16

La Estela 1 de La Mojarra, Veracruz, Mexico

FERNANDO WINFIELD CAPITAINE

Museo de Antropologia de Xalapa

A MEDIADOS DE NOVIEMBRE DE1986, despues de siglos de inmersion, unagran y portentosa estela fue recobrada del

Rio Acula, en la zona sureste del Estado de Ve­racruz, Mexico. El monumento contiene el retratode cuerpo entero de un personaJe ricamente atavia­do y un texto jeroglifico inusualmente largo. Lapieza aunque danada en algunas partes por roturaso erosion superficial, se encuentra en un estadofrancamente bueno. El proposito de este informe esdescribir este extraordinario monumento y haceralgunas observaciones prelimina res acerca de lasimplicaciones de su descubrimiento.

Ellugar donde se encuentra es en el pueblo deLa Mojarra en el municipio de Alvarado, aproxi­madamente a mitad de la distancia entre las cono­cidas zonas arqueologicas de Cerro de Las Mesas,en el municipio de Tlalixcoyan, y de Tres Zapotes,en el municipio de Santiago Tuxtla (fig. 1).

Es una region deanchos y lentos r[os bor­deados de manglares y con asentamientos espo­radicos (fig. 2). Mucho de la parte alta de estallanura pantanosa aluvial estd dedicada a pastopara el ganado, 10 cual ayuda enormemente a reve­lar el gran numero de sitios arqueologicos de la re­gion. En la propia La Mojarra, un grupo de mon­tfculos de tierra ocupa el area cercana al lugardonde se descubriola estela (ver figuras 3 y 4). Deacuerdo con los pocos datos que se posseen, elmonumento fue encontrado por casualidad bajo elagua, aentre cinco y diez metros de la orilla este delAcula; a una profundidad de unos dos metros(Nota 1).

1

I N MID-NOVEMBER 1986, after centuriesof immersion, a large and imposing stelawas recovered from the Acula River in the

southeastern part of Veracruz State, Mexico.It bears the full-figure portrait of a richly at­tired personage and an unusually long hier­oglyhic text. The monument, though dam­aged in places by breakage or superficial ero­sion pitting, is in remarkably good condition.It is the purpose of the present report to de­scribe that extraordinary piece and to makesome preliminary observations on the impli­cations of its discovery.

The site of the f.ind lies at the settlementof La Mojarra in the municipio of Alvarado,about halfway between the well-known ar­chaeological zones of Cerro de las Mesas,municipio of Tlalixcoyan, and Tres Zapotes,municipio of Santiago Tuxtla (Fig. 1).

The area is one of wide sluggish riversbordered by mangroves and sporadic settle­ments (Fig. 2). Much of the higher part of thisswampy alluvial plain is devoted to cattlepasture-a circumstance that helps greatly inrevealing the large number of archaeologicalsites in the region. At La Mojarra itself, agroup of earthen mounds occupies the areaclose by the discovery site of the stela (Figs. 3& 4). According to the sketchy accountsavailable, the monument was encounteredby chance under the water between five andten meters from the east bank of the Acula, ata depth of about two meters (Note 1).

2 3

3

EL RIO ACULA

THE ACULA RIVER2

~...... ~ ....

'::,',. -,.; '. _.(','

.' .LAyO 0l'TE"01CO

I~~~.A6aj Takafik.

.".:;.:..... :.., ·-i.·.···.. '".:":." .•. :~_ '.. -_'.

Tres Zapotes•

San Andres Tuxtla-

• sitios arqueo/6gicos

kil6metl'Os

Cerro d£.Cas Mesas

···:-:,··-.fL ~ ~

'\VERACRUZ

4

VISTA PANORAMICA DE LA MOjARRA, VERACRUZ (La f!l.'clra illdiCll cllllStlr d011l71.' 51.' dl.'5Cl11wi6 la ('stela) (Arrow shows di~covcrv site of-tela)

5

escala 1:10

....

,. , . -,'1

".....

......._--...- ........ _-

FOTO paR E. LOGM! WAGNLR

.----.'

...

escala 1:20

secciones

area d" dtlli" II/axill/"

area of maximum Jamagl'

The monument is of basalt and weighsan estimated four tons. It can best be de­scribed as a roughly trapezoidal slab of ir­regular thickness (Fig. 5). It is 2.34m high onthe (observer's) left side and 2.10m on theright. It measures 1.10m across at the bottomand 1.42m at the top. The thickness variesgreatly, ranging from .54m to .15m from leftto right at the top, and from .17m to .45mnear the base. All of the carving occupies thelarge obverse surface of the slab. The workedface of the left side of the stela is roughly fin­ished, but does not make a right angle withthe obverse face. The remainder of the pieceis essentially unfinished. Damage to the stelaface is shown in Figure 5.

.......'...

I

a:....

...

.::.

.'

5

4

EI monumento es de basalto y pesa aLrededorde cuatro toneladas. Puede ser descrito como unbloque mas 0 menos trapezoidal de grosor irregular(fig. 5). Mide 2.34m de alto en su Lado izquierdo, y2.1Om en el derecho. Tiene 1.10/11 de ancho en laparte inferior, y 1.42/11 en la superior. EL grosorvariaampliamente, yendo desde 54 ccntimetros a15centimetros de izquierda aderecha enla parte supe­rior, y de 45 centimetros cerca de La base.

Toda la parte tallada ocupa La gran superfidedel anverso del bloque. La cara trabajada de La parteizquierda de la estela estd toscamente acabada, perono forma angulo recto con la cara anversa (ver lassecciones en la figura 5). EL resta de la pieza estdesencialmente sin acabar. EL grada de dana semuestra en la figura 5.

6

OEseRlPc/ON GENERAL

COMO PUEDE VERSE en la representa­cion que se acompana (fig. 7), la cara talladay grabada de la Estela 1 de La Mojarra tiene

su espacio mas 0 menos igualmente dividido entreLa representacion de la figura erecta y el textojeroglifico acompanante.

El monumento fue claramente disenado paraser colocado en posicion vertical, ya que su partemas baja, alrededor de una septima parte de la al­tura vertical total, se dejolisa.

La parte trabajada de La estela comienza conuna ancha banda horizontal centrada por un a­rreglamiento simetrico de cuatro eirculos grandes yelevados, flanqueados por bandas exteriores verti­cales, con lineas, y bordeadas pOl' "lenguetas" rec­tangulares. La parte superior de esta banda sirvecomo linea de base para la figura y tambien comoparte inferior al campo Gcupado por la principalparte del texto jeroglifico.

La figura, en bajo relieve, es la de un dig­natario elaboradamente vestido que mira a la de­recha (del observador). Ull eirculo elevado aparecejusto al lado de la ligeramellte da'-lada Ilariz de lafigura, y un sfmbolo encerrado ell Ull elaboradocartucho curvado y COil abalorios, ocupa la zonainmediamente frente a la cara del illdividuo. Lapostura de la figura estci ligeramellte girada y conlamana izquierda (a la derecha del observador) ex­tendida, sujetando un cartucho similar pero par­cialmente borrado, tambiell bordeado por eirculos.La mana derecha y el objeto curvo que sujeta se en­cuentran danados e imposibles de recollocer.

Desgraciaaamellte, casi la totalidad del tercioinferior de esta figura, illcluyendo la parte baja delvestido, las pierllas y los pies, estci 0 biell perdida 0

tan danada que no puede ser recollstruida.El texto jeroglifico aparece ell 21 columnas

verticales, las cuales pueden dividirse ell dosgrupos principales. El primer grupo, consistellteen las columnas A-L, aparece como las 12 co­lumnas relativamente cortas por encima del tocadode La figura.

El segundo grupo, columnas M-U, ocupa latotalidad de la mitad derecha del l11onumento.Cuatro glifos aislados, aparentemente idellticos,que aparecen en la parte superior de los brazos ysobre el componente inferior del vestido (~pierna ?)

estdn marcados como V- Y (fig. 7).

GENERAL DESCRIPTION

As MAY BE SEEN in the accompanyingrendering (Fig. 7), the carved and in­cised face of La Mojarra Stela 1 is

about equally divided in terms of space allo­cation between the depiction of the standingfigure and the accompanying glyphic text.

The monument was clearly designed tostand upright, for its lowermost portion, orbutt-about one-seventh of the total verticalheight-was left plain. The worked portionof the stela begins with a wide horizontalband centered by a bilaterally symmetricalarrangement of four raised circles flanked byexterior vertical bands edged by rectangular"tabs." The upper boundary of this bandserves as the base line for the figure, and alsoas the lower boundary of the field occupiedby the main portion of the glyphic text.

The figure, in low relief, is that of anelaborately costumed male dignitary facingthe observer's right. A raised circle appearsjust off the slightly damaged nose of the fig­ure, and a device, perhaps an emblematicsymbol, enclosed in a scrolled and "beaded"cartouche appears immediately in front of theface of the individual. The posture of the fig­ure is slightly turned with left hand (on theobserver's right) extended, holding a similarbut partially damaged cartouche, also bor­dered by circlets. The other hand and thecurving object which it holds are damagedbeyond recognition.

Unfortunately, almost the entire lowerthird of this figure, including the bottom por­tion of the garment, the legs, and the feet, iseither missing or so heavily damaged as topreclude reconstruction.

The hieroglyphic text appears in 21 ver­tical columns which themselves may be di­vided into two main groups. The first group,consisting of columns A-L, appears as the 12relatively short columns above the headdressof the standing figure. The second group,columns M-U, occupies the entire right halfof the monument. Four isolated glyphs,seemingly identical, which appear on theupper arms and upon the lower portions ofthe costume (leg?) are labeled V-Y (Fig. 7).

Gt'lIrxc Stuart

.........

1:10

7

7

8

.. -:.

