6126 12
15
11
11 11
13*
13*13*
*13*
* *13*
DPL
8 881384871
1515
1111
DPL
DPL
STL
8STL
81384871
1384871
912
9 12912
615
6 15615
11
13*
13*
*13*
DPL
1515
1111
DPL
8 8STL
1384871
9 912
6 615
11
* * * * **44 4 4 4 1414 41 14 4141 1 1 1 11
DPL
8STL
STL
91384871
9912
612
611
13*
DPL
STL
1384871
12
615
15
11
CAY
11 1 1 1 1 1 1 1 11
44 4 4 4 2424 42 24 4242 2 2 2 22
CAY
CAY
CAY
CAY
CAY
CAY
CAY
X
CAY
CAY
CAY
Houston
PNL
1319004
91319004
416
24323Mak
9Mak
Houston
Houston
PNL
PNL
1319004
1319004
91319004
9 1319004
4164 16
34K’an
Mak
Mak
9 9 9 9 1919 91 19 9191 1 1 1 11
Houston
434K’an
2 2Mak
Houston
Houston
PNL
PNLPNL
1319004
9 3939 93 39 9393333 3 33 316
3 16316
4334K’an
32K’an
K’an
Mak
2Mak
Mak
Houston
PNL
4K’an
2Mak
Houston
PNL
1319004
3 316
K’an
2K’an
Houston
PNL
Houston
PNL
1319004
91319004
3316
416
3 K’an
23Mak
32K’an
Houston
PNL
1319004
316
16
3K’an
2Mak
ITB
STL
2STL
91407600
010
30333Mol
3Ajaw
9
ITB
ITB
STL
STL
2ITB
2 STL
1407600
1407600
91407600
9 1407600
15
10
10 10
0100 10
30Ajaw
Mol
Mol
3Mol
9
1 199
Confl
ITB
2 221407600
1515
030Ajaw
11
Confl
ITB
ITB
STL
2STL
21407600
1407600
915
9 15915
10
0 0000 0 00 03030Ajaw
3Ajaw
Ajaw
Mol
3Mol
Mol
19Confl
Confl
Confl
ITB
1515
0Ajaw
9 9 9 1
99
11
Confl
ITB
2 2STL
1407600
9 915
Ajaw
Mol
91
1Confl
ITB
2STL
STL
91407600
910
010
3 Ajaw
33Mol
3Ajaw
3 3Mol
Confl
Confl
ITB
STL
1407600
915
1510
10
3Ajaw
3Mol
1Confl
Confl
ITB
STL
5STL
91404000
015
13
Yax
13
9
ITB
ITB
STL
STL
5ITB
5 STL
1404000
1404000
91404000
9 1404000
15
0150 15
40Ajaw
Yax
Yax
1313
Yax
9
1 199
Confl
ITB
5 551404000
040Ajaw
4 413
Ajaw
1313
Yax
11
Confl
ITB
ITB
STL
5STL
51404000
1404000
915
9 15915
0 0000 0 00 000000 0 00 04040Ajaw
413
Ajaw
Yax
13
9 9 9 1
19Confl
Confl
Confl
ITB
0Ajaw
4Ajaw
Ajaw
Yax
99
11
Confl
ITB
5 5STL
1404000
9 915
Yax
Yax
91
1Confl
ITB
5STL
STL
91404000
9915
015
4 Ajaw
13
Yax
Yax
Confl
Confl
ITB
STL
1404000
15
0413
4Ajaw
Ajaw
1Confl
Confl
IXK
STL
2STL
91421653
917
Ben
6363K’ayab
4K’ayab
IXK
IXK
STL
STL
2IXK
2 STL
1421653
1421653
91421653
9 1421653
17
9179 17
313
Ben
3 Ben
K’ayab
K’ayab
4 4 4 4 1414 41 14 4141 1 1 1 11
IXK
2 221421653
6 6K’ayab
IXK
IXK
STL
2STL
21421653
1421653
917
9 17917
9 0909 90 09 9013
0 13013
13
313
Ben
36Ben
Ben
K’ayab
6K’ayab
K’ayab
IXK
6K’ayab
IXK
2 2STL
1421653
9 917
0 013
Ben
6Ben
IXK
2STL
STL
91421653
9917
917
03013
313
Ben
13
63K’ayab
36Ben
IXK
STL
1421653
17
913
3Ben
6K’ayab
NCT
STL
8STL
91411200
016
13
8Tzek*
NCT
NCT
STL
STL
8NCT
8 STL
1411200
1411200
91411200
9 1411200
16
0160 16
70Ajaw*
13
Tzek*
Tzek*
8Tzek*
8 8 81
1 188
Confl
NCT
8 881411200
070Ajaw*
7 713
Ajaw*
1313
Tzek*
11
Confl
NCT
NCT
STL
8STL
81411200
1411200
916
9 16916
0 0000 0 00 000000 0 00 07070Ajaw*
7Tzek*
Ajaw*
Tzek*
Tzek*
18Confl
Confl
Confl
NCT
0Ajaw*
7Ajaw*
Ajaw*
1313
Tzek*
88
11
Confl
NCT
8 8STL
1411200
9 916
13
Tzek*
81
1Confl
NCT
8STL
STL
91411200
9916
016
7 Ajaw*
13
Ajaw*
Confl
Confl
NCT
STL
1411200
16
0713
7Tzek*
Ajaw*
13
1Confl
Confl
NAR
STL
13
1422000
91422000
010
Pax
9Pax
NAR
NAR
STL
STL
13
13STL
1422000
1422000
91422000
9 1422000
17
10
10 10
0100 10
12
Ajaw
Ajaw
812
Pax
8 Ajaw
Pax
9 9 9 9 1919 91 19 9191 1 1 1 11
NAR
STL
1313
1717
012
12
Ajaw
8 8Pax
NAR
NAR
STL
13
STL
13
1422000
917
9 17917
10
0 0000 0 00 012
0 12
Ajaw
12
812
Pax
8Pax
Pax
NAR
STL
1717
8Ajaw
NAR
1313
1422000
9 917
0 0Ajaw
Ajaw
8Ajaw
Pax
NAR
STL
NAR
13
STL
1422000
91422000
910
010
Ajaw
08012
8Ajaw
Pax
12
NAR
STL
13
1422000
917
1710
10
012
8Pax
NAR
STL
18
1402200
91402200
015
Sak
99Sak
NAR
NAR
STL
STL
18
18STL
1402200
1402200
91402200
9 1402200
14
15
15 15
0150 15
11
Ajaw
Ajaw
18
18
Sak
Sak
9 9 9 1919 91 19 9191 1 1 1 11
NAR
STL
1818
1414
011
1111
Ajaw
1818
Sak
NAR
NAR
STL
18
STL
18
1402200
914
9 14914
15
0 0000 0 00 011
0 11
Ajaw
11
Ajaw
18
Sak
18
Sak
NAR
STL
1414
11Ajaw
Ajaw
18
Sak
NAR
1818
1402200
9 914
0 0Ajaw
18
Sak
NAR
STL
NAR
18
STL
1402200
91402200
915
015
Ajaw
018
18
Sak
Ajaw
NAR
STL
18
1402200
914
1415
15
011
011
11
Ajaw
18
Sak
PAL
HRS
HSE
CHSE
1357100
013
13
88Pohp
PAL
PAL
HRS
HRS
HSE
HSE
CHRS
CHSE
1357100
1357100
9 1357100
0130 13
80Ajaw
13
Pohp
Pohp
8 8 8 8 8 8 8 88
PAL
HRS
HSE
C1357100
080Ajaw
8 813
Ajaw
1313
Pohp
PAL
PAL
HRS
HSE
HSE
C
C
1357100
9 8989 98 89 9899898 89 98 8913
9 13913
0880Ajaw
8Pohp
Ajaw
Pohp
Pohp
PAL
HRS
HSE
CHSE
0Ajaw
8Ajaw
Ajaw
1313
Pohp
PAL
HRS
C
9 913
13
Pohp
PAL
PAL
HRS
C
HRS
1357100
C91357100
91357100
9913
013
8 Ajaw
13
Ajaw
PAL
HRS
HSE
C91357100
1357100
813
13
0813
8Pohp
Ajaw
13
Pohp
PAL
Olvidado
1373150
91373150
514
Ok
3333Pohp
3Ok
2
PAL
PAL
Olvidado
Olvidado
1373150
1373150
91373150
9 1373150
10
14
14 14
5145 14
10
310
Ok
3 Ok
Pohp
Pohp
3Pohp
2
3 322
Confl
PAL
Olvidado
1010
33
Confl
PAL
PAL
Olvidado
Olvidado
1373150
910
9 10910
14
510
5 10510
10
310
Ok
3Ok
Ok
Pohp
3Pohp
Pohp
32Confl
Confl
Confl
PAL
Olvidado
1010
2 2 2 3
22
33
Confl
PAL
Olvidado
1373150
9 910
5 510
Ok
Pohp
23
3Confl
PAL
Olvidado
PAL
Olvidado
1373150
91373150
914
514
53510
310
Ok
10
33Pohp
3Ok
3 3Pohp
Confl
Confl
PAL
Olvidado
1373150
910
1014
14
3Ok
3Pohp
3Confl
Confl
PAL
PLC
TBL
1372300
91372300
17
017
Mak
8Ajaw
7
PAL
PAL
PLC
PLC
TBL
TBL
1372300
1372300
91372300
9 1372300
10
11
11 11
17
17 17
0170 17
11
11
Ajaw
Ajaw
811
Mak
8Ajaw
Mak
8Ajaw
7
1 177
Confl
PAL
PLC
TBL
1010
1111
011
11
Ajaw
11
Confl
PAL
PAL
PLC
PLC
TBL
TBL
1372300
910
9 10910
11
17
011
0 11
Ajaw
11
811
Mak
8Mak
Mak
17Confl
Confl
Confl
PAL
PLC
TBL
1010
1111
7 7 7 1
77
11
Confl
PAL
PLC
TBL
1372300
9 910
11
0 0Ajaw
Ajaw
Mak
Mak
71
1Confl
PAL
PLC
PAL
TBL
PLC
TBL
1372300
91372300
911
017
Ajaw
08011
8Ajaw
Mak
11
8 8Mak
Confl
Confl
PAL
PLC
TBL
1372300
910
10
1117
17
8Mak
1Confl
Confl
PAL
TPL
CRS
1804760
12
10
13
413
18
18
8
PAL
PAL
TPL
TPL
CRS
CRS
1804760
1804760
12
12 12
10
10 10
13
13 13
4134 13
80Ajaw*
18
Sek*
Sek*
Sek*
Sek*
1 188
Confl
PAL
TPL
CRS
1804760
1212
1010
080Ajaw*
8 818
Ajaw*
1818
Sek*
11
Confl
PAL
PAL
TPL
CRS
TPL
CRS
1804760
1804760
12
10
13
4 0404 40 04 408480Ajaw*
8Sek*
Ajaw*
18
8 8 8 1
18Confl
Confl
Confl
PAL
TPL
CRS
1804760
1212
1010
0Ajaw*
8Ajaw*
Ajaw*
1818
Sek*
Sek*
88
11
Confl
PAL
TPL
CRS
1804760
12
10
8
81
1Confl
PAL
TPL
PAL
CRS
TPL
CRS
1804760
1804760
413
8 Ajaw*
18
Ajaw*
Sek*
Sek*
Confl
Confl
PAL
TPL
CRS
1804760
12
1013
13
0818
8Sek*
Ajaw*
1Confl
Confl
PAL
TPL
CRS
In.
