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Bonampak

Bonampak (known anciently as Ak'e or, in its immediate area as Usiij Witz, 'Vulture Hill') is an ancient Maya archaeological site in the Mexican state of Chiapas. The site is approximately 30 km (19 mi) south of the larger site of the people Yaxchilan, under which Bonampak was a dependency, and the border with Guatemala.

While the site is not overly spatial or abundant in architectural size, it is well known for the murals located within the three roomed Structure 1 (The Temple of the Murals). The construction of the site's structures dates to the Late Classic period (c. AD 580 to 800). The Bonampak murals are noteworthy for being among the best-preserved Maya murals.

Towards Bonampak.
Start of our walk towards the archaeological site of Bonampak.


Map of Bonampak.
On this map north is at the top left and south is at the bottom right.

  • Entry to Bonampak is from the north (top left) and the paintings are on the south (bottom).

Continuing to walk through the jungle.
Bonampak is in the heart of the Lacandon Jungle.

  • The Lacandon Jungle (Spanish: Selva Lacandona) is an area of rainforest which stretches from Chiapas, Mexico, into Guatemala. The heart of this rainforest is located in the Montes Azules Biosphere Reserve in Chiapas near the border with Guatemala in the Montañas del Oriente region of the state.
  • See more at Lacandon Jungle - Wikipedia.

At last we arrive.
In the distance we begin to see the first archaeological structures.


The Large Square with Stela 1.
At the center of Bonampak is the Large Square. The architectural structures are in the south (background).


Stela 1.
Stele 1 is located in the central part of the Large Square.

  • Stela 1 represents the moment of the height of Chan Muwan II, the importance of the character is reflected in the way it is represented and in the difficulty to elaborate the monument, that is, in a huge slab of stone of little thickness without suffering any fracture.
  • With its almost 6 m (20 ft) high it is one of the highest in the Mayan world.
  • Chan Muwan II is standing and carrying a ceremonial cane, the styling of the pupil gives him a greater strength to his look.
  • In the lower part of the stele is observed the monster of the earth from which the faces of the young god of corn emerge.
  • A band of glyphs under the feet of the ruler refers to his genealogy, while in another vertical band the emblem glyph of the city can be observed.

Towards the Temple of the Murals.
The Temple of the Murals is in front of us.


The Temple of the Murals.
The Temple of the Murals at Bonampak, built at the end of the eighth century A.D. (officially dedicated on November 11, 791 A.D.), measures 16 m (53 ft) long, 4 m (13 ft) deep, and 7 m (23 ft) tall, and is constructed atop a T-shaped platform.

  • Structurally symmetrical, balanced and stable, it is composed of three separate rooms, which contain murals that narrate the events surrounding the accession to the throne by Chooj, son of Bonampak ruler Yajaw Chaan Muwan, and grandson of Aj Sak Teles.
  • The narrative of the temporal sequence of events should be viewed in chronological order, beginning in Room 1 (scene of tribute, dressing, dance, mummery and musical performance); then on to Room 2 (scene of violent conflict, and a display in which a human cull is presented, tortured and killed in the company of the highest members of court and upper echelons of the victorious force); and, finally, to Room 3 (scene of a dance, with observers, and ritual bloodletting).
  • In total, there are some 281 human figures represented within the three rooms, many with captions (approximately 1/3 of the figures are named, while another 10 percent of the figures have blank captions, and slightly more than half have no caption at all).

The exterior.
The exterior of the Temple of the Murals, although poorly preserved, was once richly painted in bright hues of Maya blue, blue-green, red, and yellow. Indeed, almost everything would have been covered in paint, as even the floors in each room were painted black. Only the top surfaces of the interior benches appear to have been left unpainted.

  • In addition to the various colors applied, there were further artistic elements on the facade.
  • Just below the binder molding, there are remnants of a single band of some eighty glyphs that wrapped around the building, and broad vertical bands of red, interchanged with areas of unpainted white stucco. Essentially, the artists at Bonampak framed the lower course of the exterior of the Temple of the Murals as if it were a Maya vase.
  • Above each room there is a small niche housing a seated figure—likely representations of a ruling lord.
  • Between these niches there were two larger stucco scenes, only one of which has survived the ravages of time. Hinting at what is depicted within on the murals, the image depicts a figure in a forward stride toward a captive on his knees before him, his hair being gripped firmly by his vanquisher.
  • On the east and west sides of the building, the upper course featured additional seated figures within niches set atop long-snouted god heads — these still have some remnants of red paint visible.

