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62-473: The site, lying close to a tributary of the Usumacinta River , was seen by non-Mayans in 1946. Precisely who was first of the non-Mayans to see it is a matter of speculation, but it was either two American travelers, Herman Charles (Carlos) Frey and John Bourne, or photographer/explorer Giles Healey . The Americans were led to the ruins by the local Lacandon Maya who still visited the site to pray in

124-524: A Maya vase; more specifically, this was done in the codex-style vases of the Petén, and not mirroring those of the Usumacinta region where Bonampak is located. 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

186-493: A bloodletting ritual. Meanwhile, a large man (HF 7) offers bloodletting supplies to the women on the throne. Of note is the fact that these individuals also seem to appear previously—HF 7 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

248-422: 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). A few theories as to why some captions were left blank include deaths or political realignment, an interruption of

310-429: 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 Structure 1 and

372-496: A jaguar jerkin and jaguar boots. Although it is clear that the events surrounding the ascension to the thrown of Chooj depicted in Structure 1 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

434-571: A more detailed description about The Bonampak Documentation Project , and a thorough discussion on the murals, see Mary Miller and Claudia Brittenham's 2013 seminal work on the subject titled, The Spectacle of the Late Maya Court: Reflections on the Murals of Bonampak. *Note: The numbered human figures (HF) mentioned below can be found in the aforementioned publication on page 73, in addition to excellent large foldouts in

496-445: A name glyph. Beneath the throne, one can view five bundles, albeit with some difficulty. It was not until Professor Mary Miller's aforementioned Bonampak Documentation Project that scholars finally knew what these bundles contained. 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 Harvard University professor David Stuart has suggested that

558-458: 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 (HF 42) 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 (HF's 2, 5 and 6) holding stingray spines to their tongues in

620-409: 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

682-458: A warrior subduing a captive. Lintel 1 (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); Lintel 2 (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); and Lintel 3 (Room 3) displays Aj Sak Teles, probably on July 25, A.D. 780 (Longcount date: 9.17.9.11.14, 3 Ix 2 Yax). It

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744-416: 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 (HF 55), 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

806-435: Is glancing over his left shoulder into the upper register of the west wall at the figure (HF 19) 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 Structure 1, was left blank. Therefore, the identification of HF 19 as Yajaw Chaan Muwan is deduced rather than known unequivocally based on

868-516: Is located in the central part of the Great Plaza, it 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 meters high it is one of the highest in the Mayan world. Chan Muwan II

930-458: 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 (HF 97). In the vault, directly above this scene, are four cartouches representing various celestial imagery. Note: During a radar survey of Structure 1 in 2010, archaeologists discovered

992-418: 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. It 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

1054-421: 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. It is located on a low terrace right in

1116-440: Is worth noting that the height of each doorway is only roughly 5’ 7” (1.75 meters), and around 3 feet wide. Thus, it is clear that no Maya noble in full regalia would have ever entered these rooms without a bow of deferential respect. In 1996, a team from Yale University led by professor Mary Miller began The Bonampak Documentation Project , which included making an even more detailed study, photographic record, and reproductions of

1178-706: The Laguna de Términos . In Tabasco the Grijalva River flows into the Usumacinta River. This confluence is at Tres Brazos, Centla , and the two rivers form a large wetland region known as the Pantanos de Centla . The pantanos (wetlands) are designated a biosphere reserve ; it contains 302,702 hectares (747,990 acres), which makes it the largest protected wetland region in North and Central America and one of

1240-927: The Sierra de Santa Cruz (in Guatemala) and the Salinas River , also known as the Rio Chixoy , or the Rio Negro, which descends from the Sierra Madre de Guatemala . It defines part of the border between Guatemala and the Mexican state of Chiapas , then continues its northwesterly course, meandering through the Mexican state of Tabasco to the Gulf of Mexico . The Usumacinta River enters Mexican territory in

1302-525: The University of Florida , to identify the extent and types of habitat remaining the region, and to draw maps of the watershed. The conference addressed many of the jurisdictional and administrative questions that still bedevil the idea. The Zapatista Rebellion in 1994 and 1995, and the Guatemalan peace accords in 1996, reshaped the political lines in the watershed. As a direct consequence, and with

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1364-559: 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. On the lower register of the north wall, still more musicians (HF's 43 and 44) blast their trumpets, while other performers (HF's 45–50) wear various costumes, including that of a crocodile (HF 48). Of all the images of visiting messengers, nobles and dancers held within