., , .....

I ITOOt~

/'Nij.", ' .

8escala 1:5

"~,..~' '.

..... :....." ."

, '

" ,"

',1.':

.;. \,

. -:::

y . ..

,,'"

. 'j

'./"

LA FIGURA

EL TOCADO DE LA FIGURA estti domi­nado par una enorme cabeza de perfil can unlargo pica u hocico curvado (fig. 8). Pegados

a ella, ya la especie de casco que forma la base de lagran cabeza, se encuentran cuatro cabezas maspequenas (fig. 8 a-d), tambien de perfil mirandohacia la derecha. Dos de ellas caronan a la cabezagrande y dos estdn debajo de ella, aparentemente enuna banda envolvente (fig. 8e).

Elevcindose desde la cabeza de perfil superiorizquierda (0 posterior) hay un elemento anudado,el cual, a su vez, estd coronado par un objeto verti­cal, puntiagudo y serrado, quizcis un cuchillo (fig.8f). Originando del mismo elemento anudado, unacuerda (8g) se curva hacia la izquierda y haciaabajo, terminando en otro nuda yen un colgantegrande rectiUneo (8h). Pegados ala cuerda y al ele­menta suspendido, se encuentran pares de adornosen forma de cfrculo, espaciados mas a menos regu­larmente. EI interior (0 lado derecho) de la cuerda,parece tener algun tipo de tela (?) unido a eL,aunque estci un poco danada. La parte exterior de lacuerda se encuentra paralela a una hilera de cuatropeces (tres de ellos completamente visibles), quemiran hacia arriba camo si estuvieran nadando parla cuerda (8i). Completan el tocado dos bandasanudadas que descienden desde los adornos de lasorejas del gran perfil can pica, y un mont6n de ele­mentos similares que salen hacia atrcis (fig. 8j).

Los hombros de la figura estan cubiertos parun ropaje (fig. 8k) marcado can elementos a modode escamas, quizas plumas, que se extienden hori­zontalmente hacia afuera desde el centro que seencuentra oculto par el pelo (?) del individuo; y ungran elemento anudado del cual pmde (fuera delcentro) un pectoral can una cabeza de perfil (8/).Atados bajo el pectoral se encuentran tres colgantesrectangulares en forma de placas (fig. 8m).

Desde la envoltura de los hombros bajan dosgrupos, a niveles de elementos del vestido, se­parados y superpuestos. Cada uno de ellos tieneuna zona llma de estrfas paralelas verticales (fig.8n), sabre la cual cuelgan cuatro bandas anchas,simetricamente espaciadas, talladas can bordeslineales, y centradas par lineas paralelas onduladas(80). Todo ella termina en placas cuadradas callmotivos prcicticammtc idbzticos celltrados par ele­mentos can fan lias de la letra U illvertidas (8p).

9

THE FIGURE

THE HEADDRESS of the figure is domi­nated by a huge profile head with alarge downcurving beak or snout (Fig.

8). Attached to it, and to the helmet-like affairthat forms the foundation for the large head,are four smaller heads (Fig. 8a-d), also in pro­file facing right. Two of these surmount thelarge head and two appear below it, appar­ently on an encircling band (Fig. 8e).

Rising from the upper left (or rear) pro­file head is a knotted element which, in turn,is topped by a vertical, pointed, serrated ob­ject-perhaps a knife (Fig. 8f). Originatingfrom the same knotted element, a rope (8g)curves left and downward, ending in anotherknot and a large rectilinear pendant (8h). At­tached to the rope and the dangling elementare more or less regularly spaced pairs of cir­clets. The inside (or right edge) of the ropeappears to have some sort of cloth (?) at­tached, though this is somewhat damaged.The exterior edge of the rope is paralleled by asuccession of four fish (three completely visi­ble) facing upward as if swimming along therope (8i). Two knotted bands descendingfrom the ear ornaments of the large snoutedprofile, and a stack of similar elements issu­ing to the rear (Fig. 8j), complete the head­dress.

The shoulders of the figure are coveredby a garment (8k) marked with scale-like ele­ments, perhaps feathers, which extend hori­zontally outward from the center which ishidden by the hair (?) of the individual and alarge knotted element from which hangs (offcenter) a profile-face pectoral (81). Tied belowthis pectoral are three oblong pendants in theform of "celts" or plaques (Fig. 8m).

From the shoulder covering descendtwo separate and overlapping sets or levels ofcostume elements. Each features a zone filledwith parallel vertical striations (Fig. 8n) overwhich hang four wide vertical bands, sym­metrically spaced, incised with linear bor­ders, and centered by parallel wavy lines(80). All end in large square "tabs" bearingvirtually identical motifs centered by invertedU-shaped elements (8p). Although the lower

11

9'. . f' l "'/111 f\'/I\IIl'r!illoSrtl!w,; 1/11' .' ,I" ,

DETALLES DE LA FIGURA

•

_-",,_a

~. .

'-.

10~ -----:-=~ _

12 13

10

THE HIEROGLYPHIC TEXT

OVER HALF of the area of the obverseof La Mojarra Stela 1 is devoted to oneof the longest hieroglyphic inscrip­

tions on a single monument known fromMesoamerica (Note 2). It is at once apparentthat this text is physically divided into twoseparate groups by a wider-than-normal ver­tical "alley" between that portion of the textabove the standing figure, and the muchlonger text in front, occupying the right halfof the stela (Fig. 7). It is also clear that, with­out exception, the orientation of the glyphs inone group is opposite to that of those in theother, as shown in Figure 10.

~o~ M

W'J 0o~ eNgU"U

IT1'§)

II~ ~ ~ . .

columnas A-Lfuum ~ columnas M-U

Q§0

EL TEXTO JEROGLIFICO

MAS DE LA MITAD del area del anversode la estela de la Mojarra estci dedicada auna de las inscripciones jeroglfficas mas

largas, en un unico monumento, conocida enMesoamerica (Nota 2). Enseguida es aparente queeste texto estd fisicamente dividido en dos grupos,separados pOl' medio de un "pasillo" vertical mayorde 10 normal, entre la parte del texto que esta en­cima de la figura de pie y el texto mucho mayor queestti enfrente, ocupando la mitad derecha delmonumento (fig. 7). Tambien esta claro que, sillexcepci6n, la orientaci6n de los jeroglfficos en ungrupo es opuesta a la de los del otro, como se ve enlafigura 10.

right part of this affair is badly damaged, thewhole appears to have been a symmetricalcompletion of the intact portion. The upperarms and shoulders of the figure are hiddenby the uppermost part of this mantle, but thelower arms (which bear glyphs V and W)appear as exterior to the lower part. Two wideS-shaped elements (8q) are attached to therear of the figure.

Both arms of the figure are marked withwristlets (Fig. 8r) simply depicted as twowide parallel bands. A set of lightly incisedlines (8s), forming parallel curving bands,appears between the figure's front shoulderand the area just below the wristlet, appear­ing to pass "behind" the latter.

The lowermost portion of the costume,beneath the double-lpyered mantle notedabove, is unreconstructable. Part of the sur­face (Fig. 8t), bearing glyphs X and Y, ap­pears partially intact just to the (observer's)left of a thin raised vertical ridge which ap­pears to originate at the line defining the de­stroyed portion of the upper costume, andjust below the pectoral. To its left, and pos­sibly to its right, appear areas bearing por­tions of a diamond-shaped grid of narrowbands (8u). Small knots appear at threepoints of the grid on the far left (Fig. 8v).

The object grasped in the right hand ofthe figure is almost completely gone exceptfor a small portion of its handle (8w). Theknotted element at the far lower left of thesculpted area of the monument (see Figs. 6 &7) may have been part of this object.

Finally, it should be noted that the ex­tended left hand of the figure-that whichholds the scrolled cartouche out to the fig­ure's front-has its fingernails clearly de­picted (8x). This, given the apparent upperposition of the thumb on the hand (unfortu­nately only its base is visible at 8y), creates areversal of anatomy, for in this attitude thepalm, not the back, of the left hand wouldshow, unless it is twisted in an impossiblemanner. This may bear upon the generalquestion of the layout of elements depictedon the monument, for a "mirror image" re­versal, or bilateral symmetry, is clearly man­ifest in the layout of the hieroglyphic text.

Aunque la parte inferior derecha de este elemelltoestd muy daiiada, todo ella pareee haber sido !IIW

realizacion simCtrica de la porci(JII intacta.La parte superior de los brazos .II los IlOmbros

de la figura estcill ocultos par la parte superior deeste manto, pero la parte illferior de los bmzos (quetiene los glifos V .II W) aparecc como exterior a laparte inferior. Dos anchos elementos (8q), CStdllunidos a la parte trasera de la figllra.

Los brazos de la figllm estan I//(/rcndos canbrazaletes (fig. 81'), represcntados simplemcntecomo dos anchas bandas. Un grupo de lineasdebilmente grabadas (8s), formal/do !Ill area pam­lelo y bandas, aparece entre el hombro al/terior dc lafigura y la zona encima del bmzalete, pareciel/docomo si pasara "pOI' detrds" dc este liltil/IO.

La parte inferior del vestido, [mjo el doblemanto arriba mencionado, es irreconstruzlllc. UI/aparte de una envoltura a taparrabos (fig. st), conlas marcas X y Y, aparece parcialmellte il/tactaJusto a la izquierda (desde el p!llito de vista del ob­servador) de un delgado cordoncillo vertical le­vantado, que parece origillar de/a lillea que defille laporcion destruida del ropaje, .II jllsto debajo del pec­toral. A su izquierda, y posiblemfllte a Sll derecha,aparecen areas que muestrall porciolles de ul/a rcjade bandas estrechas con forma de diamallte (8u).Pequenos nudos se ven en tres plilltos dc la rcja a laizquierda (fig. 8v).