1373528
91373528
615
16
16
2
PAL
PAL
TPL
TPL
CRS
CRS
In.
In.CRS
1373528
1373528
91373528
9 1373528
10
15
15 15
6156 15
48Lamat
16
Pohp
Pohp
Pohp
Pohp
3 322
Confl
PAL
TPL
CRS
In.
1010
848Lamat
4 416
Lamat
1616
Pohp
33
Confl
PAL
PAL
TPL
CRS
TPL
CRS
In.
In.
1373528
910
9 10910
15
6 8686 68 86 684648Lamat
4Pohp
Lamat
16
2 2 2 3
32Confl
Confl
Confl
PAL
TPL
CRS
In.
1010
8Lamat
4Lamat
Lamat
1616
Pohp
Pohp
22
33
Confl
PAL
TPL
In.
1373528
9 910
2
23
3Confl
PAL
TPL
PAL
CRS
In.
TPL
CRS
1373528
In.
91373528
915
615
4 Lamat
16
Lamat
Pohp
Pohp
Confl
Confl
PAL
TPL
CRS
In.
1373528
910
1015
15
8416
4Pohp
Lamat
3Confl
Confl
PAL
TPL
SUN
275466
1275466
518
Keh
19
3
PAL
PAL
TPL
TPL
SUN
SUN
275466
275466
1275466
1 275466
18
5185 18
13
Kimi
Kimi
19
19
Keh
Keh
Kimi
Keh
1 133
Confl
PAL
TPL
SUN
613
1313
Kimi
1919
Keh
11
Confl
PAL
PAL
TPL
SUN
TPL
SUN
275466
118
1 18118
5 3535 53 35 5356363 36 63 3613
6 13
Kimi
Kimi
19
Keh
19
19
3 3 3 1
13Confl
Confl
Confl
PAL
TPL
SUN
1313
Kimi
19
Keh
Keh
33
11
Confl
PAL
TPL
SUN
275466
1 118
6 6Kimi
Kimi
3
31
1Confl
PAL
TPL
PAL
SUN
TPL
SUN
275466
1275466
1118
518
Kimi
619
19
Keh
Keh
Keh
Confl
Confl
PAL
TPL
SUN
275466
18
313
613
13
Kimi
1Confl
Confl
PAL
TPL
XIX
1800622
12
10
110
213
52959Sotz’
5Ik’
1
PAL
PAL
TPL
TPL
XIX
XIX
1800622
1800622
12
12 12
10
10 10
1101 10
13
2132 13
92Ik’
Sotz’
Sotz’
5Sotz’
1
2 211
Confl
PAL
TPL
XIX
1800622
1212
292Ik’
22
Confl
PAL
PAL
TPL
XIX
TPL
XIX
1800622
1800622
12
10
113
1 13113
2992Ik’
95Ik’
Ik’
Sotz’
5Sotz’
Sotz’
21Confl
Confl
Confl
PAL
TPL
XIX
1800622
1212
2Ik’
1 1 1 2
11
22
Confl
PAL
TPL
XIX
1800622
12
1 113
Ik’
Sotz’
12
2Confl
PAL
TPL
PAL
XIX
TPL
XIX
1800622
1800622
110
1113
213
9 Ik’
59Sotz’
95Ik’
5 5Sotz’
Confl
Confl
PAL
TPL
XIX
1800622
1210
10
13
9Ik’
5Sotz’
2Confl
Confl
PAL
TPL
XVII
1315982
91315982
915
02909Mol
0Ik’
7*
confl
PAL
PAL
TPL
TPL
XVII
XVII
1315982
1315982
91315982
9 1315982
9159 15
92Ik’
Mol
Mol
0Mol
7*
1
1 17*
confl
PAL
TPL
XVII
292Ik’
7*
11
confl
PAL
PAL
TPL
XVII
TPL
XVII
1315982
9 2929 92 29 9215
2 15215
9 2929 92 29 929992Ik’
90Ik’
Ik’
Mol
0Mol
Mol
7*
17*
confl
confl
PAL
TPL
XVII
2Ik’
7*7*
7*
11
confl
PAL
TPL
XVII
1315982
2 215
Ik’
Mol
7*
1confl
PAL
TPL
PAL
XVII
TPL
XVII
1315982
91315982
2215
915
9 Ik’
09Mol
90Ik’
0 0Mol
7*
confl
confl
PAL
TPL
XVII
1315982
915
15
9Ik’
0Mol
1
1confl
confl
PAL
1373528
91373528
615
16
22Pohp
PAL
PAL
1373528
1373528
91373528
9 1373528
10
15
15 15
6156 15
48Lamat
16
Pohp
Pohp
2 2 2 3232 23 32 2323 3 3 3 33
1010
848Lamat
4 416
Lamat
1616
Pohp
PAL
PALPAL
1373528
910
9 10910
15
6 8686 68 86 684648Lamat
4Pohp
Lamat
Pohp
Pohp
PAL
1010
8Lamat
4Lamat
Lamat
1616
Pohp
PAL
1373528
9 910
16
Pohp
PAL
PAL
1373528
91373528
915
615
4 Lamat
16
Lamat
PAL
1373528
910
1015
15
8416
4Pohp
Lamat
16
Pohp
PNG
LTL
12
1324692
91324692
12
912
Eb
10
10
8
PNG
PNG
LTL
LTL
12
12LTL
1324692
1324692
91324692
9 1324692
12
12 12
12
912
Eb
9 Eb
10
Zek
Zek
Zek
Zek
1 188
confl
PNG
LTL
1212
1919
1212
9 910
Eb
1010
Zek
11
confl
PNG
PNG
LTL
12
LTL
12
1324692
9 3939 93 39 9319
3 19319
12
12
912
Eb
9Zek
Eb
10
8 8 8 1
18confl
confl
confl
PNG
LTL
1919
1212 12
9Eb
Eb
1010
Zek
Zek
88
11
confl
PNG
1212
1324692
3 319
12
910
8
81
1confl
PNG
LTL
PNG
12
LTL
1324692
91324692
312
912
Eb
12
10
Eb
Zek
Zek
confl
confl
PNG
LTL
12
1324692
919
319
19
12
9Zek
Eb
1confl
confl
PNG
LTL
2LTL
1377401
91377401
611
19
55Keh
PNG
PNG
LTL
LTL
2PNG
2 LTL
1377401
1377401
91377401
9 1377401
11
6116 11
31Imix
19
Keh
Keh
5 5 5 1515 51 15 5151 1 1 1 11
PNG
2 221377401
131Imix
3 319
Imix
1919
Keh
PNG
PNG
LTL
2LTL
2LTL
1377401
911
9 119119911
6 2626 62 26 6261212 21 12 213231Imix
3Keh
Imix
Keh
Keh
PNG
1Imix
3Imix
Imix
1919
Keh
PNG
2 2LTL
1377401
9 911
19
Keh
PNG
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MNT
1403572
161
91403572
918
512
Eb
12
10
Yaxkin
TNA
MNT
161
1403572
914
14
18
14
5Eb
Eb
10
Unprov.