Room 1

Entrance to Room 1.

Lintel of Room 1.
The doorway to each room features a carved lintel of a warrior subduing a captive.

  • Lintel 1 (of Room 1) depicts Yajaw Chaan Muwan, ruler of Bonampak, capturing an enemy on January 12, A.D. 787 (Longcount date: 9.17.16.3.12, 8 Eb 10 K’umk’u).

Photo montage of Room 1.
Room 1 depicts three scenes that are separated from each other by alternating red and white stripes. The first, which covers the vaults, is the presentation of the heir to the throne of Bonampak, divided into the eastern, southern, and western sides; the second in the north vault is the clothing of a group of nobles; and the last one on the vertical walls is a group of musicians that accompanies various characters, all distributed on the four sides. The murals are divided into 5 registers.

  • Register 1. It occupies both the closure of the vault and the four sides of the upper part of it. The designs have been mostly lost but can still be seen, on its four sides eight figures of similar appearance that combine zoomorphic features: the eyes are large and quadrangular, bearded, the open mouth shows its teeth, they use elongated headdresses and are surrounded by volutes and sinuous forms. Their clothing consists of exhob (trusses), skirts, girdles, open tunics or capes, and huipiles (tunics).
  • Register 2. It consists of 33 human figures in which the facial features, the complexion of the bodies, the inclination of the torsos and the position of the arms and legs give dynamism to the scene. In general, their headdresses consist of white cloth with geometric designs entangled on the head like a turban, decorated with elements such as feathers, jewels, flowers, leaves, and reptile skins. There are cases where the white cloth is replaced by zoomorphic heads. The dresses vary, although most use white capes, there are also red and semi-transparent ones. All the figures are located on a platform defined by a strip of red and white colors that goes around the four walls and has several levels. Jambs: The pictorial layer is lost, almost completely, however remains remain that allow us to consider the representation of individual human figures.
  • Register 3. In the lower part of the eastern, southern and western vaults, a long glyphic text can be seen, limited by two pairs of circular objects in the form of parasols. In the north there are 8 human figures in different positions: seated, kneeling, profile and frontal; their headdresses seem to be made of rolled white cloth, they show a bare torso, they wear sashes, skirts and exhobs (trusses).
  • Register 4. It is about 36 characters that make up a band of musicians on the northeast and east walls, some umbrella bearers on the east and west walls, a group of nobles on the south and west walls, and in the center on the south wall three main lords are located. With the exception of a few characters, almost all are standing, heading to the left, looking up and to the right, in the direction of the three nobles on the south wall. The headdresses are very varied and use fabrics, feathers, vegetables and parts of animals and masks of fabulous beings. The clothes of the latter are the most sumptuous, their body is in a frontal position and their head in profile.
  • Register 5. It is the one on the sidewalk that occupies a large part of the enclosure. The cant (east, south and west sides) is decorated with stepped frets whose direction goes from right to left, framed between two red bands that run parallel, at ground level and the upper edge of the bench and finish off on both sides of the north wall, next to the access. The horizontal face of the bench, like the floor, are black.
  • Source: Cuarto 1, Templo de las pinturas, Bonampak - Mediateca INAH

Lower register on the north wall.
This scene is immediately to the left as you enter the door.

  • The lower register of Room 1 is the scene of a regal event: the acknowledgement, in front of the court and visiting dignitaries, by the Bonampak ruler, Yajaw Chaan Muwan, of his son's right to rule. There are 77 human figures in this first room fulfilling various functions within the narrative.
  • On the lower register of the north wall, musicians blast their trumpets, while other performers wear various costumes, including that of a crocodile.

Lower register on the east wall.
This scene is on the wall on the left side when entering the door.

  • To the viewer's left of the central figure in the south wall, beginning on the south wall and leading to the east wall, there are several figures playing instruments (rattles, drums, and turtle shells) and singing, which fill this room with celebratory music.

Lower register on the south wall.
This scene is on the front wall when you enter the door.