EI objeto sujetado ell la mallo derecl/(/ dc lafigura ha desaparecido casi completamellte, a ex­cepcion de uIla peq ue('/(/ pa rtc delma IIgo (fig. Sw).EI elemento alludado ell la partc illferior izqllierdade la zona esculpida dell/wllumel/to (uer figllms 6y 7) puede haber sido parte de esfL' objeto.

Finalmellte, debe Ilotarse, quc la I/WIlOizquierda extelldida de la figllra, la clial slljeta elcartucho enrollado hacia el frellte de la figllra, tiellelas unas de los dedos claramellte I//(/rcndas (fig.8x). Esto, dada la aparellte posiciol/ haeia arribadel dedo pulgaI' de la lI1allO (desgraciadalllcllte solosu base es visible [SyJ), Crfa 1I11a illversi61l de laallatom[a, ya quI' ell esta aetltud, SI' ('eriala palma.y no la parte dclantera dc la 11/(/110 l:qllicrdn, n 110

ser que estuviera doblada ell lIna posicilJIl imposi­ble. Esta situaeioll plledc pcsar Sll[lJ'(' la ({It'stilillgeneral de la disposicioll dc los elcmclltos Cll elmonumento, yn que ell /11 eoloeacitll/ del textojeroglifico se manifiesta 1I1/a clam illZ'crsitll/ dcimagen como en Ull espejo, 0 simctrfn bilaferal.

14

Las Fechas

FLanqueando La linea que corresponde aprox­imadamente aL eje verticaL centraL deL mon umen­to-La zona Lisa verticaL entre Los dos grupos prin­cipaLes de texto-hay dos fechas claras expresadascon barras y puntos, 0 combinaciones de "cinco" y"uno," en eL estiLo de notacion que tipifica elsistema conocido como La Cuenta Larga (fig.11a,b). Ambos juegos de numeros esttill precedidospOI' glifos introductores, y los dos terminan COil

signos en cartuchos que SOil sin duda sigllos de drasdeL "RedondeL Sagrado, " eL cicio caLelldario meso­americana de 260 dias, call coeficientes llulI/(!ricos.(EL numero (5) que acompalla al sigllo del dia de Lafecha de La derecha {fig. 11b, parte abajoJ sill dlldaocupaba La porcioll de sllperfieie desapareeida jllstoa La izquierda del eartlleho.) All/bas feehas estrilltambien aeompaJladas pOI' eI coefieien te nllll/(!ricodeL dia deL "AIIO Vago" de 365 dias.

La feeha de Cuenta Larga a la izqllierda (fig.11a) es 8.5.3.3.5, la ClIaL en el sistema ClasieoMaya aLeanzaria al dia del Calelldario Redondo de13 Chicehan 3 Kayab (Nota 3). Ell este easo el sig­na deL dia es lIna eabeza de serpiellte (Fig. 11a,abajo), correspondiellte a la significaeion Maya yMexicana de este dia (Thompsoll 1950:75). EIcoeficiente correcto (3) para e/ dia de/mes apareee alLado del mas bajo de Los g/ifos qlle intrvdlleell a estafecha (Fig. 11a, superior derecha).

La configuracioll de La otra (posterior) feeha,8.5.16.9.7, es igual, pero sus jervglificvs intrv­ductores estan precedidos par side glifos eneima deelIas en la misma coLumna (uer fig. 14, M1-7J.Esta segunda notacion de ClIellta La rga alcallzaria,en ei sistema Maya, UlIa feeha del CalClldario Red­ondo de 5 Manik 15 Pop. En este caso, eL cvefieielltedel signa del dia ha desapareeido y 110 es posi/JIe 1I1laidentificaci6n acertada de la cabeza de 1I1l allilllalque estci en ei cartueho (fig. 11 b, abajo). Segl! 1/

Thompson (1970:76), tallto la praeticn Mexicnlla(y tambien La de los Mayas de las tierras altas)tendria un venado. Otra vez, sin elllbargo, elcoeficiente eorrecto del mes aparece al lado deljeroglifico introduetor (l1b, sllperior izqllierda).Entonces, La evideneia illtemail/dicaqlle.lIle­canicamente, estas dos feehas de ClIellta Larga ellLa Esteia 1 de La Mojarra son tota/lIlellte cvllse­cuentes can praeticamellte tados los delllas ejelll­pios conocidos (nota 4).

The Dates

Flanking the approximate central verti­cal axis of the monument-the line dividingthe two main areas of text-are two cleardates expressed in bar-and-dot, or "five"­and-"one," combination numerals in thefive-place notation that typifies the LongCount (Fig. 11). Both are preceded by intro­ductory sets of hieroglyphic signs, and bothend with signs in cartouches which are cer­tainly day signs of the 260-day "SacredRound" of the Mesoamerican calendar, withnumerical coefficients (the number accom­panying the day sign of the right-hand date[Fig. lIb, bottom] doubtless occupied thearea of missing surface just to the left of thecartouche). Both dates are also accompaniedby the numerical coefficient of the day of the365-day "Vague Year."

The Long Count date to the left (Fig. lla)is 8.5.3.3.5, which in the Classic Maya sys­tem would reach a Calendar Round day of 13Chicchan 3 Kayab (Note 3). In this case theday sign is a snake head (11a, bottom), cor­responding to both the Maya and Mexicansignificance of this day name (Thompson1970:75). The correct coefficient (3) for theday of the seventeenth month appears besidethe lower of the two hieroglyphs which intro­duce this date (11a, top right).

The pattern of the right-hand-andlater-date, 8.5.16.9.7, is the same, exceptthat its introductory glyphs are preceded byseven glyphs above them in the same column(see Fig. 14, Ml-7). This second Long Countnotation would, in the Maya system, reach aCalendar Round date of 5 Manik 15 Pop. Inthis instance, the day sign coefficient is miss­ing, as noted above, and a positive identifica­tion of the animal head in the cartouche (Fig.lIb, bottom) is not possible. (According toThompson [1970:76), both the HighlandMaya and Mexican systems call for a deerhead.) Again, the correct month coefficientappears beside the introductory glyph (lIb,top left). Internal evidence thus indicatesthat, mechanically, these two Long Countdates are fully consistent with virtually allother known examples (Note 4).

11

o 0 0

000

c

a

PIIII

/? l:f I,IIJ

restaurada

o 0 0( :oJ

oJ

o 000

o 0( ::::J

~c~

b

15

16

Ordell de Lectura

Para la solucion de esta es basico supcJIler quelas columnas illdividuales debell SCI' lefdas de arribaaabajo. Esto parece ulla premisa segura, basada 110

solamente en la disposicioll de las fechas men­cionadas, sino tambiell en el formato colull1lla(mica y orden de lectura de arriba a abajo que car­acteriza a practicamente todos los textos meso­americanos del Per[odo Preclasico (Justeson1986:447, etc.). Estos illcluyell el texto (CI/ lamisma sistema de escritura) grabado ell la Es­tatuilla de Tuxtla (Holmes 1907; Covarrubias1957; Meluzin 1987), que es tambien d "pariente"mas proximo conocida de la estela de La Mojarra ellcuanto a la fecha y proximidad geografica (fig. 1;Notas 4 y 5).

Dado un orden de lectura columnar de arribaa abajo, resulta no obsta/zte claro, co III0 se ha men­ciona mas arriba, que de los dos grupos prillcipalesde columnas que constituyen el texto ell su total­idad, uno fue intencionadamente colocado CI/ ordeninverso. Toda la evidencia disponible indica que lascolumnas A-L (las 12 que estdn encima de la rep­resentacion de la figura estdn en orden illverso (fig.11). En primer lugar, los jeroglfficas de la forma decabezas en esas columnas estan miralldo a la de­recha (del observador) en lugar de ala izquierda, 10cual es una violacion general de la direccion lISU­aide las representaciones textuales formativas (lascuales normalmente miran hacia el principio deltexto), y una violacion espedfica del aparente ordendel texto de la Estatuilla de Tuxtla (Meluzin1987:68).

En segundo lugar, 10 que parece ser Ull frasejeroglifica occurre dos veces en elmollllmento, unavez en posiciolles R4-7 (vel' figura 14), y otra vezen posiciones 87 hasta C3. En otras palabras,asumiendo que esta serie de glifos ell la columna Rconstituye una unidad coherente de algun tipo, esamisma unidad se lee de derecha a izquierda en lascolumnas 8 y C. (La aparacion de 10 que MCluzin[1987:891 llama un "signo de fillal," intermladoen 89 no puede ser explicada.)

La diferencia aritmetica elltre las dos fechas deCuenta Larga de la estela de La Mojarra es, CI/

terminos de los perfodos de Cuellta Larga, 13.6.2.Interesantemente, un "13" aparece ell la posicion11 (sobre el signo que se asemeja a un tun Maya, elcual tambien aparece en los glifos introductores de

Reading Order

Central to the solution of this question isthe assumption that the individual columnsare to be read from top to bottom. This ap­pears a secure premise, based not only uponthe arrangements of the dates just noted, butalso upon the single-column format and top­-to-bottom order of reading that characterizesvirtually all Mesoamerican texts of the Pre­classic Period (Justeson 1986:447; etc.). Theseinclude the text (in the same script) engravedupon the Tuxtla Statuette (Holmes 1907;Covarrubias 1957; Meluzin 1987), also theclosest known "relative" of La Mojarra Stela 1in terms of date and geographical context(Fig. 1; Notes 4 and 5).

Given a columnar reading order of top tobottom, it is also clear, as noted above, that ofthe two major groups, or sets of columns thatconstitute the text as a whole, one was inten­tionally rendered in reverse order (Fig. 10).All available evidence indicates that the Col­umns A-L, those above the figure portrayed(Fig. 12) are backwards.

