Report of the 1998 and 1999 Investigations on the Archaeology and Iconography of the Polychrome Stucco Façade of Structure N10-28, Lamanai, Belize

Basic Forms and Motifs

The following is a very preliminary discussion of the various motifs and patterns identified so far in the collection of stucco fragments from Structure N10-28.  Individual motifs and forms are described, as well as clusters of motifs and forms that may represent a pictorial grouping or pieces that were closely associated in the scheme of the façade.

Adornos: (Figures 3:2 through 3:5) This class of decorative form includes flattened circular objects with a small circular perforation (<5 mm) in its center. Adornos average around 3 to 4 cm in diameter. Their function is presumed to be decorative only, although this is a preliminary statement as most have been found broken off from the larger composition of which they were a part.

Many adornos are located adjacent to one another, forming rows. Paint color is generally either red or blue, with specular hematite. One example, painted blue (Figure 3:2), has an attachment on either side that may suggest a draping. Based on their context at other sites in the lowlands, it appears that adornos served a wide range of decorative purposes in composing larger compositions and images, such as headdresses.

Anthropomorphic: (Figures 3:6 through 3:10) This category includes fragments of the human form that are not a part of the central or subsidiary figure categories. These items include two legs, three noses, a foot, four hands, and an arm. The two legs, as well as the other one that belongs to the central figure, are larger than lifesize and gives an indication of the scale of some of the figures.

One of the legs from LA 1103 was a stone armature covered with a thin layer of stucco, much of which has broken off (Figure 3:7). A large oblong medallion remains on the lower half of the leg. This medallion has a centerpiece whose form echoes its outer shape, and has shallow incised lines that radiate out from this centerpiece. This leg decoration is characteristic of warriors (Budet, personal communication).

The second leg was recovered in LA 1285.  It, too, was a stone armature. Unfortunately, most of the stucco has fallen of, leaving only enough to determine that the color was red. A large nose was also recovered in LA 1285 (Figure 3:8). This nose is slightly larger than lifesize and is very naturalistic. Another nose, attached to an upper lip, and a third one, come from LA 1103 (Figure 3:10).

A foot was identified in LA 1103 (Figure 3:9). It is rather stylized and projects to the left of the presumed leg location, following the finished surface of the façade. The background area is relatively smooth, with no decoration other than red paint. The foot curves downward and has been broken lengthwise, leaving only four toes.

The arm (Figure 3:6) shows part of the upper arm, the elbow, and part of the lower arm. The arm is somewhat stylized, and the scale of the piece seems awkward. The arm is bent, presumably inward to the body, as if holding or offering something. Two beads, painted blue, are located at the inside bend of the elbow. One hand was recovered from LA 1293 and was painted a bluish green color, as far as could be determined as the surface was rather deteriorated.

Anthropomorphic Panel: (Figure 3:11) At least seventeen fragments were identified that compose one pictorial grouping. This scene depicts a male figure, painted red, set against a flat light green background. This background has a number of intersecting curvilinear shallow grooves. Only the lower portion of the figure’s face remains, broken at the eye. His teeth are somewhat out of scale, and are painted white, and just above the nose is a bead like object, also painted white. The face appears to be looking upward. The figure’s arm is extended and upturned, as if in an offering.

Beads: (Figures 3:12 through 3:19) This category describes small circular objects, of which there are two types. The first are small and almost fully rounded. Presumably they were decorative as most have broken away from the original composition. The second type have shallow relief but still retain a rounded, or excurvate surface. The latter type can be found on wristlets, and, most importantly, composing the central figure’s jadeite bead pectoral. This type varies in size, ranging from 2 to 4 cm in diameter, and the beads generally are not perfectly circular. Color is either red or blue, with specular hematite.

Body Adornment: (Figure 3:20 through Figure 3:22) At least seven fragments were identified as items of body adornment: three wristlets and four fragments of leg/knee decoration. The three wristlets have a broad flat surface with the sides angling off sharply, ending with a single row of jadeite beads (Figure 3:20).

