| 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
Young Maize God (Hun Nal or One Hunahpu) and his twin brother,
Seven Hunahpu, perform a dance on this vase. They wear elaborate
headdresses, on the front of which is a variant of the Jester
God, personification of the royal headband. Panels containing
textiles separate the dancers. This vase was restored by Lee Moore,
who later repainted an Early Classic vessel with its image, creating
a fake which confused experts for years.
ROLL-OUT
VIEW OF VASE
HM1183
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