TRN
1327969
91327969
914
Unprov.
Unprov.
TRN
TRN
1327969
1327969
91327969
9 1327969
9149 14
Unprov.
TRN
Unprov.
Unprov.
TRN
TRN
1327969
9 4949 94 49 9498484 48 84 4814
8 14814
9**9 9*9 * 9*9*9*** * ** *** * * * **11 1 1 1 1111 1 11 111 1 1 1 11
Unprov.
TRN
Unprov.
TRN
1327969
8 814
Unprov.
TRN
Unprov.
TRN
1327969
91327969
8814
914
Unprov.
TRN
1327969
414
14
UAX
PLYCHR
STR
ISTR
1044000
71044000
18
99K’ank’in*
UAX
UAX
PLYCHR
PLYCHR
STR
STR
IPLYCHR
IPLYCHR
1044000
71044000
30Ajaw*
18
K’ank’in*
K’ank’in*
9 9 9 1919 91 19 9191 1 1 1 11
UAX
STR
I7II1044000
030Ajaw*
3 318
Ajaw*
1818
K’ank’in*
UAX
UAX
PLYCHR
PLYCHR
STR
STR
I1044000
ISTR
7 5757 75 57 7570505 50 05 5050000 0 00 000000 0 00 03030Ajaw*
3K’ank’in*
Ajaw*
K’ank’in*
K’ank’in*
UAX
PLYCHR
STR
I STR
0Ajaw*
3Ajaw*
Ajaw*
1818
K’ank’in*
UAX
PLYCHR
STR
I1044000
1044000
18
K’ank’in*
UAX
PLYCHR
UAX
PLYCHR
I1044000
71044000
3 Ajaw*
18
Ajaw*
UAX
1044000
0318
3K’ank’in*
Ajaw*
18
K’ank’in*
UAX
STL
18
1267200
81267200
016
80383K’ank’in
9K’ank’in
UAX
UAX
STL
STL
18
18STL
1267200
1267200
81267200
8 1267200
16
0160 16
30Ajaw
K’ank’in
K’ank’in
9 9 9 9 1919 91 19 9191 1 1 1 11
UAX
STL
1818
030Ajaw
8 8K’ank’in
UAX
UAX
STL
18
STL
18
1267200
816
8 16816
0 0000 0 00 000000 0 00 03030Ajaw
38Ajaw
Ajaw
K’ank’in
8K’ank’in
K’ank’in
UAX
STL
0Ajaw
8K’ank’in
UAX
1818
1267200
8 816
Ajaw
8Ajaw
UAX
STL
UAX
18
STL
1267200
81267200
8816
016
3 Ajaw
83K’ank’in
38Ajaw
UAX
STL
18
1267200
16
3Ajaw
8K’ank’in
UAX
STL
22
1321200
91321200
010
80181Mak
9Mak
UAX
UAX
STL
STL
22
22STL
1321200
1321200
91321200
9 1321200
0100 10
10Ajaw
Mak
Mak
9 9 9 9 3939 93 39 9393 3 3 3 33
UAX
STL
2222
010Ajaw
8 8Mak
UAX
UAX
STL
22
STL
22
1321200
9 3939 93 39 9310
3 10310
0 0000 0 00 01010Ajaw
18Ajaw
Ajaw
Mak
8Mak
Mak
UAX
STL
0Ajaw
8Mak
UAX
2222
1321200
3 310
Ajaw
8Ajaw
UAX
STL
UAX
22
STL
1321200
91321200
3310
010
1 Ajaw
81Mak
18Ajaw
UAX
STL
22
1321200
910
10
1Ajaw
8Mak
YAX
Berlin
LTL
1406421
91406421
615
113
19
99Sip
YAX
YAX
Berlin
Berlin
LTL
LTL
1406421
1406421
91406421
9 1406421
15
6156 15
13
1131 13
71Imix
19
Sip
Sip
9 9 9 3939 93 39 9393 3 3 3 33
YAX
Berlin
LTL
171Imix
7 719
Imix
1919
Sip
YAX
YAX
Berlin
Berlin
LTL
LTL
1406421
915
9 15915
613
6 13613
1771Imix
7Sip
Imix
Sip
Sip
YAX
Berlin
LTL
1Imix
7Imix
Imix
1919
Sip
YAX
Berlin
LTL
1406421
9 915
6 613
19
Sip
YAX
Berlin
YAX
LTL
Berlin
1406421
LTL
91406421
9915
615
6613
113
7 Imix
19
Imix
YAX
Berlin
LTL
1406421
15
13
1719
7Sip
Imix
19
Sip
YAX
LTL
21
1302884
91302884
219
24222Yax
2K’an
8
YAX
YAX
LTL
LTL
21
21LTL
1302884
1302884
91302884
9 1302884
2192 19
24K’an
Yax
Yax
2Yax
8
1 188
confl
YAX
LTL
2121
424K’an
11
confl
YAX
YAX
LTL
21
LTL
21
1302884
9 0909 90 09 9019
0 19019
2 4242 24 42 242224K’an
2K’an
K’an
2Yax
Yax
18confl
confl
confl
YAX
LTL
4K’an
8 8 8 1
88
11
confl
YAX
2121
1302884
0 019
K’an
Yax
81
1confl
YAX
LTL
YAX
21
LTL
1302884
91302884
0019
219
2 K’an
22Yax
2K’an
K’an
2 2Yax
confl
confl
YAX
LTL
21
1302884
919
19
2Yax
2Yax
1confl
confl
YAX
LTL
26
13
13
YAX
YAX
LTL
LTL
26
26LTL
14
1313 1313131313 1313
13Yaxkin
13
Yaxkin
Yaxkin
YAX
LTL
2626
1313
Yaxkin
YAX
YAX
LTL
26
LTL
26
9 14914
13
Yaxkin
Yaxkin
YAX
LTL
1313
Yaxkin
YAX
2626
9 914
13
Yaxkin
YAX
LTL
YAX
26
LTL
9 914
99141414 1414
13
Yaxkin
Yaxkin
YAX
LTL
26 99 9 X
14
13
13
Yaxkin 33 3 3 3 3 3 3 3 33
YAX
LTL
29
1395970
91395970
12
10
810
Ox
13
Yax
7Yax
YAX
YAX
LTL
LTL
29
29LTL
1395970
1395970
91395970
9 1395970
13
17
17 17
12
12 12
10
10 10
810
Ox
8 Ox
Yax
Yax
7Yax
7 7 7 3737 73 37 7373 3 3 3 33+u
+u+u+u+u+u+u+u
YAX
LTL
2929
1313
1717
1212
8 813
Ox
1313
Yax
YAX
YAX
LTL
29
LTL
29
1395970
913
9 13913
17
12
10
10
810
Ox
813
Ox
Yax
Yax
YAX
LTL
1313
1717
1212
8Ox
Ox
1313
Yax
YAX
2929
1395970
9 913
17
12
813
13
Yax
YAX
LTL
YAX
29
LTL
1395970
91395970
917
810
Ox
10
13
Yax
YAX
LTL
29
1395970
913
13
17
12
8Ox
Ox
13
YAX
LTL
48
1328936
91328936
811
Kib
19
55Pax
YAX
YAX
LTL
LTL
48
48LTL
1328936
1328936
91328936
9 1328936
8118 11
16
216
Kib
2 Kib
19
Pax
Pax
5 5 5 1515 51 15 5151 1 1 1 11
YAX
LTL
4848
2 219
Kib
1919
Pax
YAX
YAX
LTL
48
LTL
48
1328936
9 4949 94 49 9411
4 114114411
816
8 16816
16
216
Kib
2Pax
Kib
Pax
Pax
YAX
LTL
2Kib
Kib
1919
Pax
YAX
4848
1328936
4 411
8 816
219
19
Pax
YAX
LTL
YAX
48
LTL
1328936
91328936
811
82816
216
Kib
16
19
Kib
YAX
LTL
48
1328936
911
11
2Pax
Kib
19
Pax
YAX
STL
11
1411560
91411560
116
Sek
9Sek
YAX
YAX
STL
STL
11
11STL
1411560
1411560
91411560
9 1411560
16
1161 16
11
Ajaw
Ajaw
811
Sek
8Ajaw
Sek
9 9 9 9 1919 91 19 9191 1 1 1 11
YAX
STL
1111
011
11
Ajaw
8 8Sek
YAX
YAX
STL
11
STL
11
1411560
916
9 16916
1 0101 10 01 1010000 0 00 011
0 11
Ajaw
11
811
Sek
8Sek
Sek
YAX
STL
8Ajaw
YAX
1111
1411560
9 916
0 0Ajaw
Ajaw
8Ajaw
Sek
YAX
STL
YAX
11
STL
1411560
91411560
9916
116
Ajaw
08011
8Ajaw
Sek
11
YAX
STL
11
1411560
16
011
8Sek
YAX
STL
6STL
81184613
13
513
Ben
11
Ch’en
6Ch’en
YAX
YAX
STL
STL
6YAX
6 STL
1184613
1184613
81184613
8 1184613
10
13
13 13
513
Ben
5 Ben
Ch’en
Ch’en
6Ch’en
6 6 6 2626 62 26 6262 2 2 2 22+u
+u+u+u+u+u+u+u
YAX
6 661184613
1010
1010
5 511
Ben
1111
Ch’en
YAX
YAX
STL
6STL
61184613
1184613
8 4848 84 48 8410
4 10410
13
13
513
Ben
511
Ben
Ch’en
Ch’en
YAX
1010 10
1010
5Ben
Ben
1111
Ch’en
YAX
6 6STL
1184613
4 410
10
511
11
Ch’en
YAX
6STL
STL
81184613
410
513
Ben
13
11
Ch’en
YAX
STL
1184613
810
410
10
10
5Ben
Ben
11
YAX
STR
44
1385561
91385561
812
114
Pohp
2Pohp
YAX
YAX
STR
STR
44
44STR
1385561
1385561
91385561
9 1385561
12
8128 12
14
1141 14
12
12
Imix
Imix
4Imix
Pohp
4Imix
Pohp
2 2 2 2 3232 23 32 2323 3 3 3 33
YAX
STR
4444
112
12
Imix
4 4Pohp
YAX
YAX
STR
STR
4444
44
912
9 12912
814
8 14814
112
1 12
12
412
Pohp
4Pohp
Pohp
YAX
STR
44
12
Imix
4Imix
YAX
1385561
9 912
8 814
1 1Imix
4Imix
Pohp
YAX
STR
YAX
44
STR
1385561
91385561
9912
812
8814
114
Imix
14112
4Imix
Pohp
12
YAX
STR
441385561
1385561
12
14
4Pohp
14
Table 2. Collected Data (STL = stela, PNL = panel, LTL = lintel, HRS = hiero. stair, MNT = monument; TBL = tablet; FRG = fragment;
site codes per Graham and Mathews 1999).
