Proyecto Santa Bárbara, Yucatán, México

Documentation of Stone Sculpture

Documentation of the stone monuments at the church at Paraíso commenced in February 2001. Ian Graham generously provided drawings by Eric von Euw of some of the monuments, but others remained undocumented. I redrew several of the monuments using von Euw’s drawings and made drawings of all the undocumented monuments.

Column 7

Column 7 (Figure 5) is carved in a semi in-the-round style that resembles some Late Classic sculpture from Oxkintok and Yaxcopoil (Proskouriakoff, 1950) and the carved column located at the hacienda in Kochol. A single frontal figure is represented on a thick column. Although the provenience of the Santa Bárbara sculpture is not known, such columns often flank doorways of vaulted structures. This potbelly figure wears a rather plain two-tiered headdress and a beaded necklace with a pendant in the shape of a hand. Inverted Tau-shaped elements are also discerned at the lower extent of the potbelly. Decorative elements exist on the large right ear of the figure. Although such elements may have existed on the left ear, this portion of the figure has eroded. Unlike the rest of the figure, the placement of the ears is not symmetrical. On the face, deep incisions define the eyes, nose, and mouth. Two teeth protrude from the roughly oval mouth and the eyes are deeply carved into the face of the figure. The three circles and bar located on the forehead are reminiscent of tattooing or scarification. Although the right hand of the sculpture is broken, the left arm and hand clearly extend towards the back of the column. This suggests that the figure represents a bound captive, despite the fact that no evidence of restraints can be discerned. The bottom of the column was broken and it was impossible to evaluate whether the figure was carved with legs.

Column 8

Column 8 (Figure 6). Although Column 8 is more eroded than Column 7, it appears to be a similar frontal figure carved in the same semi in-the-round style. The partially preserved headdress of the figure demonstrates that it is composed of three large beads flanked by supports and surmounted by a row of feathers. Similar to Column 7, the ears of this figure are very large, but are highly eroded. The eyes are also deeply recessed and accompanied by two protruding brows. Two unusual large circular features can be discerned on the lower cheeks. These may represent some form of body modification, but this area of the face is highly eroded. If the mouth was represented, it too has not preserved. Unfortunately, both arms are broken. Although the position of the body suggests that this figure may represent another bound captive, this hypothesis is difficult to assess. The carving in the groin area may represent a small loincloth. Below the waist, both feet are broken, although a single band can be discerned in the area of the left knee. As pairs of stylistically similar columns are often found to flank doorways and Columns 7 and 8 are the only two carved in this style, they may represent a cohesive pair from the same building.

Column 2

Although Columns 2 (Figure 7) and 1 represent frontal figures carved in a semi in-the-round style on large columns, they are stylistically different than Columns 7 and 8. The figures on Monuments 3 and 4 are much more complex, hold objects in their hands, and exhibit some Puuc Mosaic or possibly Epiclassic stylistic traits. Again, since Columns 1 and 2 are the only two figures carved in this style, they may represent a cohesive pair from the same building. The headdress of the Column 2 figure is centered around a skull. On either side of this skull are two symbols that resemble glyphic elements. They may merely be decorative elements, but may contain information on a date or name. Surmounting these elements are features that resemble rabbit ears. A very similar sculpture in the Palacio Canton museum in Mérida has these same features. This sculpture has a provenience of the Umán region. The face of the Column 2 figure is characterized by decorative elements. The forehead exhibits several raised circles and the nose and eyes area is characterized by circular features reminiscent of facial features on figures at the Codz Poop at Kabáh. Again, these modifications may represent tattooing. The pupils are recessed as if they had been inlaid. Today, glass inlays are present, but this is a product of modern activity. The mouth is open as if speaking. Large stylistic ear elements flank the face. Below the neck, the figure wears a large necklace and a kilt-like garment decorated with triangular elements common on Puuc Mosaic façades. The figure holds two objects as well. In the left hand is a large staff. In the right hand is a maraca-like object. Although the exact nature of this object is not known, it has also been noted in the right hands of the Umán region figure and of a very similar figure housed in the I.N.A.H. museum in Hecelchakan.