1426-479: The ancient temples. Giles Healey was the first to be shown the huge paintings covering the walls of one of the structure's three rooms. The paintings show the story of a single battle and its victorious outcome. Bird Jaguar in the early 5th century fought against K'inich Tatb'u Skull I in Yaxchilan, and lost his freedom. Other nobles were captured in a later war against Knot-eye Jaguar I. In 514, Knot-eye Jaguar I

1488-475: The back of the book. Room 1: This 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. Some of the actors that capture immediate attention are the elegantly costumed figures on the lower register of

1550-407: 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

1612-476: The captives. 16°42′14.40″N 91°03′54.00″W  /  16.7040000°N 91.0650000°W  / 16.7040000; -91.0650000 Usumacinta River The Usumacinta River ( Spanish pronunciation: [usumaˈsinta] ; named after the howler monkey ) is a river in southeastern Mexico and northwestern Guatemala . It is formed by the junction of the Pasión River , which arises in

1674-528: The center of the Acropolis and next to Stela 3, it 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 . 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

1736-428: The central dancing figure below (HF 63) 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

1798-421: The claim, some speculate that it may have also had a roofcomb, such as can be seen on Structure 33 at nearby Yaxchilan. 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. Although there has been some disagreement as to

1860-524: The dramatic fall of the peso, bandits began robbing raft trips, ending wilderness tourism in the corridor. One of the most promising tourist activities, with the least potential impact and the most possibility for helping conservation, archaeology, and cultural preservation, ended. Illegal activity of all types took over the corridor. The Mexican army, which pervaded the Zapatista region, had little effect on river crime, and may have abetted it. In Guatemala,

1922-480: The first time. Additionally, the Guatemalan journalist Victor Perera wrote about the river in The Nation and in his books, The Last Lords of Palenque and Unfinished Conquest , and Jan de Vos chronicled the region in his magisterial series of histories. Ultimately the hydro project failed under the weight of its own disincentives: siltation, geology, seismic activity, distance from markets, politics, etc., but

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1984-414: 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. To the viewer's left of HF 62, 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. To the viewer's right of

2046-404: The installation of Chan Muwaan II, and hired Yaxchilano artisans to commemorate it in "Structure I"'s murals. Bonampak collapsed with Yaxchilan in the 9th century. Structure 1: Structure 1 at Bonampak, built at the end of the eighth century A.D. measures 16 meters long, four meters deep, and seven meters tall, and is constructed atop a T-shaped platform. Although there is no evidence to support

2108-747: The most powerful cities of the Maya Classic Period , lie along its banks. Before roads, such as the Border Highway constructed by the Mexican Government in the early 1990s, penetrated the jungle, the river was the only means of travel in this region. Huge trunks of hardwood trees were floated downriver to the state of Tabasco . In the 1980s, many Guatemalan refugees fled across the river to relative safety in Mexico. Other groups of refugees and Guatemalan guerrillas formed

2170-409: The murals related to the ostensible Lowland Maya collapse during the period of Structure 1's creation, and the possibility that it became politically impolite to name certain figures. The planning and execution of the Bonampak murals points to a large team of specialists, and not to one solitary genius. This team would have included plasterers, pigment preparers, and possibly calligraphers, in addition to

2232-406: 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. Finally, the doorway to each room features a carved lintel of

2294-412: The murals. These reproductions, completed by artists Heather Hurst and Leonard Ashby, bring to life many details, thanks to infrared photographs, that can no longer be seen with the naked eye. Most saliently, the images captured many glyphs that were previously unknown, lost either to natural erosion, or due to the many failed attempts at preservation, some of which did far more damage than conservation. For

2356-463: The myriad avatars of the Sun God upon its back. 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

2418-516: The naked eye—in this instance, the paint had been completely eroded in this area. However, the infrared images revealed that what HF 22 had in his left hand was none other than the still beating heart of the sacrificial victim below (HF 19), who is being dragged down the pyramid steps by two attendants (HF's 18 and 20). Covering almost the entire bottom register of the south and west walls are seven more elaborately costumed characters (HF's 13, 15, 17, 26, 26, 27 and 28) with similar headdresses to those of

2480-509: The outcry from conservationists, archeologists, writers, and the public helped. It also established a pattern. A thriving seasonal business in wilderness tourism began after the Wilkerson article. The river and its environs became a favorite destination of river travelers, amateur Mayanists and archaeologists, birders and wildlife tourists. Carlos Salinas de Gortari proposed a smaller but still monumental hydro project in 1990, and completed

2542-430: The painters and planners whose artistic conception is most visible on the walls. The exterior of Structure 1, 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