13
13131313131313 1313
13
13
+u+u
+u
+u+u
+u
+u+u
+u
+u+u
+u
+u+u
+u
+u+u
+u
Johnson
Results and Analysis
Glyph F varies independently across all sites in this
study. As seen in Table 2, F1 appears at each site in the
database. This is illustrated in Figure 3, showing there
were no sites which show a preference for one particular
variant of Glyph F (excepting Quirigua, which only had
a small sample size of two). A greater sample size would
increase the robustness of this test. In this sample there
is a slight chance this outcome was due to the vagaries
of sampling, and there is only a moderate divergence
from the expected values (χ2 = 57.35; df = 44; p < .09;
Cramer’s V = .51, where 0 is no deviation and 1 is
complete deviation from expected values).
Glyph F variants appear to increase in number
over time. Although dates ranged from the Old Era
(12.10.0.0.0) through 9.17.0.0.0.0, as seen in Table 1, they
were all likely written in the ninth baktun. F1 is the
most popular variant throughout the Classic, but after
9.10.0.0.0 (the Late Classic), a wider variety of Glyph
F variants are used. F1 is used in 92.3 percent of Early
Classic inscriptions (before 9.10.0.0.0; n=12 of 13) but
only 64.7 percent in the Late Classic (after 9.10.0.0.0;
n=21 of 34). There is moderate chance these results were
due to the vagaries of sampling, and results were not as
divergent as they might seem in Figure 3 (χ2 = 4.46; df =
4; p < .4; Cramer’s V = .31).
Although it appears glyphs G9 and F1 are strongly
correlated, analysis showed there was no particular
relationship between any Lord of the Night and Glyph F
variant. The raw data show a large number of G9/F1 cooccurrences (38 percent), but this is due to the fact that
Glyph F by:
Period:
Site
10
G9 and F1 are the most common variants, comprising 50
and 68 percent of the sample respectively. When shown
proportionally, in Figure 3, it is clear that F1 appears
frequently with most Lords of the Night. A larger sample
of non-G9 inscriptions is needed, but there is only a
small chance that this outcome is due to the vagaries of
sampling, and there is only a moderate divergence from
the expected values (χ2 = 57.51; df = 32; p < .01; Cramer’s
V = .48).
Similarly, F1 appears to be the most commonly
conflated variant, but this again was a result of its
overall popularity. Although F1 is present in 71 percent
of the conflations (n=12 of 17), it is present in 66 percent
of the non-conflated (n=29 of 44) examples as well. This
can be seen graphically in Figure 3, showing that any
Glyph F variant is as likely to be conflated as its overall
likelihood of being used at all. Unfortunately, a larger
sample is needed, as there is a large enough chance that
this outcome is due to the vagaries of sampling, but the
results were close to the expected values (χ2 = 3.84; df =
4; p < .5; Cramer’s V = .24).
Preliminary results suggest Palenque, Quirigua, and
Copan had a higher proportion of conflation of Glyphs
G and F. This is significant in that these three sites are
well known for their artistic flair. On average, only 30
percent of inscriptions at any site are conflated, but
Palenque, Quirigua, and Copan each had significantly
higher percentages of conflation: 78, 67, and 50 percent,
respectively. Even with a small sample size, there is
a very low chance that these results are due to the
vagaries of sampling, and there is a moderate to large
F1
F2
F3
F4
F5
Conflation
Lord of the Night
20
25
30
20
15
10
10
15
0
0
5
Not
Confl
100%
50%
0%
0%
Figure 3. Graphs of observed frequencies and proportions of Glyph F variants.
14
G9
50%
G8
G7
G6
G5
G4
G3
EAR LAT
CLA CLA
G2
0
G1
YAX
UAX
TNA
TIK
QRG
PUS
PNG
PAL
NAR
ITB
CPN
100%
COB
0
Glyph F of the Supplementary Series
33
88
99
99
99
99
99
88
7*7*
99
88
11
55
99
99
99
99
11
77
99
55
77
44
99
99
99
44
99
99
99
88
88
99
44
99
99
88
88
66
77
99
11
99
11
99
22
22
22
22
77
99
99
77
33
88
99
99
99
99
99
88
7*7*
99
88
11
55
99
99
99
99
11
77
99
55
77
44
99
99
99
44
99
99
99
88
88
99
44
99
99
88
88
66
77
99
11
99
11
99
22
22
22
22
77
99
99
77
G
31 31
81 81
91 91
91 91
91 91
91 91
91 91
81 81
1 7*
7*
1
91 91
81 81
1 11
51 51
91 91
91 91
91 91
91 91
1 11
71 71
91 91
51 51
71 71
41 41
91 91
91 91
91 91
41 41
91 91
91 91
91 91
81 81
81 81
91 91
41 41
91 91
91 91
81 81
82 82
62 62
72 72
92 92
12 12
92 92
12 12
93 93
23 23
23 23
23 23
23 23
73 73
93 93
94 94
75 75
F Day Number 2 Day Cycle 3 Day Cycle 4 Day Cycle 5 Day Cycle 6 Day Cycle 7 Day Cycle 8 Day Cycle 9 Day Cycle
113
118
119
119
119
119
119
118
117*
119
118
11
115
119
119
119
119
11
117
119
115
117
114
119
119
119
114
119
119
119
118
118
119
114
119
119
118
228
226
227
229
221
229
221
339
332
332
332
332
337
339
449
557
10 00275466.00
1 0 275466.00
275466.00
275466.00
1275466.00
13 0275466.00
13 275466.00
275466.00
31275466.00
13275466.00
275466.00
00 00 02002 2200
10 00275480.00
1 02275480.00
275480.00
275480.00
2
1275480.00
2002 0020
18 0275480.00
18 275480.00
275480.00
0
81275480.00
18275480.00
2
275480.00
2
0
10 001044000.00
1 0 1044000.00
1044000.00
1044000.00
11044000.00
19 01044000.00
19 1044000.00
1044000.00
911044000.00
191044000.00
1044000.00
00 00 0 00 000
10 001267200.00
1 0 1267200.00
1267200.00
1267200.00
11267200.00
19 01267200.00
19 1267200.00
1267200.00
911267200.00
191267200.00
1267200.00
00 00 0 00 000
10 001296000.00
1 0 1296000.00
1296000.00
1296000.00
11296000.00
19 01296000.00
19 1296000.00
1296000.00
911296000.00
191296000.00
1296000.00
00 00 0 00 000
10 001299600.00
1 0 1299600.00
1299600.00
1299600.00
0
11299600.00
0 00 000
19 01299600.00
19 1299600.00
1299600.00
911299600.00
191299600.00
0
1299600.00
0
0
10 001299600.00
1 0 1299600.00
1299600.00
1299600.00
11299600.00
19 01299600.00
19 1299600.00
1299600.00
911299600.00
191299600.00
1299600.00
00 00 0 00 000
10 001302884.00
1 021302884.00
1302884.00
1302884.00
11302884.00
18 01302884.00
18 1302884.00
1302884.00
811302884.00
181302884.00
1302884.00
02 220 2002 0020
10 001315982.00
1 021315982.00
1315982.00
1315982.00
11315982.00
17* 01315982.00
17* 1315982.00
1315982.00
7*
17*
1315982.00
11315982.00
1315982.00
02 220 2 022 220
10 001319004.00
1 0 1319004.00
1319004.00
1319004.00
0
11319004.00
0 00 000
19 01319004.00
19 1319004.00
1319004.00
911319004.00
191319004.00
0
1319004.00
0
0
10 001324692.00
1 0 1324692.00
1324692.00
1324692.00
11324692.00
18 01324692.00
18 1324692.00
1324692.00
811324692.00
181324692.00
1324692.00
00 00 0 00 000
11 111327969.00
1 1 1327969.00
1327969.00
1327969.00
11327969.00
1 11327969.00
11 1327969.00
1327969.00
111327969.00
11327969.00
1327969.00
11 11 1 11 111
10 001328936.00
1 021328936.00
1328936.00
1328936.00
11328936.00
15 01328936.00
15 1328936.00
1328936.00
511328936.00
151328936.00
1328936.00
02 220 2002 0020
10 001346400.00
1 0 1346400.00
1346400.00
1346400.00
0
11346400.00
0 00 000
19 01346400.00
19 1346400.00
1346400.00
911346400.00