Three of the four leg/knee adornments are shown in Figure 3:21 and Figure 3:22, and have similar designs. They are similar in size and shape to the legs identified in the collection, and presumably may have come from the knee area. One fragment has large rectangular panels, above which are smaller panels, all with shallow grooves separating them. The other fragment has four large rectangular panels. Both pieces are painted a blue or turquoise, though layers of red paint were noted on both and may represent an earlier paint coat. A third example also has the rectangular panels, under which are beads. This decoration is painted blue, and a small portion of the leg, painted red, is also evident on this fragment (Figure 3:22). The fourth example is in poor condition, but the form is similar enough to allow for identification.

Buttons: This category covers fragments that are circular but are very flat and have little relief in relation to the projected overall composition. They are painted red with specular hematite and have no other decoration, unlike adornos. Their function is undetermined, though some were presumably decorative elements within the overall sculptural program. They range in size from 3 to 6 cm in diameter.

Captive Figures: (Figures 3:23 and 3:24) At least two captive figures have been identified. Both are from LA 1103 and include two heads and two hands. One of the heads has not yet been recorded. Figure 3:24 shows a face in profile, with an elongated forehead that marks Maya nobility, looking upward. He is wearing a helmet with a chin strap. The chin strap, mouth, and nose is marked by high relief, and the eyes are marked by incising. One of the hands (Figure 3:23) is characterized by high relief, with the fingers being rather thin. This hand is rather small overall in relation to the rest of the facade figures. The other hand has deep incising that delineates the thumb and the two fingers that seem to be clenched or clasped together. All three of these examples are red with specular hematite.

Cartouches: (Figures 3:25 and 3:26) This is a provisional category for the classification of three pieces, all of which are from LA 1103.  The first example is shown in Figure 3:25, and is painted red with specular hematite. It projects out from the decorated surface on one side, terminating in a flattened surface that is square in shape but with rounded corners. There is a centerpiece that reflects the outer shape, within which is a third design element formed by a shallow hole. On one side of the fragment remains the impression of beads that have broken away.

The second example (Figure 3:26) is larger in size and has a flattened surface in the shape of a square with rounded corners. The centerpiece reflects the exterior style by a shallow groove. Within this centerpiece is a single large bead. The entire piece is attached to the end of a large stone armature. Though primarily red in color, traces of yellow and blue were found on the piece. A second piece identical to this one was also found in the collection, being only slightly smaller and in poorer condition.

Central Figure: (Figures 3:27 through 3:31) A number of pieces, based on size, color, and similarities, have been tentatively grouped together to represent the central figure. Presumably this figure was originally located over the central door, based on similar examples from other sites. The figure was larger than lifesize, and until estimates can be made concerning the original size of the façade, it remains to be seen whether the central figure was standing or seated.

At present we have two large fragments of his head, a hand, a leg, and numerous pieces of a multistrand jadeite pectoral. His leg (Figure 3:27) consists of a stone armature clad in a thin finish of stucco. It is highly adorned with circular objects, projecting from which are jadeite beads. The leg itself is red, with the decorations being blue. His hand (Figure 3:29) is delineated by deep incising around the fingers, which appear to be slightly upturned and resting against part of his pectoral, which is painted a brilliant Maya blue. In addition, there are several more pieces of this jadeite bead pectoral, though these examples do not have any color due to poor preservation (Figure 3:30 and Figure 3:31).

The head of the figure is seen in profile, with jadeite beads streaming down his hair (Figure 3:28). The facial features are of high relief and very naturalistic. He has a nose typical of Maya elite. Interestingly, the face was broken into two pieces at the eye, which has been almost destroyed. During the destruction of monuments, and by extension to sculptural facades, the face of a figure would be smashed at the eye in a ritual "killing" of the monument. This type of ocular defacement, usually to the left eye, is known from a number of sites and from a broad temporal range (Budet 1988:25, 31; Freidel and Schele 1988:64).