  • Some of the actors that capture immediate attention are the elegantly costumed figures on the lower register of the south wall. The large, feathered back racks, in addition to the various jaguar, quetzal and serpent elements in their costumes, underscore the importance of these figures. These are the three ch’oks (young heirs).
  • It was at first thought that the central figure was the ruler of Bonampak, Yajaw Chaan Muwan. However, further readings of the accompanying glyphs show this figure to be the future ruler, Chooj, who is in between his two brothers: Bird Balam and Aj Balam.
  • With heels raised, all three brothers are in the middle of a ritual dance.

Lower register on the west and north wall.
This scene is on the right wall as you enter the door.

  • To the viewer's right of the three ch’oks, leading to the west wall, there are eight sajals (regional governors). Of particular note is the one, standing in a familiar pose to smokers of today, as he, too, embraces a long, thin cigarette, expressing some combination of calm, lack of interest and boredom.
  • Behind him, four figures on the east wall work together, holding parasols that frame the Initial Series Text right above them on the middle register. These are the only quotation marks in all of the Pre-Columbian New World.

Upper register.
Of all the images of visiting messengers, nobles and dancers held within the upper register, a few individuals, and one recently discovered detail in particular, stand out.

  • Conspicuously placed upon a raised platform on the upper register of the south wall, just above two holes where wooden beams had once ran through to help support the structure, stands a lone figure presenting a child to the lords.
  • At first, many thought that this child was the young heir; however, as noted previously, the central dancing figure below was the heir to the throne at Bonampak.
  • Yet, even without having decoded the glyphs next to the three festive brothers, one notices a couple of peculiarities. Firstly, the young figure is actually wearing face paint and garments that are suggestive of a girl, perhaps a wife for the future ruler. Secondly, no one is looking at the child, not even the individual holding her. In fact, he is glancing over his left shoulder into the upper register of the west wall at the figure sitting upon an elevated throne. This seated figure is likely Yajaw Chaan Muwan, ruler of Bonampak.
  • It is important to mention here that the caption above this individual, like so many captions in the Temple of the Murals, was left blank. Therefore, the identification of Yajaw Chaan Muwan is deduced rather than known unequivocally based on a name glyph.
  • Beneath the throne, one can view five bundles, albeit with some difficulty. After analyzing infrared images of this scene, glyphs for “5 pi kakaw” were revealed. “Kakaw” was the classic Maya term for the cacao bean, and has been suggested that the “pi” glyph represents units of 8,000 beans. Therefore, if this is so, it appears that there has been a tribute payment to Yajaw Chaan Muwan of 40,000 cacao beans, which is a considerable sum of wealth.
  • Finally, in the vault across the whole scene in Room 1, the faces of the Sun God are shown as it moves across the sky. On the east wall, a large crocodilian, representing the vault of the sky, carries the myriad avatars of the Sun God upon its back.

Room 2

Entrance to Room 2.

Lintel of Room 2.
The doorway to each room features a carved lintel of a warrior subduing a captive.

  • Lintel 2 (of Room 2) likely shows the overlord from Yaxchilan, Shield Jaguar IV, on January 4, A.D. 787 (Longcount date: 9.17.16.3.8, 4 Lamat 6 K’umk’u).

Photo montage of Room 2.
Room 2 details two scenes, divided by vertical red stripes: the most extensive is a battle, which occupies the eastern, southern and western sides; the next one in the north, represents the submission and sacrifice of the captives in front of the victors. There are 126 human figures, 41 glyphic clauses and 11 figures towards the closing of the vault. The murals are divided into 3 registers. Jambs: They are very deteriorated but it is possible to observe fragments of individual characters carrying plumes. The one on the eastern jamb is the most complete: its head can be seen and, in front, a brief glyphic inscription.