191346400.00
0
1346400.00
0
0
10 001346400.00
1 0 1346400.00
1346400.00
1346400.00
11346400.00
19 01346400.00
19 1346400.00
1346400.00
911346400.00
191346400.00
1346400.00
00 00 0 00 000
10 001364400.00
1 0 1364400.00
1364400.00
1364400.00
11364400.00
19 01364400.00
19 1364400.00
1364400.00
911364400.00
191364400.00
1364400.00
00 00 0 00 000
10 001368000.00
1 0 1368000.00
1368000.00
1368000.00
11368000.00
19 01368000.00
19 1368000.00
1368000.00
911368000.00
191368000.00
1368000.00
00 00 0 00 000
11 111370269.00
1 1 1370269.00
1370269.00
1370269.00
1
11370269.00
1 11 111
1 11370269.00
11 1370269.00
1370269.00
111370269.00
11370269.00
1
1370269.00
1
1
10 001372300.00
1 011372300.00
1372300.00
1372300.00
11372300.00
17 01372300.00
17 1372300.00
1372300.00
711372300.00
171372300.00
1372300.00
01 110 1001 0010
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1 0 1373400.00
1373400.00
1373400.00
11373400.00
19 01373400.00
19 1373400.00
1373400.00
911373400.00
191373400.00
1373400.00
00 00 0 00 000
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1 121377401.00
1377401.00
1377401.00
11377401.00
15 11377401.00
15 1377401.00
1377401.00
511377401.00
151377401.00
1377401.00
12 221 2112 1121
10 001383136.00
1 011383136.00
1383136.00
1383136.00
1
11383136.00
1001 0010
17 01383136.00
17 1383136.00
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0
711383136.00
171383136.00
1
1383136.00
1
0
10 001396800.00
1 0 1396800.00
1396800.00
1396800.00
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14 01396800.00
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1396800.00
411396800.00
141396800.00
1396800.00
00 00 0 00 000
10 001396800.00
1 0 1396800.00
1396800.00
1396800.00
11396800.00
19 01396800.00
19 1396800.00
1396800.00
911396800.00
191396800.00
1396800.00
00 00 0 00 000
10 001398600.00
1 0 1398600.00
1398600.00
1398600.00
11398600.00
19 01398600.00
19 1398600.00
1398600.00
911398600.00
191398600.00
1398600.00
00 00 0 00 000
10 001402200.00
1 0 1402200.00
1402200.00
1402200.00
0
11402200.00
0 00 000
19 01402200.00
19 1402200.00
1402200.00
911402200.00
191402200.00
0
1402200.00
0
0
10 001403572.00
1 011403572.00
1403572.00
1403572.00
11403572.00
14 01403572.00
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1403572.00
411403572.00
141403572.00
1403572.00
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10 001404000.00
1 0 1404000.00
1404000.00
1404000.00
11404000.00
19 01404000.00
19 1404000.00
1404000.00
911404000.00
191404000.00
1404000.00
00 00 0 00 000
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1 0 1407600.00
1407600.00
1407600.00
11407600.00
19 01407600.00
19 1407600.00
1407600.00
911407600.00
191407600.00
1407600.00
00 00 0 00 000
10 001407600.00
1 0 1407600.00
1407600.00
1407600.00
0
11407600.00
0 00 000
19 01407600.00
19 1407600.00
1407600.00
911407600.00
191407600.00
0
1407600.00
0
0
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1 021408940.00
1408940.00
1408940.00
11408940.00
18 01408940.00
18 1408940.00
1408940.00
811408940.00
181408940.00
1408940.00
02 220 2002 0020
10 001411200.00
1 0 1411200.00
1411200.00
1411200.00
11411200.00
18 01411200.00
18 1411200.00
1411200.00
811411200.00
181411200.00
1411200.00
00 00 0 00 000
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1 0 1411560.00
1411560.00
1411560.00
11411560.00
19 01411560.00
19 1411560.00
1411560.00
911411560.00
191411560.00
1411560.00
00 00 0 00 000
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1 1 1421653.00
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1421653.00
1
11421653.00
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1421653.00
411421653.00
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1
1421653.00
1
1
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1422000.00
1422000.00
11422000.00
19 01422000.00
19 1422000.00
1422000.00
911422000.00
191422000.00
1422000.00
00 00 0 00 000
10 001422000.00
1 0 1422000.00
1422000.00
1422000.00
11422000.00
19 01422000.00
19 1422000.00
1422000.00
911422000.00
191422000.00
1422000.00
00 00 0 00 000
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1 021804760.00
1804760.00
1804760.00
11804760.00
18 01804760.00
18 1804760.00
1804760.00
811804760.00
181804760.00
1804760.00
02 220 2002 0020
21 11824021.00
2 12824021.00
824021.00
824021.00
2
2824021.00
2112 1121
28 1824021.00
28 824021.00
824021.00
1
82824021.00
28824021.00
2
824021.00
2
1
21 111184613.00
2 101184613.00
1184613.00
1184613.00
21184613.00
26 11184613.00
26 1184613.00
1184613.00
621184613.00
261184613.00
1184613.00
10 001 0110 1101
20 001379662.00
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1379662.00
1379662.00
21379662.00
27 01379662.00
27 1379662.00
1379662.00
271379662.00
721379662.00
1379662.00
01 110 12012 2210
20 001404000.00
2 0 1404000.00
1404000.00
1404000.00
21404000.00
29 01404000.00
29 1404000.00
1404000.00
921404000.00
291404000.00
1404000.00
00 00 0 00 000
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2 1 1408141.00
1408141.00
1408141.00
1
21408141.00
1 11 111
21 11408141.00
21 1408141.00
1408141.00
121408141.00
211408141.00
1
1408141.00
1
1
20 001414800.00
2 0 1414800.00
1414800.00
1414800.00
21414800.00
29 01414800.00
29 1414800.00
1414800.00
921414800.00
291414800.00
1414800.00
00 00 0 00 000
20 001800622.00
2 011800622.00
1800622.00
1800622.00
21800622.00
21 01800622.00
21 1800622.00
1800622.00
121800622.00
211800622.00
1800622.00
01 110 12012 2210
30 001321200.00
3 0 1321200.00
1321200.00
1321200.00
31321200.00
39 01321200.00
39 1321200.00
1321200.00
931321200.00
391321200.00
1321200.00
00 00 0 00 000
30 001373150.00
3 021373150.00
1373150.00
1373150.00
2
31373150.00
2 022 220
32 01373150.00
32 1373150.00
1373150.00
0
231373150.00
321373150.00
2
1373150.00
2
0
30 001373528.00
3 021373528.00
1373528.00
1373528.00
31373528.00
32 01373528.00
32 1373528.00
1373528.00
231373528.00
321373528.00
1373528.00
02 220 2002 0020
30 001373528.00
3 021373528.00
1373528.00
1373528.00
31373528.00
32 01373528.00
32 1373528.00
1373528.00
231373528.00
321373528.00
1373528.00
02 220 2002 0020
31 111385561.00
3 121385561.00
1385561.00
1385561.00
31385561.00
32 11385561.00
32 1385561.00
1385561.00
231385561.00
321385561.00
1385561.00
12 221 2112 1121
30 001395970.00
3 011395970.00
1395970.00
1395970.00
1
31395970.00
12012 2210
37 01395970.00
37 1395970.00
1395970.00
0
731395970.00
371395970.00
1
1395970.00
1
0
31 111406421.00
3 101406421.00
1406421.00
1406421.00
31406421.00
39 11406421.00
39 1406421.00
1406421.00
931406421.00
391406421.00
1406421.00
10 001 0110 1101
40 001405800.00
4 0 1405800.00
1405800.00
1405800.00
41405800.00
49 01405800.00
49 1405800.00
1405800.00
941405800.00
491405800.00
1405800.00
00 00 0 00 000
50 001383136.00
5 011383136.00
1383136.00
1383136.00
51383136.00
57 01383136.00
57 1383136.00
1383136.00
751383136.00
571383136.00
1383136.00
01 110 1001 0010
21021
0 2000