Decorative Elements: (Figure 3:32 through Figure 3:51) There is a large number of unique pieces that could not be assigned to any of the categories listed here. Presumably many of these pieces were purely decorative, although others no doubt have deeper meanings which have not been determined at this time. Some examples have scroll like attributes, and are comparable to many motifs found in Maya imagery. However, analysis has not focused on these motifs as of yet. Several pieces recovered in LA 1289 appear to be a yellow circular band. A thin black line has been painted down the middle of this curvilinear band, and appears to terminate at a human profile head that is painted a number of different colors (Figures 3:98 and 3:99).

Enframing Elements: (Figure 3:52 through Figure 3:62) This broad category encompasses a number of pieces. Assignment to this category, as with all others, is temporary pending further stylistic and iconographic analysis. Generally speaking these examples are believed to have framed an image or a group of images. They can be angular or rounded, and some are decorated. Although red predominates, there is a range of colors within this category.

Further work is planned to subdivide this category by size, color, shape, etc., and from this we can gain some information on size estimates. Unless they are adorned or uniquely painted, as many of them are, only cross sections will be taken. Three of the larger fragments, Figures 3:56, 57, and 59, appear to have been part of larger curvilinear enframing elements. All three of these pieces are attached to large stone armatures, and based on finished surface must have projected from the façade at least 10 to 12 cm.  Two have a single row of adornos, painted blue.

Feathers: (Figures 3:63 and 3:64) The use of feathers in headdresses is known from a variety of media throughout the Maya area. Many of the feathers identified in the stucco collection are presumably from the central figure based on their large size. Two of the feathers identified have more curvature and naturalism, whereas the others are more stylized, with moderate to shallow grooves that delineate the parallel feathers and the ruffles within them. When the end of a feather is represented it tapers to either a sharp or rounded point.

A number of other pieces (not shown) may represent headdress feathers, or they could be part of a decorative background design, although this division is highly subjective. Measurement and stylistic comparison need to be carried out further on this group to refine and solidly justify a fragment’s placement in this category. Color is primarily red, though some pieces are painted yellow. Three fragments, painted yellow, that may represent headdress feathers on a smaller scale, and thus presumably for a smaller figure, were found in LA 1293.

Glyphic Forms: (Figures 3:65 and 3:66) Although there are no true glyphs identified in the collection, two pieces have "glyphic" qualities and are classified here. Both examples are from LA 1103.  The first example (Figure 3:65) is an imperfect circle divided into two rings by a shallow groove. Within this inner piece is a small incised hook, and although probably decorative, resembles T706 or T578 (Thompson 1962) and resembles a hook cartouche and scroll (T19) (Coggins 1983:65). Outside of the piece are a single bead and a raised triangular form that joins the inner circle.

The second example has the closest resemblance to a glyph from the entire collection (Figure 3:66). It is painted a brilliant Maya blue, though red is present, and consists of a flattened surface with the outline of a square with rounded corners. An incised line within echoes the outline shape, forming two rings, resembling T715 (Thompson 1962). Underneath this main element is a bar, at one end of which is a circular design.

Herpetomorphic/Sauria/Serpentine: (Figures 3:67 through 3:70) This category includes pieces with serpent and/or saurian imagery, which is a pervasive and recurring theme in Maya art. A number of pieces from different lot numbers have been included in this category. The first example (Figure 3:67) is a fragment of a head that shows an incised linear shaped eye. It is painted blue with traces of red and comes from LA 1103.  Two sides of the eye are shown, and the pupil is rather rectangular in shape. Above the eye the piece angles off sharply, and is of raised relief. Based on comparative shapes from around the lowlands, this may be the eye of a serpent.

During the last field season (1999) a number of fragments of various sizes were found on the plaza floor near the front stair of N10-28.  These fragments were painted with a fine black line on a yellow background. The repeating pattern and shape is reminiscent of scales. A particularly large piece was recovered that had a semicircular shape and a large round depression within it (Figure 3:68). The sides of this piece were painted in the same fashion, indicating it projected and was of high relief. This piece may represent the supra-orbital plate of a saurian. Interestingly, a small piece recovered from one of the interior rooms (LA 1319) depicts a reptilian limb, and is painted with the same repeating pattern outlined in black on a yellow background (Figure 3:69). At this time, we are operating under the assumption this was a saurian, and this latter piece probably depicts a front leg.