  • Register 1. It is located between the closure of the vault and a brief space in it, downwards, its designs were part of a bichrome light blue band in which 11 figures appear: the first is a monstrous face formed by undulating elements and volutes ; the next five are seated characters in profile, half-naked and with their arms tied, placed in quadrangular cartouches, accompanied by various designs; then on the western side, a fantastic face with a beard that looks to the right, its muzzle is short and its jaw is emaciated; four more figures in the north vault, those at the ends are animals and the central ones are anthropomorphic, inscribed in medallions or cartouches.
  • Register 2. It occupies almost the entire surface of the walls, including the vaults, the human figures are divided into two scenes: the first is a battle and the second is the subjugation of the captives. The battle occupies the eastern, southern and western sides, in it the characters are in various planes and their bodies in multiple positions and performing different actions are mixed to form a whole. On the eastern wall, the characters use long antlers decorated with circular objects, on the south, figures in different attire struggle, on the west they revolt in various poses. The scene on the north side takes place on a base with six steps, decorated at the top with a red stripe; the different positions of the body, arms and legs give dynamism to the ensemble, they dress more or less lavishly, almost all of them hold something with their hands: spears, fans, canes, handkerchiefs.
  • Register 3. Corresponds to the interior bench of the room, on whose camber designs were painted in the form of four-petal flowers that surround the remains of some human figures. Only one of them can be distinguished, this one sitting with his body twisted to the left and his face towards the ground, his left leg is bent while he supports his hand on the right side, he wears a red headdress as a turban and some jewelry.
  • Source: Cuarto 2, Templo de las pinturas, Bonampak - Mediateca INAH

East, south and west walls of Room 2.
This is the scene of what has been referred to as the greatest battle scene in all of Maya art. Room 2 is the largest of the three, which alludes to its greater importance. It also contains more human figures than either Room 1 or Room 2, with 139 of them.

  • The south wall, which is the first that is viewed upon entering, along with the east and the west walls, depict warriors in the heat of battle. Bodies are intertwined on both the lower and the upper registers. Trumpets blast as the battle rages on.
  • As one begins to focus more and more on the individuals, a couple of artistic elements and their symbolic meanings become clear. The ancient Maya believed that to be left-handed was a sign of femininity and weakness, thus the warriors who are shown as defeated — including already being stripped nude, with the victors gripping them by the hair — or those in the process of being defeated, are depicted as being left-handed. Some are even illustrated with two left hands. To contrast this sharply, several victors are given two right hands, doubling their strength and masculinity.
  • In addition to left-handedness, the losers are also all wearing some element of a bird — or, at least those that are still in their battle costumes, and have not yet been stripped of them. This is also indicative of defeat. The victors, on the other hand, all wear costumes with feline elements — specifically, the jaguar. Therefore, it is of no surprise to see the main character on the upper register of the south wall, Yajaw Chan Muwaan, firmly gripping a jaguar skin-covered spear in his right hand while donning a large, extravagant jaguar headdress — which may contain a water-lily scroll — and wearing a jaguar jerkin and jaguar boots.
  • Although it is clear that the events surrounding the ascension to the thrown of Chooj depicted in the Temple of the Murals are narrating actual events, it is equally clear that Bonampak's version of the actual events is more propagandistic in nature. The aforementioned outfits of the losers underscore this fact. That is, no one intending to win would enter battle wearing costumes related to defeat, nor would all of the warriors of the losing side be left-handed.
  • Professor Mary Miller describes the battle scene of Room 2 as an “...official historical portraiture, not by any means a photographic glimpse of Maya warfare.”

North wall of Room 2.
Above the chaotic battle, the south vault depicts three individuals within ancestor centipede cartouches. Between them are two bound captives. As one turns to view the north wall, the viewer is greeted by the sequel to the battle: torture and sacrifice of the captives taken in battle.

  • To view the north wall, a visitor would have sat on the south bench above bound captives, as though becoming a part of the scene.
  • The north wall is one of pain and suffering. Nude and almost nude captives (only wearing a loin cloth) are depicted in deep agony, as some of them are in the process of getting their fingernails ripped off, or have already undergone this torture and bleed from their wounds. One may have even had his teeth removed, while another has already expired, and a third one is only a severed head.
  • Yajaw Chan Muwaan is the main figure here, too, wearing only a slightly different variant of his battle costume from the south wall. He stands stately over his captives, while several warriors and nobles observe the ritual, including his wife.
  • In the vault, directly above this scene, are four cartouches representing various celestial imagery.
  • Note: During a radar survey of the Temple of the Murals in 2010, archaeologists discovered a tomb beneath Room 2. It is small and relatively simple. It contained the body of one man between the ages of 35 and 42. It was a complete skeleton, minus the cranium, which scientists believe is simply due to natural erosion, and not evidence of beheading. The skeleton was accompanied by jade earrings, a jade necklace and bracelets, a spondylus shell pendant, two polychrome plates, an alabaster vase with a hole in the base, and a stone knife. The last two items — perforated vase and a stone knife — lead some to believe that this individual was one of the sacrifice victims depicted in Room 2. Other theories include him being a wounded warrior, or a possible relative of Yajaw Chan Muwaan, as his jewelry matched that of the nobles depicted in Room 1. It is clear that this tomb was part of the original construction of the Temple of the Murals and was not, therefore, created at a later date.