Column 1

Similar in general style to Column 2, the Column 1 figure exhibits different attire (Figure 8). The headdress is large, but simple. Although the ear elements are large and stylized, they are of a different design than Column 2. On the face of Column 1, similar circular elements are suggested in the noses and eyes area. As with Column 2, the eyes are inlaid with glass. On the forehead, a lone vertical modification is exhibited. Unlike Column 2 the mouth is closed. Below the neck, a similar necklace is noted, although a large pendant appears to hang below it. This pendant is recessed in the center suggesting that it may have once held an inlay. It is possible that the pendant represents a mirror, a common element on elite Mesoamerican figures (Taube, 1992). The figure also wears a garment around the waist, although it appears to differ in form from the kilt-like garment on Column 2. Two elements adorn the Column 1 garment. The first of these appears to be a plaque on the upper portion of the garment. The second is a representation of the jester god. This figure is characterized by the trefoil headdress representing maize agriculture and fertility (Schele, 1995). Although the Column 2 figure may have once held two objects, unfortunately the right hand is broken. Therefore, only the object in the left hand is preserved. This is a cross-like object of unknown meaning. Below the waist, the legs are characterized by what appear to be straps. Although these straps may be part of the footwear of the figure, no evidence of footwear can be discerned. In fact, the toes and ankle are represented suggesting that the feet are bare, or that open sandals are represented.

Column 4

Column 4 (Figure 9) is the first of a series of three carved relief columns representing dancing figures. These figures have a set of similar elements; dancing poses, Chak mask headdresses with heavy plumage, long beaded necklaces with bird head pendants, sound scrolls entering the ears, similar armbands and anklets, elaborate waist ornaments, and beaded shoulder garments. The figure on Column 4 dances on top of three circular elements, possibly relating to the three stone hearth place (see Freidel et al., 1993). A large tassel emanates from the figure’s face. An additional leg band is located just above the knee on the right leg. On the waist ornament is a small anthropomorphic head.

Column 3

Column 3 (Figure 10) is the second of the three dancing relief figures. This figure also displays a tassel emanating from the nose. On the waist ornament, two anthropomorphic heads can be discerned. The head on the front of the ornament displays a large human face and a feathered headdress. The head on the opposite side of the ornament is much smaller. It is difficult to ascertain whether this head represents a human or possibly a monkey. In all other aspects this figure is similar to Columns 4 and 5.

Column 5

Column 5 (Figure 11) is the third of the three dancing relief figures. It is similar to Columns 3 and 4 except for the following characteristics. Although the waist ornament displays a large anthropomorphic face on its front side, the face is very stylized. Furthermore, the figure lacks a nose tassel.

Monument 1

Given that this monument is cemented into the church, it is unclear if Monument 1 (Figure 12) is a small stela, a doorjamb, or a lintel. The relief carving on the monument is unusual. It depicts a figure with a body in frontal view and head turned to the right in profile view. Such a composition is reminiscent of earlier carved sculpture and the monument may date to a period prior to the carving of the columns already described. The figure wears an unusual headdress with feathers projecting from the front and a simple belt and loincloth adorned with feathers. No evidence of footwear can be discerned and the ankles of the figure are represented. The figure is depicted in an unusual stance with its feet projecting outward, right hand raised, and left hand on its hip. Similar figures are not known from the general region. On the side of the monument, two glyphs occur. Although the glyphs appear to indicate a date, Krochock has not yet been able to decipher it.

Column 6

Column 6 (Figure 13) exhibits a relief carving of a figure with a body in frontal view and a head in profile. The composition of this relief carving is unique at Santa Bárbara. Although many of the elements that occur in the carving can be identified on other monuments, these elements are carved in a very disjointed style. For instance, while the headdress appears to represent a Chak mask, the elements are drawn out across the top of the carved area. Although the body of this figure is similar to Monument 1, the style of the carving is more ’stiff’ and shoulder garment is more similar to those depicted on Columns 3, 4, and 5. Additionally, a tubular pendant hangs from a beaded necklace around the figure’s neck. This pendant is likely a jade bead like those recovered from an Early Classic burial at nearby Chunchucmil (Hutson, 2000). This carving is also unique at Santa Bárbara due to the presence of elements used to fill space around the figure.

