| Iconographers (symbolism experts)
have interpreted many images on ceramics as being scenes related to the
Postclassic Popol Vuh, or “Council Book,” of the highland Quiché
Maya. Although separated from Classic Maya scribes by 500 years, the story
line of the Popol Vuh corresponds well to the images on ceramics. Many of
the ceramics most convincingly associated with the story were produced near
the southern highland site of Chamá, in the Chixoy drainage, during
the late 7th to early 8th centuries. Black-and-white chevron designs at
the rim and base characterize polychrome Chamá ceramics. Texts on
Chamá ceramics tend to be short and to contain false glyphs called
“pseudoglyphs”. This may mean that they were produced by only
partially literate artisans or for more than just the elite segment of society.
Chamá was located near the traditional entrance to the Underworld.
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Painted
cylindrical vase
Late Classic Chamá
The two figures separated by glyph
panels possess the human body and animal head of the Fox God,
one of the denizens of the Underworld. Each wears the netted headdress
of Pawahtún, to whom the Fox God was subordinate. The two
figures face each other, making identical hand gestures. Speech
scrolls emanate from their mouths, as if they are conversing.
The Fox God was a patron of scribes or sculptors.
ROLL-OUT
VIEW OF VASE
HM1177
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