Room 3

Entrance to Room 3.

Lintel of Room 3.
The doorway to each room features a carved lintel of a warrior subduing a captive.

  • Lintel 3 (of Room 3) displays Aj Sak Teles, probably on July 25, A.D. 780 (Longcount date: 9.17.9.11.14, 3 Ix 2 Yax).

Photo montage of Room 3.
Room 3 shows a scene made up of different groups of characters, on the east, south and west sides it is a festivity that includes sacrifices and dances, and two groups of spectators occupy the north vault. The number of human figures reaches 69, the number of glyphic clauses 20, and the number of figures close to the closure of the vault reaches 7. Likewise, the murals have been divided into 3 registers for a more specific analysis. Jambs: The loss of plaster is such that only fragments of the characters that decorated them remain: the face, part of the shoulders and the headdress.

  • Register 1. Its total length at the closure of the vault includes a light blue band segmented into fourteen quadrets. Designs such as: a being with fantastic features, the so-called beast from Mars, the tilted sky glyph, a khan cross and another face with fabulous features are appreciated. It also contains 11 figures (some of them in pairs) that incorporate human, animal and plant elements: the first one, in the eastern vault, is a descending image with schematic features; the next six, corresponding to the south and north vault, illustrate the bust of an anthropomorphic being that emerges from the open jaws of a reptilian head, there are slight variations in size, colors and associated designs.
  • Register 2. Suggests the presence of a building or basement with stairways that divide the north side into two levels: the first, called record 2a, incorporates those located in the upper part of the basement, and record 2b those that occupy the stairways, rest and soil. The construction has eight steps and its cambers are delimited by a red stripe, on these there is a small plinth, whose height is equivalent to half a step.
  • Register 2a. Covers the four walls of the room, the individuals that make it up assume different positions, almost all of them are standing, with their hands holding various objects, their legs flex and stretch simulating a march or dance. On the south, east and west sides are the characters with headdresses and more sumptuous clothing; the women on the eastern wall are seated on a bench and appear to be conversing; the figures of the south and west vaults are on the platforms, their faces appear deformed by the use of masks.
  • Register 2b. Individuals assume various positions with their legs, arms and hands, some are standing, sitting or kneeling giving the impression of dancing or walking. On the south, east and west sides, several characters wear rich attire, on the east wall they are all standing in different attitudes and with different clothes, the most notable on the west wall are two dignitaries and a parasol or banner bearer.
  • Register 3. It deals with the decoration of the cant of the interior sidewalk of the enclosure, the designs have been lost and only remains of red and black or dark green remain, both the horizontal face of the sidewalk and the floor are black.
  • Source: Cuarto 3, Templo de las pinturas, Bonampak - Mediateca INAH

Upper register of Room 3.
This is the scene of ritual celebration for victory in battle, including bloodletting by nobles, and contains 65 human figures.

  • As with Rooms 1 and 2, the south wall is the first to be viewed. What captures one's attention immediately are the three elaborately dressed individuals in the upper register wearing tall, green, quetzal-feathered headdress and dancers wings. These are the same brothers from Room 1, with the young heir, Chooj, in the center. Each brother holds a bloody femur bone that has been modified into a ritual ax.
  • Right below Chooj is another figure on his knees; he is also holding an ax in his right hand and another object in his left. The infrared images revealed that what this figure had in his left hand was none other than the still beating heart of the sacrificial victim below, who is being dragged down the pyramid steps by two attendants.

Bottom register of Room 3.
Covering almost the entire bottom register of the south and west walls are seven more elaborately costumed characters with similar headdresses to those of the brothers above them. They are depicted with one heel raised and arms stretched out, as if captured right before a spinning dance, perhaps to imitate the flight of the quetzal.