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2604-688: The periferico surrounding the Montes Azules reserve. Articles in The New York Times and op-ed pieces by Homero Aridjis suggesting a binational reserve for the area, helped defeat this incarnation of the idea. In the late 1990s, a consortium of scientists, and government and non-governmental organizations met in San Cristóbal de las Casas , under the auspices of the Wildlife Conservation Society and

2666-504: The same brothers from Room 1, with the young heir, Chooj, in the center (HF 21). Each brother holds a bloody femur bone that has been modified into a ritual ax. Right below Chooj is another figure (HF 22) on his knees; he is also holding an ax in his right hand and another object in his left. Here is another instance where the Bonampak Documentation Project was able to decipher that which is not able to be seen by

2728-591: 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 (HF's 101–109). HF 101 may have even had his teeth removed, while HF 106 has already expired, and HF 120

2790-602: The so-called CPR communities in the jungle on the Guatemalan shores, hiding from the government until the peace accords of the nineties. Frans and Trudi Blom first brought the idea of conservation to the watershed in the 1950s by proposing that a section of the Selva Lacandona be reserved for the Lacandon Maya. Their idea was as much the preservation of culture as of habitat, and this principle – that indigenous integrity and habitat are inextricably linked in

2852-419: The south wall (HF's 62, 63, and 64). 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 (HF 63) was the ruler of Bonampak, Yajaw Chaan Muwan. However, further readings of the accompanying glyphs show this figure to be

2914-514: The state of Tabasco and across the Cañón del Usumacinta (Usumacinta Canyon) ecological reserve, forming impressive canyons along its route. Passing the canyon called "Boca del Cerro", Tenosique , the Usumacinta goes into the plain of Tabasco. Two distributaries, the Palizada River and San Pedro y San Pablo River , branch from the main stem of the Usumacinta and empty north and east into

2976-447: The temporal sequence of events, it is generally agreed that the narrative 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

3038-399: The three ch’oks , leading to the west wall, there are eight sajals (regional governors). Of particular note is HF 71, 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, HF's 73 and 74, as well as HF's 52 and 54 on the east wall work together, holding parasols that frame

3100-590: The top 15 wetlands (by size) in the world. The total length of the river, including the Salinas, Chixoy, Negro rivers in Guatemala is approximately 1,000 kilometres (620 mi). It is the only visible natural boundary separating the Yucatán Peninsula from Mexico. The river and its tributaries were important trade routes for the ancient Maya civilization . Yaxchilan and Piedras Negras , two of

3162-435: 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 (HF 16) presenting a child (HF 15) to the lords. At first, many thought that this child was the young heir; however, as noted previously,

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3224-408: The various colors applied, there were further artistic elements on the facade of Structure 1. 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 Structure 1 as if it were

3286-402: 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

3348-487: The victors gripping them by the hair—or those in the process of being defeated, are depicted as being left-handed (e.g., HF's 61 and 67). 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

3410-412: 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.” 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

3472-412: The watershed – should help guide any future conservation planning. Conservationists working in the region, such as Nacho March, Ron Nigh, Fernando Ochoa, Roan Balas McNab and others, have all acknowledged and upheld the principle in their work. The first large hydroelectric project on the Usumacinta in "Boca del Cerro" , Tenosique , Tabasco, was proposed in the 1980s, and would have stretched all

3534-561: The way up the Pasion and Lacantun tributaries, flooding Piedras Negras and Yaxchilan, among other known and unknown Maya sites. At that time, the Guatemalan shore was held by rebels, whose presence discouraged illegal logging , poaching, and looting. It also discouraged dam engineers. In 1985 Jefferey Wilkerson's groundbreaking article in National Geographic brought the river and its glories to widespread public consciousness for

3596-423: 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." It

3658-471: 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 (HF 7). 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

3720-408: 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

3782-468: Was himself taken captive (by Ruler C of Piedras Negras), giving Bonampak some respite; but after 526, his successor K'inich Tatb'u Skull II attacked Bonampak again and captured more lords. Bonampak by 600 CE had become a satellite of Yaxchilan . In that time, the ajaw of Yaxchilan installed Yajaw Chan Muwaan I as lord in Bonampak. Subsequent ajawob reconstructed the site to orient toward the metropolis. C. 790 CE, Yaxchilan's king Shield Jaguar III oversaw

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3844-461: Was not, therefore, created at a later date. 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 (HF's 16, 21, and 24) wearing tall, green, quetzal-feathered headdress and dancers wings. These are

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