0 000
0 00
0 000
0 00
0 000
042004
2 202
04004
02002
14114
012001
0 00
0 000
0 00
0 000
14114
0 1000
0 00
1 2111
01100
0 000
0 00
0 000
0 00
021002
0 00
0 000
0 00
0 2000
0 00
0 000
13113
0 000
0 00
0 2000
1 2111
130113
2 1022
0 000
1 11
0 000
2 1022
0 000
202020
032003
032003
1 2111
201020
1 0111
0 00
01100
1120
0020
000
000
000
000
000
44020
2220
4400
2200
4411
11020
000
000
000
000
4411
0010
000
1121
11010
000
000
000
000
22010
000
000
000
0020
000
000
3311
000
000
0020
1121
33101
2210
000
111
000
2210
000
00220
33020
33020
1121
00210
1101
000
11010
102010
020202
0 000
0 00
0 000
0 00
0 000
420242
2 222
4004
20020
4114
120212
0 00
0 000
0 00
0 000
4114
040104
0 00
151215
140114
0 000
0 00
0 000
0 00
240124
0 00
0 000
0 00
020202
0 00
0 000
3113
0 000
0 00
020202
151215
3 1033
242124
0 000
1 11
0 000
242124
0 000
0220
320232
320232
151215
042104
131013
0 00
140114
00120
22002
000
000
000
000
000
22402
222
0040
0020
1141
22102
000
000
000
000
1141
44001
000
55112
44101
000
000
000
000
44201
000
000
000
22002
000
000
1131
000
000
22002
55112
3310
44221
000
111
000
44221
000
2202
22302
22302
55112
44021
33110
000
44101
021202
2 022
06006
04004
06006
01001
01001
2 4022
23223
014001
052005
164116
201020
06006
06006
02002
04004
154115
46046
0 00
54154
461046
06006
06006
0 000
02002
42204
03003
05005
05005
21021
0 00
03003
123112
06006
06006
26026
52152
3 313
4 244
03003
10110
02002
45245
06006
2 0222
2 3022
2 3022
52152
420242
32132
04004
461046
22012
220
6600
4400
6600
1100
1100
2240
3322
11040
55020
66141
00210
6600
6600
2200
4400
55141
6640
000
4451
66410
6600
6600
000
2200
22420
3300
5500
5500
1120
000
3300
22131
6600
6600
6620
2251
3331
442
3300
0011
2200
5542
6600
2202
2230
2230
2251
22402
2231
4400
66410
2 0122
202020
60060
4004
60060
1001
10010
242424
36236
140414
540254
61146
0 2100
6006
60060
2002
40040
5 1455
64406
0 00
415141
604160
60060
6006
0 000
2002
24422
3003
50050
5005
142014
0 00
30030
251325
60060
6006
602060
25512
35335
464246
30030
05105
20020
564256
60060
262026
202320
202320
215121
2 4022
253125
4004
604160
2201
00220
0060
0040
0060
0010
0010
44224
6632
44104
44502
11614
0021
0060
0060
0020
0040
5514
44640
000
11451
00641
0060
0060
000
0020
44242
0030
0050
0050
44120
000
0030
55213
0060
0060
00620
55251
5533
66442
0030
5501
0020
66542
0060
66220
00223
00223
11251
2240
55231
0040
00641
232023
08208
0 6000
0 4000
0 6000
0 1000
0 1000
48248
623262
401040
405040
1 6111
050205
0 6000
0 6000
0 2000
0 4000
515151
476447
0 00
154515
076407
0 6000
0 6000
0 000
0 2000
4 2444
0 3000
0 5000
0 5000
481248
0 00
0 3000
542154
0 6000
0 6000
086208
582558
56356
67467
0 3000
510151
0 2000
615461
0 6000
6226
02202
0220
12251
272427
502350
0 4000
076407
33220
8802
0060
0040
0060
0010
0010
8842
22632
00410
00450
1161
55002
0060
0060
0020
0040
11551
77464
000
55145
77064
0060
0060
000
0020
4424
0030
0050
0050
88412
000
0030
44521
0060
0060
88062
88525
6653
7764
0030
11501
0020
11654
0060
2262
2202
2202
22125
77224
00523
0040
77064
3 23
8 028
0 060
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0 060
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2 632
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1 161
5 05
0 060
0 060
0 020
0 040
1 51
7 467
0 00
5 145
7 067
0 060
0 060
0 00
0 020
4 424
0 030
0 050
0 050
8 418
0 00
0 030
4 524
0 060
0 060
8 068
8 528
6 536
7 647
0 030
1 501
0 020
1 651
0 060
2 622
2 022
2 022
2 122
7 27
0 520
0 040
7 067
32
802
006
004
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842
263
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116
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15
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514
706
006
006
00
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442
003
005
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841
00
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452
006
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806
852
653
764
003
150
002
165
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262
202
202
212
72
052
004
706
32
80
0
0
0
0
0
84
26
04
04
1
50
0
0
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15
74
0
51
70
0
0
0
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4
0
0
0
84
0
0
45
0
0
80
85
65
76
0
15
0
16
0
26
20
20
21
72
05
0
70
32
80
0
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0
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84
26
04
04
1
50
0
0
0
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74
0
51
70
0
0
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84
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0
45
0
0
80
85
65
76
0
15
0
16
0
26
20
20
21
72
05
0
70
3
8
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7
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8
8
6
7
0
1
0
1
0
2
2
2
2
7
0
0
7
3
8
0
0
0
0
0
8
2
0
0
1
5
0
0
0
0
1
7
0
5
7
0
0
0
0
4
0
0
0
8
0
0
4
0
0
8
8
6
7
0
1
0
1
0
2
2
2
2
7
0
0
7
Table 3. Correlation of Glyphs G and F, Day Numbers, and cycles of 2-9 days; the numbers indicate the day-number’s position
in a cycle of the number of days at the head of the column.
differentiation between the expected and observed
percentages (χ2 = 25.34; df = 11; p < .01; Cramer’s V =
.64).
The final analysis shows empirically that Glyph F
variants are not part of a repeating cycle. Table 3 shows
each Glyph F with a complete long count date, with its
associated Glyph G, and day number (long count date
converted to decimal system). In each of the nine columns
to the right, the day number has been divided by the
number of days in each cycle (from two to nine), and
the remainder is displayed. If a cycle of Glyph F existed,
the numbers in the corresponding cycle-length would
15
Johnson
TI’
HUN
na
na
HUN
Copan Stela 1
Dos Pilas Stela 8
TI’?
HUN
G9
Copan Stela D
Figure 4. Atypical Glyph F variants
(redrawn from Schele and Miller 1983:Figure 32).
appear contiguously in that column. Glyph G’s cycle is
born out by this, as the numbers in the “nine-day cycle”
column match those in the Glyph G column. There is
no cycle of Glyph F variants (less than nine days) even
if there were more or less than the five variants I have
defined. If there were less, and a cycle existed, a number
of Glyph F variants would share an identical remainder.
If there were more, a variant’s section would have more
than one remainder, but the all of those remainders
would be within that variant. This is not the case, and
there appears to be no cycle.
Another aspect of examination is whether or not
the same day can be represented by different Glyph F
variants. Of the seven pairs of recurring dates in my
sample, five evince the same Glyph F variant, while two
show different variants. One pair of mismatched Glyph
Fs comes from Piedras Negras. Stelae 1 and 3 have the
same date (9.12.2.0.16) but give F1 and F5 respectively.
Another mismatch comes from two different sites.