  • Above the entire south wall scene, set among a background of yellow — the first appearance of a color not representing reality — is a supernatural entity with square eyes, and a single frontal, pointed tooth. It lacks pupils and a real nose; behind it emerge two serpent-like supernatural entities that expel additional entities.
  • The upper register of the west wall contains a musical procession with masked performers, carrying a dwarf who is lifted into the yellow background of the vault, demonstrating his connection to the supernatural world.
  • The upper register of the east wall shows the noble women of Bonampak holding stingray spines to their tongues in a bloodletting ritual. Meanwhile, a large man offers bloodletting supplies to the women on the throne.
  • Of note is the fact that these individuals also seem to appear previously in Room 2 on the middle of the east wall; the others in Room 1 on the west wall throne scene.
  • Above them, surrounded by yellow, another supernatural entity appears to spew blood.
  • Turning to the north wall, one can see an almost identical supernatural in the vault as that of the south wall vault.
  • Below, 10 ebeets (lords) dressed in white mantles engage in conversation, while nine more seated individuals below also gesticulate as they talk to one another, perhaps commenting on the performance taking place on the south wall in front of them.
  • Finally, on the bottom register, more musicians raise their instruments skyward as part of the procession on the west wall. Room 3 engulfs the viewer in the celebration.
  • Professor Mary Miller wrote, "Perhaps no single artifact from the ancient New World offers as complex a view of Prehispanic society as do the Bonampak paintings. No other work features so many Maya engaged in the life of the court and rendered in such great detail, making the Bonampak murals an unparalleled resource for understanding ancient society."

The Acropolis.
The Acropolis seen from north to south. At the top of the Acropolis, buildings 8, 7, 6, 5 and 4 are visible (from left to right).

  • Building 5 is located on one of the upper terraces of the Acropolis, towards the top of the hill and on the west side of a staircase, the construction has a single entrance and a roof in the style of the Mayan vault, there is also evidence of a cresting, the entire interior of the building was painted black and the exterior at some point was painted orange although it was later covered with a new decoration, fragments of stucco stand out on the eastern façade and the remains of some pictorial elements, which although it is an inscription, it is seriously deteriorated, distinguishing only a few glyphs, which prevents a more thorough reading.
  • Building 6 is next to Building 5, architecturally it is similar to it and presents the same shades of pictorial remains both inside and outside, although without any decoration. It houses Lintel 4.

Old constructions.
Under Buildings 13, 15, 16 and 18 are located old smaller constructions, some of which were associated with the old plaza; this denotes a constant construction activity of the city for more than three centuries.


Steles 2 and 3.
Stela 2 (right) and Stela 3 (left) are located at the base of the Acropolis staircase.


Stela 2.
Stele 2 is located on a low terrace right in the center of the Acropolis and next to Stela 3.

  • Stele 2 shows Chan Muwan II richly dressed in the company of two women, in front of him her mother Lady Shield Skull and behind him his wife the Lady Green Rabbit of Yaxchilán who wear a huipil (tunic).
  • The scene revolves around the ritual of self-sacrifice, performed by the ruler who carries in his right hand a bag with copal from which the face of the bat god is seen and assisted by his mother, who carries the stingray spines to perform the piercing while his wife holds the basket with the strips of paper ready to receive the blood drops of the ruler, which will later be incinerated in honor of their deities.

Stela 3.
Stela 3 represents a scene in which Chan Muwan II is standing in front of a second person squatting and in a position of submission wearing paper ear-rings, symbol of the captives.


The Large Square.
Being one of the largest in the region; measuring 90 m (295 ft) by 110 m (361 ft), its location as a prelude to the Acropolis provides both with a monumental image.

  • Long low stepped platforms delimit it on the east and west, while on the north are two smaller but taller bases, Buildings 15 and 16. All these constructions have their main stairway pointing inside the Plaza , with the exception of Building 15 that faces the exterior towards the north, in a straight line with the Frey Group.
  • Various excavations have shown that originally the Plaza was a third shorter than the current one and that on the opposite side of the Acropolis, that is, the north side, it was connected by a long three-step staircase with another plaza located at a lower level and even longer still unknown. The central part of the Great Plaza is occupied by two large stelae, Stela 1 being the most important in the entire archaeological site.

Leaving Bonampak.

See also

Sources

Location

Location: 29933 Chis., Mexico