First, as noted, the head glyphs in thosecolumns face right instead of left-a generalviolation of the usual direction of early textualrepresentations (which most often face thebeginning of the text), and a specific violationof the apparent text order of the Tuxtla Stat­uette (Meluzin 1987:68).

Second, what appears to be a glyphic"phrase" occurs twice on the monument,once in Column R at positions 4-7 (see Figure14), and again in Columns Band C at posi­tions B7 through C3 (Fig. 14). In other words,assuming that this run of glyphs in Column Rdoes constitute a cohesive unit of some sort,that same unit reads from right to left in col­umns Band C. (The appearance of whatMeluzin [1987:69] calls an "ending sign," in­terspersed at B9, cannot be explained).

The difference between the two LongCount dates on the La Mojarra stela is, interms of the periods, 13.6.2. Interestingly, a"13" appears at position 11 (above a sign re­sembling a Maya tUIl, which also appears inthe introductory glyphs of the dates at A3[Fig. 11] and M10 [Fig. 14]), and a "6" at J2.

las fechas en A3 y M 10 (fig. 11); y un "6" enJ2. EI imprescindible "2" no esta presente. Estaposible presencia de 10 que puede ser sobre todoun expresion de un Numero de Distancia, su­giere que su posicion adecuada entre las dos fe­chas solo se conseguirfa si el texto sobre la figurase invirtiera (Nota 6).

De acuerdo con los pUlltOS que se acaban decitar y la falta de evidencia que indique 10 con­trario, las columnas sabre la figura han sidomarcadas en orden inverso en la Figura 12, pararef/ejar 10 que parece ser el orden carrecto de lec­tura. Una version fotograficamente invertida deesas columnas, para mostrar como aparecerfaun orden de lectura de izquiedo a derecha (A-U,se expone en la figura 13.

17

The requisite "2" ismissing, however.This presence of what may be most of aDistance Number expression suggests thatits proper position between the two dateswould only be attained if the text above thefigure was read from right to left (Note 6).

In accordance with the points justcited-and the lack of evidence to the con­trary-the columns above the figure havebeen labeled in reverse order (L-A) in Fig­ure 12 to reflect what appears to be the cor­rect reading order. A photographicallyreversed version of those columns, toshow how a left-to-right reading order(A-L) would appear is shown in Figure 13.

Ver la figura 7 para el distibuci6n actual de los glifos en el monumento '\...

A00

F M N 0 P Q R S T U

~1 0000 000

1~"

'~ t1J ~.,1 (Gll~

1~t'-'-I.

~l§OS 1~

~ ==::l1 '" •

(£] ~

"~oo

~,-,11.

~"

~ (§@ @§!l ..~ ~ aJ@§!9 0 GJ ~ CYVI

~."

[fff? ~..

8IEl~G±8

~ 5 GIEJ 5~ ~~ ~

sEB~~ 5 • H] ~ 5~ G

5 [GtrclJ5.. :

~5 ii:iD!Ilml 5 GtE ~r","" 00

~== r-t:JU"""I

6:IDl ~(iiiiiil..0oG1JC) 912 ' '

~ ~ II..

~C)&10 ~'

GEl ~ am .. :~~

~ m" 001

~.~ (\J"iJl

10~t:> ~

~G ~

~10 r-:-:o

·110~ ~ ~

><: ,'=

GH] ~ tJ!fj.~ 10 :, 10

a~ ~ [05 ~ 10~ ec.:1O~~~9~ 00 ~ ~

10~ ~

~=

EDIi3 10 §W 2..:J: c:HEJ ~ru-u"' ~ ,'=IS cZBJ ~ = G ~ttl v 0

000 (/1 11/ vu ~ 14~

c::=:=~

.. ..15~5 lIt.'no~.

~.~ ~ g~

®G "8 fr~= 15 ~ o <7fl. ~ C:::::::J7 I~I QQ?

~ ~15 pUb. ,

~~. "'\ \\

(U"Ul

15~000

0 GID <U"'U'1

~H = 20

~ m f§))51... =~= 15 iJ w:J' ,

~~

CIfEJ QOo G!EJ BIEJ I~~ 60U~ 20 [illJ:J

0000

~ ~0 IIililI1uu= ~ 20~6B ~~I a 00

EiIii3 =9 ...... •• om r;;;~ {f///[J [GV?J =

20 m a.::!!'l §E20

GJ 200 0 ([Ern =

~a15 c===:J 25 ((itiiIil 0 0 @acru

eE::1 rui:Jl

~C I ~ ~ ~0 25 G1E

,,~ ~20 "

(~ G]~ ~ G VlZlJ

•• (B ~

~Qoo ~ 25~ 8~

@] B!:i[';l~, €fbj 25 (JJ£J B~ C:::lUI:::J Izlffil~

~25

29 .. @5J 25

@i2] ~ c::J f1HIDG±EI~

~(G1JCJ]

m a l!j ~ ~

~~

5 .~. 6~·...n '~h2~~ ~u~30 (>:<] ~

26 ~GHJ GfE] ~ 30 ~Ub

7 ........ fti' 30~30 f!i!!!2 0 0

illnjTi/iiiI 00

~/ V" .t ~ (~ ~£J ~ . -...-....-..... '~q~ G

IE:,_;:.:.. ' @ill 30 ~

0 ., .. :-. ~~ cillIh r;;u, GIEJfEE ~ 35 ES8 [[II]

, ,35 (G\@

35(G11@ c=lu~ GJ w~ 3ID L.o..-

5-' --- G:afia C37E: II; ~", .........-,;.

-'-- 35 m "'dU'k::':

=== Qr'-€.0 .P.1~,~-",,~.~

8 llIIIIIIUiIiI ~ :" ..tG ' '.,.. ", ,,;--- --- §U ~ G3f]' 40~ Jft =40[g40 _.

:11' K -33~ ~ ~ flIllI~ X~ --- ;-.II'i'i1P ~

,..,I~

~-27~

or0

0

E~

-35 (CElIl Q;ffi <h6EiI!3 c=

-30~- ~oU\:::

~E L I 'im G] 40 ffi-30 ,. ffiE] . .~

mJ[;J 45 [GVCl! 45 @~ Y~ G00il ~

46 r:;-:;-r-;:;u-, £Woq <:>0@l 45~ GID ~.. ~

~~ ~ -40 ffi 45

~~ GffJL GIEl ~

fUI:i1

~\C(,l ~~$

-35 00 -35 ~

.~

bJU6 GIfl 49'~ 49C8J 50 qff)

~ ffifJ -44~~

510

~ *38 5lllL?-38 BJ

rODos LOS GLIFOS en la Estela 1de La Mo"arra se muestrall aquf a ALL THE GLYPHS on La Mojarra Stela 1are shown here at one-fifthquinto de tamafio actual. La colocaci6n es por co unlllas, como esliill ell el actual size, The arrangement is by columns, as they appear on themonumento mismo (ver fig. 7). Sin embargo, aquellos que esliill mostrados monument itself (see Fig. 7). However, those shown In negativeen10rma ner,ativa (izqulerda) hall sido invertidos para reflejar el cambio de form (left) have been reversed to reflect the ad~ustment of actualor en actua aorden de lectura, eXfalicado arriba, y mostrado eIlla figura 13, order to reading order, as explained above and s own in Figure 13.

14La numeraci6n de los glifos sigue a costumbre normal, con los Ilumeros ala The numbering of the hieroglyphs follows conventional practice,

• izquierda de la columna p'ertinente, EI sfmbolo' aparece anles de un numero with the ker numbers abpearing to the left of the relevant column.9 ,11M cuando faltanJlifos arriba en la misma columna, como en las columnas N, The symbo • appears efore a number when there are missing

0, 'toP' Los reas donde estti dafiada la superficie estan marcados por el glyphs above it, as in Columns N, 0, andJ'..:."pamaged or missings(m 10 areas are marked by means of the symbol ...

CO

20

CARACTERISTlCAS DEL TEXTO

RE5ULTA APARENTE, despues de unacuidadosa inspecci6n del texto en el mo­numento de La Mojarra, que el sistema de

escritura utilizado combine el usa de signos indi­viduales y compuestos de esos signos. La numer­aci6n de elementos, 0 "bloques" jeroglificos, en lafigura 14 estd basada unicamente en la con­exi6n ffsica de elementos. 5in embargo, incluso esteaparentemente poco complicado criterio presentaalguna ambiguedad. Por ejemplo, aunque el signoen R3 (ver figura 14) toca al signo que estci por de­bajo suyo, R3 se cont6 como un elemento separado,basado en las otras 35 veces en que el signo apareceen el texto (Nota 7).

Una catalogaci6n preliminar de esos ele­mentos, los cuales aparentan ser los signos consti­tuyentes del texto de La Mojarra, estci siendo ac­tualmente realizada. En total, el texto (columnasA-U) emplea unos 140 signos diferentes en un totalde unas 520 apariciones combinadas graficamenteen 428 jeroglificos diferentes (Nota 8).

Las formas de los signos en el texto de LaMojarra sugieren que algunos son "signos princi­pales;" otros, "afijos" (casi siempre horizontales),aunque, al igual que en la escritura Clasica Mayaposterior, tal distinci6n puede demostrar ser en sumayor parte una cuesti6n de forma. La manera enla cuallos diferentes signos estdn combinados unoscon otros muestra una tendencia general hacia el"apilamiento" de uno sobre otro en lugar de uno allado de otro. Tambien parecen estar presentes al­gunos ejemplos de combinaci6n 0 fusi6n de signos,el mas 6bvio se encuentra en la posicion Q23,aparentemente una combinaci6n de los dos signosque pueden verse s610s en *035 1/ 544.