Another fragment, recovered from the front plaza as well, is painted yellow and has a twisting row of round objects, suggesting a twisting tail (Figure 3:70). Some black lines are painted on this surface, but the preservation of the piece is not very good.

Knots: (Figure 3:71, and Figure 3:72) At least five pieces in the collection were identified as knots. Four of these are from LA 1103, and the other is from LA 1285.  All five were painted blue.

Mouth Curls: (Figures 3:73 through 3:77) This is a subcategory of herpetomorph, and includes pieces that have curled shapes that may represent the open mouths of saurians and/or serpents. At least five were identified. Two of them are stone armatures, with only their shape suggesting what they may have represented. One of these armatures, similar to another one that retains its stucco finish, curls downward and terminates midway through the upturn.

Another stone armature has an upper and lower extension from a broad centerpiece, and is reminiscent of the open jaws of a serpent from which a figure would emerge (Figure 3:73 far right). Another mouth curl is more naturalistically sculpted, with a more rounded surface and having two elongated sections. Yet another mouth curl identified is made up of several pieces, and is painted (from outer to inner) blue, red, and yellow (Figures 3:75 through 3:77). Within the blue band is another band of a more brilliant Maya blue, with all colors having specular hematite.

Perforated Discs: (Figure 3:78 through Figure 3:84) This motif is generally recognized as an earflare, though in some contexts they serve a purely decorative purpose. They approximate in size and shape earflares from other materials, such as jadeite (see Budet 1994:348, entry #74; Schele and Miller 1986:90, Plate 12-14; see also Coe and Kerr 1998:116). These perforated discs come in two sizes: large (average 6-7 cm in diameter) and small (3.5 to 4.5 cm in diameter). Thickness ranges from 1 to 2.5 cm, with the larger one being thicker. Within these pieces is a large center hole that averages 1.5 to 2 cm on the larger pieces, and 1 to 1.5 cm on the smaller examples. The center perforation can be up to 2.5 cm deep, and seem to have been formed by the insertion of the sculptor’s finger, as they generally have an elongated shape. Many of these perforated discs are painted red with specular hematite, although other colors are known. Two of these large perforated discs, one from LA 1292 and the other from LA 1293, are painted red but the overall front surface is painted white (Figure 3:83).

There is one exceptionally large earflare within the collection (Figure 3:79). It is circular with a central projection. On two sides, one that would form a right angle, are raised linear designs that may suggest some kind of headdress apparatus. This earflare is 10 cm in diameter, with the entire fragment being 16.5 by 17 cm.  It is painted red with specular hematite. This earflare was eventually matched to the large head of K’inich Ajaw. In addition, one of the smaller earflares was matched to the head of one of the subsidiary figures.

Subsidiary Figures: (Figures 3:85 through 3:88) Five subsidiary and/or lesser elites were identified in the collection. These figures are represented only by their heads, as few other body parts were identified that would match the scale of these figures. One figure’s head (Figure 3:86) is sculpted on its forward half and joins the façade around the ears. The face is rounded and rather stylized. Light incised lines delineate the eyes, and the mouth and nose were fully sculpted. On his head he wears a headdress with a trefoil motif. The color of the face is blue with specular hematite. The head is mounted on the end of a stone armature.

The second head (Figure 3:85) is similar to the first but has shallower relief. Atop his head is a long, wide bar. To the right of the figure is a flat undecorated background, suggesting the head may have been part of a panel. The head is sculpted only on its forward area, joining the background just before the ears. No color remains due to poor preservation.

The third example (Figure 3:87) is a projecting, one-dimensional head. The details that outline the face are formed by shallow incised lines. A headband is evident and made up of small rectangular panels, and a small earflare was later found in the collection that was originally a part of this figure. The earflare is small, thin, and round, with a small projection on its lower side and extending towards the chin area.

The fourth figure is the fragment of a face (Figure 3:88). Only the nose, mouth, and chin remains. The mouth was executed in low relief, and a small earflare with a small portion of its background was found in the collection. It joins with this face fragment on its lower left side. Only a face with shallow relief represents the fifth figure, with facial features sculpted with light furrows. These last three faces were painted red with specular hematite.