Itzimte’s Stela 5 shows F1 for the same day (9.15.0.0.0)
that Piedras Negras’ Stela 11 gives F2. Of the five pairs
of monuments which share a date and Glyph F variant,
all are inscribed with F1, by far the most popular
manifestation. Three of the matching pairs are from the
same sites. Tikal Stelae 1 and 31, Pusilha Stelae P and O,
and Piedras Negras Stelae 3 and 1 share dates and the
F1 variant. Coba Stela 20 also matches Naranjo Stela 13
in date (9.17.10.0.0) and F Glyph (F1). Another pair of
matching dates and Glyph F variants are Stela 2 at Itzimte
and Piedras Negras Stela 10—interesting in that these
two sites are also an example of mismatched F-variants
described above. It should be noted, although it comes
as no surprise, Glyph G was correct and matched for
all of these examples. Although this is a small sample,
16
it seems likely that there was no need to agree on the
Glyph F variant in a long count. This further suggests
that there was no underlying cycle or reason for the
choice of Glyph F variant used in an inscription beyond
scribal preference.
Implications of Analysis
Although no predictive patterns were found, there
are a number of observations that can be made about
Glyph F from these collected and analyzed data. First,
Glyph F variants occur independent of the Long Count,
Supplementary Series, and location. It does appear,
though, that a greater variety of Glyph F variants were
used after 9.10.0.0.0. The variants can be said to be
completely interchangeable; just as the scribe has a choice
between writing ba-la-m(a), BALAM, or BALAM-(ma)
to give the word bahlam. This suggests that the variation
is purely orthographic, not a variable denoting a position
in any cycle or count. Of course, this observation is not
new, but this paper statistically demonstrates the free
variation of Glyph F.
Second, the fact that Glyph F is a constant part of the
calendar formula suggests it has a static reading for all
of its occurrences. The full reading of Glyph F appears
to be TI’ HUN-(na) or TI’ hu-n(a), giving ti’ huun/hu’n.
There is no single agreed-upon gloss for this phrase in
the topical literature.
The term ti’ is attested as “mouth” in Ch’ol, Chontal,
and Ch’orti’ (Aulie and Aulie 1978; Hull 2005; Keller
and Luciano 1997; K’ulb’il Yol Twitz Paxil 2001; Pérez
González and de la Cruz 1998; Schumann 1973), as well
as Tzotzil, Tzeltal, Tojolab’al, Q’anjob’al, Aketeko, and
Yucatec (Zender 2004:Table 4, citing Barrera Vásquez et
al. 1980:91, Bricker et al. 1998:68, Furbee-Losee 1976:397,
Laughlin 1975:337, Lenkersdorf 1981:351, and Slocum et
al. 1999:122). These entries seem to confirm the suggested
gloss of “mouth” and “lips.” The other meanings of
“opening” and “edge” are semantically related to mouth
and recorded in Ch’ol, Tzotzil, Tzeltal, Tojolab’al, and
Yucatec (Zender 2004:Table 4, citing Barrera Vásquez et
al. 1980:91, Bricker et al. 1998:68, Furbee-Losee 1976:397,
Laughlin 1975:337, Lenkersdorf 1981:351, and Slocum
et al. 1999:122). The lexeme ti’ is also recorded as “to
speak” in Tzotzil and Yucatec, as well as “language” in
Ch’orti’ (Zender 2004:Table 5, citing Heath de Zapata
1980:183-184, Laughlin 1975:337, and Wisdom 1950:672;
see also Houston 2009). It is from this reading that the
similar title ti’ sak huun/hu’n is glossed as “speaker of
the white headband.”
Clearly huun or hu’n is suggested by the hu-n(a) or
HUN-(na) reading of each variant. Glossed as “book,”
“paper,” “headdress,” or “bundle” it is likely that only
one meaning is expressed in this formulaic context. HUN
may be semantically related to, or an underspelling of,
huunal/hu’nal that is, “headdress.” This is thought to be
the headband with which rulers are bound (Jackson and
Glyph F of the Supplementary Series
Stuart 2001:222). The traditional “headdress” reading is
mirrored in the royal title sak huun/hu’n, or “white crown”
(Schele et al. 1990:4; Zender 2004:215). I have found no
examples of a complete HUN-na-la or hu-na-la spelling.
There are, however, three examples (Quirigua Stela K,
Copan Stela I, and Dos Pilas Stela 8) which one might
interpret as TI’-HUN-NAL (T128:60:1000a), giving ti’
hu’nal, or “headdress;” illustrated in Figure 4. Although
the T1000a glyph in these examples might represent an
aspect of the Maize God (nal is glossed as “corn” but is
not currently an accepted reading for this glyph), it more
likely represents the syllable na, an allograph of the
usual T23 subfix of Glyph F. The lack of a clear huunal/
hu’nal example leads me to believe that “headdress” is
not meant in Glyph F. Furthermore, although it could be
argued that a bark paper headdress might be referred to
as huun/hu’n because of the material, this must be more
firmly demonstrated through iconography before it can
be applied to an isolated HUN reading, especially one
which is represented with the T609b/codex variant.
In another interpretation, Schele (1983:79, 90)
suggests the central element is a sacred bundle or
jaguar throne pillow, which is carried by the Lord of the
Night as his patan, or “burden.” Although patan would
be complemented by the final -na syllable, the central
element can now be read as HUN or hu. As Schele
(1983:80) herself mentions, at the time of her writing,
the syllabic sign we now read as hu (T740) was not yet
understood.
In contrast to these views, I would suggest the
reading of “book” is more likely, particularly in the
presence of the T609b, F4 variant. This is a clear depiction
of a jaguar-pelt-bound codex (the horizontal lines are
pages of the codex, the jaguar pelt is the cover), not a
cushion or bundle, as others have suggested (Schele
1983:79, 90; Thompson 1962:212). Furthermore, the
word huun/hu’n/hun or some cognate thereof (usually
jun) is glossed as “paper” in Ch’ol and Ch’orti’ and even
“book” in Chontal (Aulie and de Aulie 1978; Hull 2005;
K’ulb’il Yol Twitz Paxil 2001; Keller and Luciano 1997;
Pérez González and de la Cruz 1998; Schumann 1973).
One possible problem with this argument, however, is
that the “codex” variant does not appear until late in
my examples. If the meaning of “book” were meant, the
F4 variant might be expected to be the most commonly
occurring variant early on. However, T609b is not
attested in any context before the Late Classic, mitigating
this problematic point.
The complete phrase has a number of suggested
readings. The possible glosses described above
suggest mouth/lips/opening/edge combined with
book/headdress/bundle. In Thompson’s (1962) Maya
Hieroglyphic Writing: Introduction, he devotes less than
one page to describing this glyph. He suggests that it
stands to “explain or amplify the function of Glyph G”
and that together they should be interpreted as “God
Gn is the Lord of the Night” but notes this is not a
direct translation (Thompson 1962:212). He does make
the important observation linking the “jaguar bundle”
(T609b) and the “knotted element” (T60) in Glyph
F, showing the rarer form is not a local variant but
dispersed across the Maya area (Thompson 1962:212).
Linda Schele (1983:90) suggested the meaning “in
office” or “in power,” but her literal reading was patan,
meaning “cargo” or “burden,” discussed above. David
Stuart (2005:196) has recently suggested the reading “is
(at) the margin(?),” drawing on evidence such as Yucatec
u chi’ hú’un, “margin of the book” (Zender 2004:217-218,
citing Barrera Vásquez et al. 1980:91, Heath de Zapata
1980:183) and Colonial Tzotzil ti’il hun, “book margin”
(Laughlin 1988:1:313). But it is unclear exactly how this
is to be meaningfully connected with Glyph G.
All of the suggested readings are somewhat
problematic. Either the phrase does not make semantic
sense in relation to the Lord of the Night, or it is not
a close reading of the glyphs. There is a semantic
relationship between “mouth” and “book,” though,
especially in a society of limited literacy. Books may
have been read aloud and religious texts chanted. For
instance, the similar phrase ti’ sak huun/hu’n is glossed
as “speaker of the white crown” (Schele et al. 1990:4;
Zender 2004:215), but in this case ti’ huun/hu’n might be
read instead as “speaker of the book,” or more literally,
“mouth of the book.”
This reading of ti’ huun/hu’n, as “speaker of the
book,” makes semantic sense in relation with Glyph G,
which is the “Lord of the Night” patron deity of that
particular day. Glyph G and F might then be read Gx ti’
huun/hu’n, or “Gx [is the] speaker of the book.” Although
“speaker” might be a liberal translation, the association
of speech and mouth are clear. A similar connection
between “mouth” and speech is described above, where
ti’ is attested as the verb “to speak” and “language.” A
reading of “Gx [is the] mouth of the book” or “Gx [is
the] mouthpiece of the book” does not seem a stretch
of the data. If the particular Lord of the Night is the
patron for a day, it is not unlikely that he has a shamanic
duty, which would involve the use of divinatory books.
The interpretation of HUN alone as “paper” is equally
possible, but with the presence of “mouth” and the
T609b variant, the gloss of “book” makes more semantic
sense.