EI signo horizontal con dos puntos 0 ele­mentos debajo de la forma de una U invertida( C""U"""U1 ), que iguala al signo "final" del texto de laEstatuilla de Tuxtla discutido par MeLuzin(1987:69), divide al presente texto en al menos 36segmentos, ademas de las dos fechas de CuentaLarga que ya han sido discutidas (las ClIales term i­nan las columnas A y M, pero sin ese signo), 10cual hace un total de 38 subdivisiones. La maslarga de estas unidades (R9-39 )tiene 31 jeroglificos;la mas corta (C5-6), s610 dos.

Despues del signo "final," el que aparece masfrecuentemente es GIEJ (30 veces), y solo, en casi

CHARACTERISTICS OF THE TEXT

I T IS APPARENT from a careful inspectionof the text on the La Mojarra monumentthat the system of writing used involves

the use of both individual signs and com­pounds of those signs. The numbering of ele­ments, or glyphic "blocks" in Figure 14 isbased solely upon the physical connection ofelements. However, even this apparentlyuncomplicated criterion presents some ambi­guity: For example, although the sign at R3(see Figure 14) touches the sign below it, R3was counted as a separate element, based onthe 35 other occurrences of that sign in thetext (Note 7).

A preliminary catalog of those elementswhich appear to be the constituent signs ofthe La Mojarra text is presently being com­piled. In all, the text (columns A-D) employssome 140 different signs in a total of about 520appearances combined graphically into 428different hieroglyphs (Note 8).

Sign shapes within the La Mojarra textsuggest that some are "main signs"; others,"affixes" (nearly always horizontal), al­though, as in later Classic Maya script, such adistinction may prove to be largely a matter ofform. The way in which the various signs arecombined with one another shows a generaltendency toward "stacking" one above theother rather than side by side. Several exam­ples of conflation also seem to be present, themost obvious being at position Q22, appar­ently a combination of the two signs whichmay be seen alone at *035 and 544.

The horizontal "bracket" sign with twodots or U-shaped elements ( ("UU]), whichmatches the "ending" sign of the Tuxtla Stat­uette text discussed by Meluzin (1987:69),divides the present text into at least 36 seg­ments, in addition to the two Long Countdates already discussed (which end columnsA and M, but without that sign)-a total of 38such subdivisions. The longest of these units(R9-39) has 31 glyphs; the shortest (C5-6),only two.

After the "ending" element, the nextmost frequent sign to appear is GRJ, whichshows up 30 times (and alone in nearly all

todos los casos. Este signo tambien encabeza diez, 0mas de una ClIarta parte, de los segmelltos deltexto. Los pr6ximos, en cuanto asu frecuencia, sonlos signos~ y (G1JCl] .

Los jeroglificos en forma de cabezas, de loscuales hay unos 13 fOYlnas distilltas, representanfiguras humanas (Ll, M1,etc.), sobrenaturales(OS, R27, etc.) y animales (R14, 529,etc.). De lasprimeras, son creadas algunas variantes inte­resantes por medio de rasgos del tocado. Es evi­dente el contrasto, por ejemplo, entre las cabezas enE2 y Ll, Y las 09 y Q15 (Nota 9).

La aparicion de Iltllnerales, expresada pormedia de combinaciones de barras y pUlltOS, en laparte superior de las columnas delltro del texto(por ejemplo, 11, N1 .II 01), illdica que si los ele­mentos para los ClIales siruell de coeficielltes se en­cuentran en efecto preselltes .II 110 suprimidos, ell­tonces los dichos elementos aparecen bajo losnumeros, correspolldielldo al estilo Maya tardio elllugar de al estilo "Zapoteca" de Oaxaca. De entrelos jeroglificos bajo los 10 lIumeros Illostrados (y 110

menos de cuatro de e/los son lIulI/eros "13")ninguno de elias es reconocible excepto quizas elsigllo que se parece al tun Maya ell posicioll 12.Como se ha sellalado, aparece Justo debajo delmlmero 13, .II 13 tunes es 1/11 compollellte correctodel intervalo que cOllecta las dos fechas de CuelltaLarga. Este tun tall/biell aparece ell su posicioncorrecta (para las 1I0rmas Mayas) ell los jeroglificosintroductores de ambas fechas (Nota 10).

Todos los jeroglificos esteill grabados, calllineas can un allcho gelleral de 1.5I1/m, el mismo delas finas lilleas usadas para detallar diferelltesrasgos en la figura del bajo relieve. Adelluls, partesde algunos sigllos (uer, por ejell/plo, 82, K2 Y Q5)tienen zonas cortadas poco profu IIdas. Pequellasdiferellcias estilisticas elltre sigllos que, seg/III su­gieren todas las demcis euidellcias, 5011 iguales (i.e.NlO y P9; N*35 .II Q13b), puedell illdicar el trabajode diferelltes escribas ell el IllOlIumento. Laconfiguraci611 de la mayoria de 105 jeroglificos estdcaracterizada por ulla calidad caligrcifica muyparecida a la forma de los jerogrficos Mayas en losc6dices, ell la cual ellimite illferior de la forma delcartucho estd arqueado .II el extrell/o izquierdo cur­vado (i.e. P20 .II 52). Esto, mas el uso obuio delineas de guia de las colulI/nas parcialll1ellte gra­badas (notar los margenes derechos de 0, P Y Q)indica que el texto fue trazado en la piedra alltes deser taUado.

21

cases). This sign also is the beginning ele­ment in ten, or more than one-fourth, of thetext segments. Next in order of frequency aresigns 6!@ and IGUaj .

The head glyphs, of which there at least13 distinct forms, depict humans (LI, Ml,etc.), supernaturals (OS, R27, etc.), and ani­mals (R13, 529, etc.). Of the former, someinteresting variants are created by headdressfeatures. Evident is the contrast, for example,between the heads at E2 and LI, and those at09 and Q15 (Note 9).

The appearance of numerals expressedby bar-dot combinations at the tops of columnswithin the text (for example, 11, Nl, and 01)indicates that if the elements for which theyserve as coefficients are indeed present (andnot suppressed), then those elements occurbelow the numbers, corresponding to the later"Maya" style rather than to "Zapotec" style ofOaxaca. Of the glyphs below the ten numbersshown-and no less than four of those are13s-none are recognizable except perhapsfor the sign resembling the Maya tun at 12. Asnoted, it appears just below the number 13,and 13 tuns is a correct component of the in­terval connecting the two Long Count dates.This "tun" semblant also appears in its proper(by Maya standards) position in the date in­troductory glyphs (Note 10).

All the hieroglyphs are incised, with ageneral line width of 1.5mm-the same asthat of the fine lines used to detail variousfeatures on the bas-relief figure. In addition,parts of some signs (see, for example, B2, K2,and Q5) have shallow excised areas. Slightstylistic differences between signs that allother evidence suggests are equal (i.e., NI0& P9; *N35 & Q13) may indicate the work ofdifferent scribes on the monument. Theconfiguration of most of the glyphs is charac­terized by a calligraphic quality much like thecodical, or painted, form of Maya hiero­glyphs, in which the bottom boundary of thecartouche form is arched and the left end iscurved (i.e., P20; 52). This, plus the obvioususe of partially incised column guide lines(note the right-hand margins of 0, P, and Q),indicates that the text was actually laid out onthe stone prior to carving.

22 23

MATERIAL RELACIONADO RELATED MATERIAL

c

a

© 1982 JUSTIN KERR

b. epe fraxltl,·"tv dt' (eram/co ,Oil xl(ft'~ lfllfl,xrafa pllrGe(lrxt' Stuart del (lrIxwal, ftlrft-sia dt'! MuSt" Nacw­tlaf de Alltropt,ltlXla.'I (/ l"stltuto Naejollal Jt' AI/tro·

pohWia f Hishlrta, Mex/(lt; dd",j(l por Gt'(Jr,>\I' Stuart

it'scala: aproxlIuaJamt.'I1tt' 5 X tama';tI actllal})

c: COL callt':/ta certimicQ dt' Uti mono

(escQla: aprt1ximadaIll0l/(' .5 X tamal;LI actual}

15

rniM~691~

G000=~\:BE

a: San Andres Tuxtto: tato de t'statuilla de Ilefrita(dibujo pM G"orgt' Stuart dt'l oriX;1Ial, cortfsia del

National Museum of Natural History.Smithsonian Institution. Washigton. D. C. ){l'scala: .67 X ramO/it' artualJ

-

b

AN EXHAUSTIVE SURVEY of theMesoamerican archaeological recordfor material which may be produc­

tively compared to La Mojarra Stela 1 is out­side the stated purposes of this report. How­ever, in terms of both iconography and epi­graphy, a cursory review of the literatureyields some interesting comparisons.

The most profitable search naturally liesin the realm of Late Preclassic monumentalart from the regions of southern Veracruz,from the Isthmus of Tehuantepec, and fromthe Pacific Coast area of Chiapas and Gua­temala. Those regions are unified by the"Izapan" art style (M. Cae 1966:60; Quirarte1973; Parsons 1986; etc.); the earliest formalexpressions of the Mesoamerican calendar(Coe 1962); and sporadic examples of some ofMesoamerica's earliest forms of writing (out­side of the Oaxaca area), which Justeson(1986) labels as "Isthmian." All these LatePreclassic manifestations are pertinent to theLa Mojarra monument.

The beaked or snouted head whichdominates the La Mojarra headdress resem­bles the mask worn by the personage onKaminaljuyu Stela 11 (Miles 1965: 260) andmay somehow relate to the Principal BirdDeity defined by Bardawil (1976) and elabo­rated upon by Cortez (1987). The topmostfront profile head on the La Mojarra stela hasa near duplicate in the "long-lipped" deityhead depicted on the carved human femurfrom Chiapa de Corzo Tomb 1 (Agrinier1960:16) (Note 11).