Supernaturals: (Figure 3:89 through Figure 3:95) At least seven examples of supernatural figures were identified in the collection, all of which come from LA 1103 with the exception of one (LA 1291). The primary component of supernaturals that aided in their identification as such was the circular, bulbous, and vacuous eyes. Three of these are in such fragmentary condition that their identity could not be determined. These three examples are shown in Figures 3:89, 90, and 91.

The largest piece of sculpture from the entire collection belongs to the large head of K’inich Ajaw, the Sun God (Figure 3:93 and 3:94). This piece measures 36.5 by 20 cm.  It is a very elaborate piece of sculpture. The figure appears to have the upper portion of a chin strap. The eye is large, circular, and has a rounded surface. The head is sculpted only on its right side, with the left side being relatively flat and undecorated save for some faint incised lines. The large earflare mentioned earlier joins on this undecorated side, indicating it was once a corner piece. In all likelihood it once adorned the southwest corner of Structure N10-28.  K’inich Ajaw, a manifestation of Itzamna, has several identifying characteristics, such as cross-eyes, aquiline nose, filed incisors, a beard, and sometimes a short, "flaming" hairstyle from when the sun is at its zenith. At night in the Underworld, the sun is portrayed as an old man and identified with the Jaguar (Coggins 1985:52).

A smaller head has a projecting hook nose with upper and lower protrusions, deep rounded eyes, and a toothless mouth (Figure 3:92). There is an incised design on his forehead, and the cheeks are relatively rounded. The surface of this figure has not been preserved very well, but appears to have been painted red. This image may represent God K, or K’awil.  K’awil is generally portrayed as having a serpent foot, an axe in his forehead, and a branching nose. In many images he takes the form of the Manikin Scepter, and the grasping of K’awil in Classic Maya portraiture is a very common theme (Freidel, Schele, and Parker 1993:201-202). Other identifying features are a serpentine eye (Classic), and the emergence of either corn leaves, flames, or an axe from the mirror glyph in his forehead. Landa and the codices (Garza 1998:241-242) have also identified him with Bolon Dzacab from written sources and references. K’awil is generally associated with lineage and descent (Coe 1993:178).

A large fragment of a supernatural head was recovered this past field season. Like the K’inich Ajaw figure, it is sculpted primarily on one side and has high relief (Figure 3:95). The lower portion of the head is missing, but on the nose is a hook like object. The forehead is smooth with no decoration, and two large rounded objects are positioned at the ear. The hook feature on the nose is reminiscent of a bat.

Trefoil Motif: (Figure 3:96) There are two examples of a tripartite headdress, composed of three rectangular panels that taper on one side, and on the other terminates at a point. The first example is associated with one of the lesser elites. The second example is much larger than the first, but having the same pattern. These two examples represent a non-anthropomorphic trefoil variation of the Jester God or the ’hunal.’

The presence of two sizes of this trefoil motif, and thus two sizes of important figures, brings up two possibilities. The first scenario is that the trefoil motifs belong to royal ancestors, a visual representation of past members of the royal lineage. An alternate scenario is that the trefoil motif belongs to members of the lesser elites of the royal court. During the Late and Terminal Classic the Jester God becomes detached from its Formative and Early Classic association with the rank of ahau, or divine king, and a symbol of royal authority. These and other symbols of the highest ranks became more accessible to the lower ranks, thus diluting the sanctity of the existence of central power (Freidel 1990:77-78).

Witz Monster: (Figure 3:97) Four fragments that defied classification for a long time have now been classified as the witz monster, a common recurring element in Maya imagery. These witz masks are found throughout the Lowlands on sculptural facades, identifying a structure as a "sacred mountain", and the place of entry into Xibalba, or the Underworld (Sharer 1994:205). One of the fragments shows the lower part of the eye and a portion of the projecting nose. Based on the size of the fragments this was a large image, and may have composed part of the image of the central figure. These fragments are painted red with specular hematite.

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