Monument 2

Although it is difficult to ascertain the form of Monument 2 (Figure 14) due to the fact that it is cemented flush into the wall of the church, it could be a carved relief panel. The carving depicts a dancing figure with a body in frontal view and a head in profile. This figure dances on what appears to be a Cauac or Earth Monster with a cleft head. The headdress of the figure is rather simple and composed of feathers projecting from a simple band. In front of the face of the individual appear to be three feather elements. At first examination, these elements appeared to be the ends of feathers projecting from the headdress. Yet, a close examination of the carving did not yield any evidence that the area between these elements and the headdress had been damaged. Thus, the meaning of these elements remains unclear. Around the neck of the individual is a beaded necklace with a central perforated element. The figure also wears a garment around the waist and a pair of tasseled anklets. In the figure’s right hand is a cluster of objects that appear to be tied together in a bunch. The shape of these objects suggests that they are maize, although it has been suggested that they could represent fish (Traci Ardren, personal communication, 2000). If they do represent maize, the carving could be interpreted as a fertility dance associated with maize agriculture.

Monument 3

Monument 3 (Figure 15) appears to be a hieroglyphic block, but it is cemented flush into the wall in front of the church and it is difficult to see. The composition of the monument is one glyph superimposing three glyphs. Although hieroglyphic writing occurs at Santa Bárbara, none of the four elements on this monument appear to be true hieroglyphs. Instead, they appear to be pseudoglyphs. Some of the elements mimic numbers, but the composition does not make coherent sense.

Capital 1

Both Capitals 1 (Figure 16) and 2 are cemented into the walls of the church. While hieroglyphs occur on the front and sides of these capitals, only the front texts are fully readable. The texts on the sides of the capitals run into the walls of the church. It is not known whether further texts occur on the back sides. The front text of Capital 1 reads: huli (he arrived or was born) followed by a personal name. The readable glyphs on the sides of the capital have not yet been deciphered, but they differ from the front text in that they are isolated glyphs rather than a complete text. They may refer to the individual named in the front text, but this is not clear at this time.

Capital 2

The front text of Capital 2 (Figure 17) appears to contain a reference to the carving of the lintel, but the full text is still under study by Krochock. The glyphs on the sides of the capital have not yet been deciphered, but, like the glyphs on the sides of Capital 1, they are isolated and not part of a full text.

Capital 3

Capital 3 (Figure 18) was recovered at Str. S2W2-2 during the survey. Reused as a metate, it is not known whether Capital 3 was originally from this locus or transported from another group. The remaining carving on the capital consisted of a single glyph and an enigmatic relief drawing. Although it is unclear what the relief drawing represents, the glyph is a katun date. Given the ceramic and architectural sequences at the site, this date likely falls in the eighth century.

Possible Ballcourt Marker

Although the sculpture (Figure 19) is cemented into a wall of the church, its size and shape are consistent with a ballcourt marker. The problem with this designation is that no ballcourt was located at Santa Bárbara. Smith (1999) notes a similar situation at Ichmul de Morley where a carved panel of a ballcourt scene was found, but where no ballcourt was located. Yet, a ballcourt panel is not part of the ballgame while a ballcourt marker is. It is possible that this sculpture was tenoned into the façade of a building. Puuc Mosaic façades are known at Santa Bárbara. Furthermore, they are known to contain wide variety of decorative elements at sites such as Uxmal and Kabáh (Gendrop, 1983; Pollock, 1980). Unfortunately, it is impossible to discern whether the back of the sculpture is tenoned or not. The relief carving on the sculpture displays a pop symbol. These symbols are indicative of rulership and are often associated with council houses (Fash et al., 1992).

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