The writing system used on the LaMojarra stela appears on the Tuxtla Statuette(Holmes 1907; Covarrubias 1957; Meluzin1987) (Fig. 15a); on a pottery fragment fromChiapa de Corzo (Fig. 15b); and on an un­provenanced ceramic monkey mask in a pri­vate collection (Fig. 15c). It may have alsoformed the non-calendrical text of Tres Za­potes Stela C (Stirling 1940: Fig. 5; M. Coe1976: Fig. 4a). A short text on a celt from EISitio (Navarrete 1971: Fig. 5) and the glyphson the "Stone of Chapultepec" (Stirling 1943:Fig. lOb) may also be pertinent.

LE ESTUDIO EXHAUST/Va del archivoarqueologico de Mesoamerica en busca dematerial que puede ser productivamente

comparado con la Estela 1 de La Mojarra esta fueradel proposito de este informe. Sin embargo, enterminos de iconografia y epigrafia, una revisionsuperficial de la literatura proporciona algunascomparaciones interesantes. La busqueda mas pro­ductiva naturalmente se encuentra en el campo delarte monumental Preclasico Tardio de las regionesdel sur de Veracruz, del Istmo de Tehuantepec, ydel area de la costa del Pacifico de Chiapas yGuatemala. Estas regiones se encuentran uni­ficadas por el estilo artistico "Izapan" (M. Coe1966:60; Quirarte 1973; Parsons 1986; etc.); lasprimeras expresiones formales del calendario me­soarnericano (Coe 1962); y esporadicos ejemplos dealgunas de las primeras formas de escritura meso­americana (fuera de la zona de Oaxaca), las cualesJusteson (1986) califica como "Isthmian." Todasestas se refieren al monumento de La Mojarra.

La cabeza grande con pico que'domina el toca­do de la figura de La Mojarra se parece a unamascara utilizada por el personaje en la Estela 11 deKaminaljuyu (Miles 1965:260) y puede estar re­lacionada de alguna forma con la "Deidad PajaroPrincipal" definida por Bardawil (1976) y am­pliada por Cortez (1987). La cabeza frontal de perfilmas alta de la estela de La Mojarra tiene un doble enla cabeza de deidad "de largo labio" representada enuno de las femures humanos tallados encontrado enla tumba 1 de Chiapa de Corzo (Agrinier 1960:16)(Nota 11).

EI sistema de escritura utilizado en la estelade La Mojarra aparece en la Estatuilla de Tuxtla(Holmes 1907; Covarrubias 1957; Meluzin 1987;y fig. 15a); en un fragmento de ceramica de Chiapade Corzo en el Museo Nacional de Antropologia deMexico (fig. 15b); y en una mascara de ceramicacon forma de mono, de proveniencia desconocidaque se encuentra en una coleccion privada (fig.15c). Puede tambien haber formado el texto no cal­endarico de la Estela C de Tres Zapotes (Stirling1940: Fig. 5; Coe 1976: Fig 4a). Un pequeflO textoen una cabeza de hacha de El Sitio (Na varrete1971: Fig. 5), Y los jeroglfficos de la "Piedra deChapultepec" (Stirling 1943: fig. lOb) tambienpueden ser pertinentes.

24

RESUMEN

ESTE NUEVO MONUMENTO del surestede Veracruz proporciona un nuevo cono­cimiento y eleva muchas preguntas impor­

tantes relativas al periodo Preelasico Tardio deMesoamerica. Aunque los detalles especificos delcontexto arqueol6gico son dificiles de encontrar, laestela sigue siendo un objeto no portdtil de origensegura, y esta fechada.

EI materia! calendario por si solo es de un graninteres, dado el excelente estado de los jeroglificos;la expresi6n del cielo de 365 dias y la aparici6n denuevos jeroglificos. Entre estos ultimos hay dossignos de dias y elementos introductorios de CuentaLarga, que ineluyen 10 que pueden ser patranes delos meses. Ademas, los datos arriba citados sug­ieren la presencia de un Numero de Distancia. Enterminos de fechas de Cuenta Larga de este periodotemprano (ver nota 4), la estela de La Mojarra nosproporciona dos de los mas claras y completosejemplos.

La talla en relieve de la figura nos propocionauno de los mejores ejemplos conocidos del estilo"Izapan" y en esa parte de la zona "Isthmian"mas distante de Kaminaljuyu y de las tierras altasMayas, que siempre se ha tenido como el foco deldesarrollo pLeno del estiLo. Quiza mas importante,el monumento pone en yuxtaposici6n eL estiLo de[zapa y a La enigmatica escritura antes conocidaunicamente a traves de La inscripci6n de La Es­tatuilla de Tuxtla y de otras dos artefactos, unofragmentado y el otro de praveniencia desconocida.

EL monumento de La Mojarra tiene quiza sumayor importancia en cuanto al desarrollo y exten­si6n de la escritura Mesoamericana y las practicascalendricas. Su descubrimiento fortuito aumentainstantaneamente Los ejempLos existentes de estaescritura, de mitad del sigLo segundo, casi en sieteveces. Por otra parte el tamano extraordinario deeste texto proporciona una base de datos sin prece­dentes para eL anaLisis de la estructura y patr6n deesta escritura. Se espera que La aplicaci6n de analisislingUisticos aL problema resulte pravechosa paraayudar a reconstruir tanto La cultura como lasdinamicas culturaLes de un capitulo importante delpasado arqueol6gico de Mesoamerica.

SL:BMITIED NOVEMBER 1987;REVISED JUNE 1988

SUMMARY

THE NEW MONUMENT from south­eastern Veracruz provides some newknowledge and raises many important

questions relative to Late Preclassic Meso­america. Although specific details of the ar­chaeological context are elusive, the stelaremains a non-portable object of secure pro­venance, and it is dated.

The calendrical material alone is of greatinterest, given the excellent condition of theglyphs; the expression of the 365-day cycle;and the appearance of "new" glyphs. Amongthe latter are two day signs and Long Countintroductory elements, including what maybe month patrons. In addition, evidencecited above hints at the presence of a DistanceNumber. In terms of Long Count dates of thisearly period (see Note 4), La Mojarra Stela 1provides us with tWQ of our clearest and mostcomplete examples.

The sculptor of the figure provides uswith one of the finest known examples of theIzapan style-and in that part of the Isthmianarea most distant from the Izapan zone, ge­nerally thought of as the focus of the fullestdevelopment of the style (Parsons 1986). Per­haps more importantly, the La Mojarra mon­ument brings into juxtaposition the Izapanart style and the enigmatic script heretoforeknown only from the Tuxtla Statuette in­scription and two other artifacts, one frag­mentary; the other, unprovenanced.

It is in the matter of the developmentand spread of Mesoamerican writing and cal­endrical practices that the La Mojarra monu­ment holds perhaps its greatest importance.Its fortuitous discovery at once increases theexisting sample of this mid-second centuryscript almost sevenfold. Moreover, the sheerlength of this text provides an unprecedenteddata base for the analysis of the structure andpattern of that script. It is hoped that the ap­plication of linguistic analysis to the problemwill prove profitable in helping to reconstructboth the culture and the cultural dynamics ofan important chapter in the archaeologicalpast of Mesoamerica.

NOTA 5

1. EI silio de La Mojarra fue brel'el11ellte l'isilado a l11ediados de a/lrilde 1988 par el autor. acol11pmiado par el Licellciado Oril'e GarciaMora, Presidellte MUllicipal de Aluarado; /01111 M. Kesilisiliall,M.D., de WashillgtO'I, D.C.; y George Stuart de la Natiollal Geo­graphic Sociely l/ del Celltro de llIl'estigaci611 Mal/a. Esla rapidaillspeccioll mostro Ulla exlellsa zOlla COil 1111 largo II/Ollticulo, que esprobablel11ellte Ulia IIlczcla de uarias cOllstrucciolles difaClllt's, oriell­lado aproximadal11ellle a die: grados aloesit' del I/Orle lIlagllCtico l/l'arios 1i/OIllfculos 0 grlll'0s de 1Il0lltiClllos caCtll/os.

2. Olros IIlOlIUlllelltos COil texlos Jeroglificos desacostlllllbradalllelltelargos sOllllorlllallllellle de la ZOIIa Malia. Eslos illelulICllla ESlela 31de Tiknl (/olles y Sattalilwaite 1982: fi:~. 52); la Estel~ 22 de Nartllljo(Graham y VOII EUll' 1975:2:36); el Altar 21 de Caracol (Cilase IIChase 1987:33); l/ tas taNas del Teml'lo de las Illsail'ciolles dePalellque (Robertsoll 1983: figs. 95-97).

3. Por 1110til'oS de cOIll'elliellcia, se ilall ulili:ado aqui los t('rmillos decalendario y los rolulos ulili:ados de COSIUIlt/lrt' al disculir el sislemadel Periodo Cltisico de los Mal/as. La llalurale:a de la relacitjll ellire laestela de La Mojarra l/ la cll/iura Maya, l/ CIllre olras culturas de laallligua Mesoamerica, 5610 puede l'ellir dadal'or II/I allalisis posteriorl/ por col11paraCiolles /ltlsadas ell 1111 cOllocimielllo Illas «mll'lelo de LaMOJarra y de los dalos arqueol6gicos ell la ,'eWla regi611 de Veraerll:meridiollal.