Glyph F occasionally appears with an u- prefix,
indicating possession or the third-person singular
ergative pronoun. Out of my 64 examples, five are
preceded by a possessive prefix, u-: Piedras Negras
Lintel 3 (u-TI’-HUN-(na), F2), Stela 3 (u-TI’-HUN(na), F1), and Stela 9 (u-TI’-HUN-(na), F2), as well as
Yaxchilan Lintel 29 (u-TI’-hu-n(a), F3) and Stela 6 (u-TI’HUN-(na), F2). Furthermore, Copan’s Stela D has a fullfigure G9 carrying a large T609b codex on his back with
a tumpline, drawn in Figure 4. This suggests again that
17
Johnson
Glyph F is intimately associated with the current Lord
of the Night. Interestingly, Mathews and Biro (2006, but
see also Zender 2004:214) state that the possessed form
of ti’ sak hu’n is u ti’ hu’nil; the -il is a common possessive
suffix (Houston et al. 2001). This is not seen on any of
the five possessed Glyph F examples above, but rather u
ti’ huun/hu’n. Although I do not wish to dwell on the sak
hu’n title, it may be that the term “book” is meant here
too; a book might need a speaker, but a crown might
not. What is needed is a clear iconographic depiction of
somebody with the ti’ sak huun/hu’n title either with a
book, or wearing a distinctive headdress.
Furthermore, as pointed out by Jackson and Stuart
(2001:219), a possessed title between two nouns links
them in a direct way. When Glyph F is preceded by u-, it
suggests that the Lord of the Night is directly linked to
the oral recitation of the book. This might suggest that
the Lord of the Night is the reader of the book containing
the lunar series calculations or other divinatory material;
the Lord of the Night is the day keeper for that entire
day and night. Gx uti’ huun/hu’n might be translated as
“Gx, [it is] his speaking of the book.”
Another topic, on which these findings bear is the
use of the knotted HUN glyph in the aj k’uhun title
discussed in depth by Jackson and Stuart (2001). They
discount Lacadena’s (1993, cited in Jackson and Stuart
2001:221-222) reading of a-k’u-HUN-na as ak’hun, or
“he who gives/bears paper” because the God C head
does not have the value of k’u in any other context
but rather K’UH or K’UHUL only. They also shy away
from Houston and Grube’s (cited in Jackson and Stuart
2001:221-223) reading of AJ-K’UHUL-HUN-(na), or aj
k’uhul hu’n, glossed as “he of the holy books/headbands/
paper” for a number of reasons. First, “books” and the
implied scribal aspects thereof are considered to be too
narrow of a reading because of the variable meaning of
HUN (or HU’N in the authors’ orthography). Second, the
fact that “the appearance of HU’N or -HU’N-na in the
God C title is quite rare and generally late in date, falling
in the last century of the Classic period” (Jackson and
Stuart 2001:223; Zender 2004:215). In the data compiled
for this paper, it can be clearly seen that T60/HUN was
by far the most popular Glyph F variant from 9.0.0.0.0
(ca. 435 AD) through the end of the Classic (the last date
in this database is 9.17.0.0.0, ca. 771 AD). Furthermore, in
his discussion of the ti’ sakhuun/hu’n title, which contains
another HUN element (T522), Zender (2004:212) states
that this title’s morphology is “highly standardized and
formally conservative,” that is, largely unchanging over
time in contrast to the “relatively chaotic spellings of the
ajk’uhuun[/aj k’uhun]” title over time. Therefore, if the
title were meant to be aj k’uhul hu’n, it is likely that the
HUN element would have appeared more frequently
and earlier. Jackson and Stuart (2001:224-226) gloss
their reading of aj k’uhun as “one who keeps/guards/
worships/venerates” on the back of similar meanings
18
from modern Greater Tzeltalan languages.
Conclusion
Although it has been generally accepted that Glyph F
in the Supplementary Series was a freely-varying, even
optional component, this paper demonstrates this fact
statistically. There is no correlation between any Glyph
F variant and a specific site, its Glyph G counterpart, or
tendency to conflation. It is likely, though, that Copan,
Quirigua, and Palenque had a greater penchant for
conflating Glyphs F and G than other sites, although
a larger sample size is needed. Therefore, it can be
concluded that Glyph F is a formulaic part of the
Supplementary Series.
Although there have been many suggested readings
for Glyph F and its relationship with Glyph G, they
have been either divorced from glyphic readings or
semantically unclear. I suggest that Glyph F describes
the Lord of the Night as responsible for reading a
divinatory codex. Glyphs G and F, reading Gx TI’HUN-na or Gx ti’ huun/hu’n may be translated as “X
Lord of the Night is the mouth/speaker of the book,”
which possibly contains Lunar Series, astronomical, or
divinatory information. Finally, the continuous use of
the “knotted element” through the entire ninth baktun
supports the argument for Jackson and Stuart’s (2001) aj
k’uhun reading.
Aknowledgments
I would like to thank Markus Eberl for his notes on this
article and useful discussions about this topic. I would
also like to thank Marc Zender and David Stuart for
their correspondence regarding the ti’ reading and other
topics. All errors and missteps are my own.
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19
Neg. No. 10313, Courtesy of the Museum of New Mexico.
Morley's Diary,1932
Editor’s note
A leading archaeologist of his time, Sylvanus Griswold Morley
was an Associate of the Carnegie Institution of Washington,
the foremost organization excavating archaeological sites in
Mexico, Guatemala, and Honduras in the early part of the
twentieth century. This diary continues his account of the
Carnegie Institution’s expedition to Calakmul begun on April
3, 1932. Morley’s professional companions were his wife
Frances, Karl Rupert, John Bolles, and Gustav Stromsvic.
April 26 - Tuesday (cont.)
Chicle-blocks which had been loaded on to these three
carts were removed and our own baggage divided into
3 parts loaded on in place.
We were to go on ahead mounted taking with us on
our saddles, sleeping accoutrements, so that we could
rest comfortably at Tanché until the carts caught up. Don
Manuel said if we left at six we should be a Tanché by
midnight, and from there we might be able – or might
not – to catch the greatly to be desired truck.
Happily these plans, which would have involved a
long and tiring night ride for us never materialized, for
just at six, the long awaited truck was heard snorting in
the distance. It was our old friend “The San Juan” which
had brought us out and at the moment the only one of
Francisco Buenfil’s three trucks that would run.
I arranged with Don Manuel and the chauffeur
that we would start back in it at once, i.e. after supper.
Frances ordered a third meal from the nice Señora who
had given us breakfast and luncheon and as soon as the
truck was unloaded – corn was being brought in for the
mules – a layer of chicle was stored on the bottom and
then our baggage went aboard.
Again Gustav superintended loading, lashing boxes,
kayaks, etc. down. Again sleeping space was reserved
for us at the front – Frances, myself, Karl, John and
Gustav – then Tarsisio and Arturo and lastly Demetrio
with his Simonita. Frances achieved almost a mattress
20
by building up blankets, three of them, on the chicle
under us.
We bid goodbye to Don Manuel, to Carlos, the
Belizano, and climbed aboard.
The chauffeurs were tinkering with a part to replace
part of the steering apparatus if it broke, which seemed a
not remote contingency in the light of recent experience,
and everything was at last ready to start.
We pulled out of Rio Desempeño at 8:40, only 40
minutes after the boys said they would be ready, almost
a record in our experience. It was hot and at first we did
not use the single blanket Frances reserved to go over
us. Undressing consisted in removing one’s shoes.
In spite of the constant jarring and jolts we caught
naps here and there and so the night advanced. Before
midnight we caught up with the carts of chicle which
had left El Rio at six and after fooling along behind them
for a considerable time the road widened at a despecho
or alternative road to avoid a mud-hole where we
passed them. These carts are hauled by six mules each
and make fairly good time, themselves.
We only bogged down once in the long akalche
between Tumbo and El Rio, which had given us such
trouble coming in, and this caused only a slight loss of
time. And so bumping along, lurching along, and jolting
along Tuesday passed into Wednesday.
April 27 - Wednesday
Sleeping was only fitful as the bumps were continuous
though irregular and I was not sorry to reach Tanché
sometime after midnight. We had a rather longish stop
here while the truck was watered, oiled, and gasolined. I
suspect the chauffeurs had a little coffee too as we heard
laughing and chattering in a lighted hut nearby in spite
of the graveyardness of the hour.
We got under way again and I think I must have
slept more. I do not remember passing through the
Maya village of Paso Hol. If the dogs barked they did
not awaken me. Two of our boys at Calakmul, Lino and
Rafael Paat come from this village.
Just beyond, i.e. this side now we crossed quite a
hill, indeed a fair range, known locally as “El Cerro de
la Paloma Blanca”, “The Hill of the White Pigeon”. This
I do remember rumbling down, though afterward I fell
asleep again.
When I awoke dawn was coloring the east and we
were dashing along at a smart clip, perhaps 15 or even
18 miles an hour! We were in the flats just outside of La
Gloria.
And here we nearly had trouble with the truck. The
boys had forgotten to fill the extra water tin at the last
place where water was to be had and in consequence we
were blowing off steam at a great rate, the engine had
lost half of its pulling power and indeed was beginning
to pound. But La Gloria was actually round the next
corner and an ayudante was sent ahead with the ever
faithful gasoline tin to get some water.