4. Las dos feellas de Cuellia Larga ell la ESleia 1 de La MOJarrapuedCll ser equimlelltes, por lIledio de la forllluia de correlacioll

584285, al 21 de lIlal/o del alio 143 de IIl1eslra Em .'I ,,113 de Julio delmio 1561alllbihi de Iluesira Em. Estas fL'cilas sitliall ftllliollulllellio ellla "familia" de lasfeellas del Preelasico Tardio de Cllellia Larga, «1110­cido desde el area que I'a desde el sur de Vemall:, M('xico, alml'(;s dela l'ertiellte del Pacifico de Gllalemala. Eslos SOil los lIacimielllosarqueologicos de Ciliapa de Cor:o, Cilial'as, Mhico (Lee'1969); TresZapotes, Veraeruz, Mexico (Stirlillg 194()); [I Bali!, Gllatemala (COl'1957); Abaj Takalik, Gualemala (Grailalll 1987), II Sail Alldr~s

Tuxlla (Holmes 1907). .Estas fecilas (exelllyew!o recollslrllcciolles cllesliolla/lles) SOil

conlO siguell:

ESlela2 de Chial'a de Cor:o: (7.16.)3.213 16 BOI 16 XulJESlela C de Tres Zapotes: 7.16.6.16.18 6 Et:llall (j Uo)ESlela 1 de EI Baul: 7.19.7.8.1212 E/' 10 Mllall)ESlela 5 de Abaj Takalik: 8.(2.)2.10.5 (7 Clticcilall 18 Uo)Estela 5 de Aba; Taknlik: 8.4.5.17.11 17 Ciluell 14 Kaya/ I )

Estela 1 de La Mojarra: 8.5.3.3.5 13 Chicchan 3 (Kayab)Estela 1 de La Mojarra: 8.5.16,9.7 (5) Manik 15 (Pop)Eslaluilla de Tuxlla: 8.6.2.4.17 8 (Cal'all 0 Kallkill)

Todas las feellas soialadas es!till marcadas por IIIIa allsellcia dejeroglificos de los I'eriodos, ulla I'rdctica qlle colllillU6 ell d PeriodoCltisico del Cerro de las Mesas, Vcrt/au: (Slir/illg 1943, 1965; Coc1965,elc.).

25

NOTES

1. The site of La Mojarra was visited briefly in mid-April 1988by the author, accompanied by Lic. Orive Garcia Mora, Presi­dente Municipal of Alvarado; John M. Keshishian, M.D. ofWashington. D.C.; and George Stuart of the National Geo­graphic Society and the l=enter for Maya Research. That cur­sory survey showed an extensive site featuring a longmound-probably a composite of several different construc­tions-oriented approximately ten degrees west of magneticnorth. and several nearby mounds or mound clusters

2. Other monuments with unusually long hieroglyphic textsare mainly from the Maya area. These include Tikal Stela 31Oones and Satterthwaite 1982: Fig. 52), Naranjo Stela 12 (Gra­ham and Von Euw 1975:2:36), Caraco! Altar 21 (Chase andChase 1987:33), and the tablets of the Temple of the Inscrip­tions at Palenque (Robertson 1983: Figs. 95-97).

3. For the sake of convenience only. the calendrical termsand labels customarily used in discussing the Classic PeriodLowland Maya system are used here. The nature of the re­lationship of La Mojarra Stela 1 to the Maya and to other cul­tures of ancient Mesoamerica can only come with furtheranaylsis and comparisons based on a more complete knowl­edge of La Mojarra and the archaeological record in the neigh­boring region of southern Veracruz.

4. The two Long Count dates on La Mojarra Stela 1 may beequated by means of the 584285 correlation formula to May 21.A.D. 143 and July 13, A.D. 156. These dates place the monu­ment squarely in that "family" of Late Preclassic Long Countdates known from southern Veracruz. Mexico, to the distantPacific Slope of Guatemala, and include the archaeologicalsites of Chiapa de Corzo. Chiapas, Mexico (Lee 1969); TresZapotes.Veracruz. Mexico (Stirling 1940); El Bald, Guatemala(Coe 1957); and Abaj Takalik, Guatemala (Graham. Heizer, &Shook 1978); as well as the nephrite Tuxtla Statuette (Holmes1907).

In chronological order. the most secure of those datesare as follows:

Chiapa de Corzo Stela 2: (7.16.)3.2.13 (6 Ben 16 Xul)Tres Zapotes Stela C: 7.16.6.16.186 Etznab (IUo)El Bald Stela 1: 7.19.7.8.12 12 Eb (0 Muan)Abaj Takalik Stela 5: 8.(2.)2.10.5 (7 Chicchan 18 Uo)Abaj Takalik Stela 5: 8.4.5.17.11 (7 Chuen 14 Kayab)La Mojarra Stela 1: 8.5.3.3.5 13 Chicchan 3 (Kayab)La Mojarra Stela 1: 8.5.16.9.7 (5) Manik 15 (Pop)Tuxtla Statuette: 8.6.2.4.178 (Caban) (0 Kankin)

All the Preclassic Long Count dates from those sites aremarked by an absence of period glyphs-a practice that carriedinto the Classic Period at Cerro de las Mesas, Veracruz (Stirling1943, 1965; Coe 1965, etc.).

26 27

LIST OF REFERENCES

BIBLIOGRAFIA5. La Estatuilla de Tuxtla, una pequena figura de nefrita que se en­cuentra actualmente en la coleccion del Museo Nacional de HistoriaNatural de la Smithsonian Institution, en Washington, D.C.,E.E.U.U., (cattilogo numero 222579), fue descubierta cerea de SanAndres Tuxtla, Veracruz, en 1902, y publicada par primera vez parWilliam Henry Holmes (1907). La figura de 15.8 cms. de alto, es larepresentacion de un ser antropomorfico can pica de pato, cuyas partesfrontal, laterales y trasera estan grabadas COil UII total de 68jeroglificos (MeLuzin 1987). Entre elias hay ulla Cuenta Larsa equi/,­alente al ana 162 de nuestra Era, justa menas de seis alios desplles de laposterior de las dos fechas en la estela de La MOJarra .

6. Los jeroglificos en los brazos y delalltal frontal de la figura (fig. 8),quiztis el nombre a cargo del individuo, tiellell ulla idelltiea colltrap­artida en la posicion 'P39 (fig. 14), pero de nllevo, half ulla iIH'ersiollentre los asociadas conla figura .II los del texto de la co/~mlla de la mallOderecha. Este ultimo punta conduce a la especulacioll de qlle IlO Iinicamente el texto sabre la figura, sillo tambien la propia figura, paralguna razon conocida ullieamente par los que hicierol/ ell/lOIIUIIIClltO,puede estar tambien illllertida ell relacioll Call el texto que oellpa lamitad derecha del bloque. Una situaeioll tall illusllal jllstifiearla la eOIl­figuracion anatomicamente imposible de la IIlt/110 extelldida de la fig­ura, mencionada arriba. En resumell, si se dil,ide la eara de la Estela 1deLa Mojarra par su eje lIertical, .II se illllierte lillicamellte la parteizquierda (pero incluyendo la totalidad de la IllallO extelldida), el re­sultado mostraria Ulltextoculltilluode izquiada aderecha .II IIIIa figllraanatomicamellte logica miralldo hacia la izqllierda. CUll ellatrajeroglificos correctamente orielltados ell sus /Jrazos .II ropa.

7. Una situacion similar es citada par Meluzill (1987: Fig. 7) ell eltexto de la Estatuilla de Tuxtla.

8. Can todo esto, debe ser recordado qlle este ejemplo, tall gralldecomo es, tiene unos 20 0 25 sigllos 0 compllestos jeraslificus perdidos(vel' figura 14).

9. Las cabezas ell L1, 09, .II Q15 aparecell cumo partes de la mismacadena de tres glifos, sielldo la ullica diferellcia e/ elt'llimto del toeado[rontal. En L1 (como en E2) ese e/emento es lllia especie de diamallleencerrado en matro pUlltas, ulla cOllfiguraciollllista 110 solo ell los sig­nos en C2 y R6, S;'IO tambiell en la mitad de la represelltaeitjll de lacabeza de perfil en la parte superior fro II tal de/tocado de la figllra re­presentada en la estela (fig. 8b). i Pod ria el jeroglificode ealleza mareadaasi ser una referencia a la figura 7

10. Las otras seis apariciones de este sigllo ell el textollo plledell saexplicadas todavia.

11. Un monumento conocido solo COIl origm ell cl area gmeral deAlvarado, que se encuentra actualmelile ell exhi/Jieioll ell e/ Mllseo deXalapa, puede ser del mismo periodo. Represmta IIIIt/ figura de pie,mirando hacia la izquierda del obserllador. slljetalldo 1111 obJeto pareci­do al de la pieza de La MOJarra. Ademas, la colocacitill de la fisura ellrelacion con la zona circundal/te de la cara deimOlll/mellto reCl/erda ala de la estela de La Mojarra. POI' desgracia, la sllpaficie de esta piezaestti tan erosionada que resulta imposible determillar si alg II lIa l'CZ ex­istio un texto alii.

5. The famed Tuxtla Statuette, now in the collections of theNational Museum of Natural History of the Smithsonian Insti­tution, Washington, D.C., U.S.A. (catalog number 222579),was plowed up near San Andres Tuxtla, Veracruz, sometimebefore June 4, 1902 (Mason letter of that date in the files of theDivision of Anthropology, Smithsonian Institution, publishedby William Henry Holmes [1907)). The figure, 15.8cm high, isthe anthropomorphic representation of a being with a duckbill, the front, sides, and back of which are incised with a totalof 68 hieroglyphs (Meluzin 1987). The inscription includes aLong Count date equal to the year 162 of the Christian Era, justless than six years after the later of the two dates on La MojarrdStela 1.

6. The glyphs on the arms and lower front of the figure (Fig.7, V-Y), perhaps the name or office of the individual, have anidentical counterpart at position 'P39 (Fig. 14), but again, thereis a reversal between those associated with the figure and thatin the right-hand column text. The last point leads to the spec­ulation that not only the text above the figure, but the figure it­self, for some reason known only to the makers of the monu­ment, may also be reversed in relation to the text which occu­pies the right half of the slab. Such an unusual situatiQ,n wouldalso explain the anatomically impossible configuration of thefigure's extended hand, noted above. In short, if the face of LaMojarra Stela 1 is divided along its vertical axis, and if the leftportion (but including the extended hand of the figure) is re­versed, the result would reveal a continuous left-to-right text;and an anatomically logical figure facing left, with fourcorrectly-oriented glyphs on his arms and costume.

7. A similar situation is cited by Meluzin (1987: Fig. 7) in theTuxtla Statuette text.

8. With all these counts it must be remembered that this sam­ple, as large as it is, has an estimated 20 to 25 signs or glyphiccompounds missing (see Figure 14).

9. The heads at Ll, 09, and QI5 appear as parts of the samechain of three glyphs, the sole difference being that of the frontheaddress element: At Ll (as at E2) that element is a sort ofdiamond within four dots, a configuration seen not only in thesigns at C2 and R6, but also in half-depiction on the profilehead at top front of the headdress of the figure shown on thestela (Fig. 8b). Could the head glyph so marked be a referent tothe figure?

10. The six other occurrences of this sign in the text cannot vetbe explained.

11. A monument known only to be "from the area of Alvara­do," now on display in the Xalapa Museum mav be of the sameperiod. It depicts a standing figure facing the observer's left.holding an object resembling that on the Ld Mojarra piece. Inaddition, the location of the figure in relation to the surround­ing area of the monument face recalls that of La Mojarra Stela I.Unfortunately, the surface of that piece is eroded so that it isimpossible to determine whether or not a text was ever pre­sent.

AGRINIER, PIERRE

1960 The Carved Human Femurs from Tomb 1, Chiapa deCorzo, Chiapas, Mexico. Papers of the New WorldArchaeological Foundation, no. 9 [publication no.5]. Orinda, California.

BARDAWIL, LAWRENCE W.1976 The Principal Bird Deity in Maya Art: An Iconographic

Study of Form and Meaning. En The Art, Iconography,and Dynastic History of Palenque, Part Ill, editado porMerle Greene Robertson, paginas 195-209. PebbleBeach, California: Pre-Columbian Art Research andthe Robert Louis Stevenson School. (Tercera mesa re­donda de Palenque)

CHASE, ARLEN F., Y DIANE Z. CHASE

1987 Investigations At The Classic Maya City of Caracol, Belize:1985-1987. Pre-Columbian Art Research Institute,Monograph 3. San Francisco, California.

COE, M,CHAEL D.

1957 Cycle 7 Monuments in Middle America: A Recon­sideration. American Anthropologist 59: 597-611.

1962 Mexico. New York: Frederick A. Praeger.1965 Archaeological Synthesis of Southern Veracruz and

Tabasco. En Handbook of Middle American Indians,editado por Robert Wauchope, tomo 3, paginas 679­715. Austin: University of Texas Press.

1966 The Maya. New York: Frederick A. Praeger. (otrasediciones en 1980, 1984, Y 1987)

1976 Early Steps in the Evolution of Maya Writing. EnOrigins of Religious Art and Iconography in PreclassicMesoamerica, editado por Henry B. Nicholson, paginas107-122. Los Angeles, California: UCLA LatinAmerican Center.

CORTEZ, CONSTANCE

1986 The Principal Bird Deity in Preclassic and Early ClassicMaya Art. Manuscrito de la tesis presentado a la fa­cultad de la Universidad de Texas en Austin.

CovARRUBIAS, M,GUEL

1957 Indian Art of Mexico and Central America. New York:Alfred A. Knopf.

GRAHAM, IAN, Y ERIC VON Euw1975 Corpus of Maya Hierogtyphic Inscriptions, Volume 2, Part

1: Naranjo. Cambridge, Massachusetts: Peabody Mu­seum of Archaeology and Ethnology, Harvard Uni­versity.

GRAHAM, JOHN A., R. F. HEIZER, Y E. M. SHOOK

1978 Abaj Takalik 1976: Exploratory Investigations. EnStudies in Ancient Mesoamerica, lll, editado por John A.Graham, paginas 85-110. Contributions of the Univer­sity of California Archaeological Research Facility, no.36. Berkeley, California.

HOLMES, W. H.

1907 On a Nephrite Statuette from San Andres TuxtIa, VeraCruz, Mexico. American Anthropologist 9: 691-701.

JONES, CHRISTOPHER, AND LINTON SATIERTHWAITE

1982 The Monuments and Inscriptions of Tikal: The CarvedMonuments. Illustrations by William R. Cae. Univer­sity Museum Monograph 44, TikaJ Report no. 33, partA. Philadelphia, Pennsylvania: The University Muse­um, University of Pennsylvania.

JUSTESON, JOHN S.

1986 The Origin of Writing Systems: PreclassicMesoamerica. World Archaeology 17(3): 437-458.

LEE, THOMAS A.

1969 The Artifacts of Chiapa de Corzo, Chiapas, Mexico. Papersof the New World Archaeological Foundation, no. 26.Provo, Utah: Brigham Young University.

MELUZIN, SYLVIA

1987 The Tuxtla Statuette: An Internal Analysis of its Writ­ing System. En The Periphery of the Southeastern ClassicMaya Realm, editado por Gary W. Pahl, paginas 68­113. Los Angeles, California: UCLA Latin AmericanCenter.

MILES, SUZANNE W.1965 Sculpture of the Guatemala-Chiapas Highlands and

Pacific Slopes, and Associated Hieroglyphs. EnHandbook ofMiddle American Indians, editado por RobertWauchope, tomo 2, paginas 237-275. Austin: Univer­Sity of Texas Press.

NAVARRETE, CARLOS

1971 Algunas piezas Olmecas de Chiapas y Guatemala.Anales de Antropologia 8: 69-82. Mexico: Instituto deInvestigaciones Hist6ricas, Universidad NacionalAut6noma de Mexico.

PARSONS, LEE ALLEN

1986 The Origins of Maya Art: Monumental Stone Sculpture ofKaminaljuyu, Guatemala, and the Southern Pacific Coast.Studies in Pre-Columbian Art and Archaeology, no 28.Washington, D. c.: Dumbarton Oaks.

QUIRARTE, JACINTO

1973 Izapan Art Style: A Study of its Form and Meaning.Studies in Pre-Columbian Art and Archaeology, no.10. Washington, D. c.: Dmbarton Oaks.

ROBERTSON, MERLE GREENE

1983 The Sculpture of Patenque. Volume 1: The Temple of theInscriptions. Princeton, N. J.: Princeton UniversityPress.

28

STIRLING, MATTHEW W.1940 An Initial Series from Tres Zapotes, Vera Cruz, Mexico.

Mexican Archaeology Series, vol. 1, no. 1. Washing­ton, D. c.: National Geographic Society. (la unicapublicaci6n en la serie)

1943 Stone Monuments of Southern Mexico. Smithsonian In­stitution, Bureau of American Ethnology, Bulletin 138.Washington, D. c.: Government Printing Office.

1965 Monumental Sculpture of Southern Veracruz andTabasco. En Handbook of Middle American Indians, edita­do por Robert Wauchope, tomo 2, paginas 716-738.Austin: University of Texas Press.

THOMPSON, J. ERIC S.1970 Maya Hieroglyphic Writing: Introduction. Norman: Uni­

versity of Oklahoma Press.

29

Notes on the Rubbing of the La Mojarra Stela

JOHN M. KESHISHIAN, M. D.

Nota del Autor

ESTOY EN DEUDA con varias personas, cuyo apoyo y colaboracion han servido para estimular mi trabajo:Beatriz de La Fuente y Ruben Bonifaz Nuno, de la Universidad Nacional Autonoma de Mexico; de la Fuente por elinteres en analizar ellegado prehispanico desde una perspectiva iconografica buscando ellenguaje propio de las civili­zaciones mesoamericanas; a Bonifaz Ie agradezco el habenne ensenado a ver los trazos y relieves desde otra optica masfascinante y nueva para mi que ha facilitado enormemente la investigacion; Mimi Crossley de Rice University; E.Logan Wagner de Austin, Texas; Wilbur E. Garrett y George Stuart de la National Geographic Society; y DavidStuart de Princeton University. Tambien a ]. B. Johnson; Antonio Rumayor Mendez; Miguel Osorio Aguilar;Marco Antonio Reyes Lopez; Manuel Lopez Fierro; Ricardo Ortega Basurto; Hector Cuevas del Museo deAntropologia de la Universidad Veracruzana; Linda Schele de/a University ofTexas. Y tambien mi esposa Ana MariaReyes Escobar y mis hijos Fernando, Martin y Ana Maria, quienes sacrificaran muchas horas par este proyecto.

My purpose in making the rubbing of La Mojarra Stela 1 was to provide a portable version of thecontent of the monument that would accurately reflect both the linear configurations and the areal re­lationships of the figure, the hieroglyphic text, and other features of the worked surface. 1 The re­sult-along with the hundreds of photographs taken by E. Logan Wagner-provided both the generalframework and specific details for the drawings in this report.

The rubbing was made on April 13, 1988, at the Museum of Anthropology of Xalapa with the per­mission and cooperation of Director Fernando Winfield Capitaine, and with the assistance of variousmembers of his staff. The technique employed was a modification of the traditional Chinese wet-papertechnique, and the work was done under virtually ideal physical conditions. 2

The physical character of the stone-basalt with a pitted surface-dictated the choice of paper to beused, for it had to be neither too thick nor too thin, and able to easily mold itself to the surface in order toprovide an image of appropriate sharpness. For this I tested several varieties, and chose a thin, laid mul­berry paper manufactured by the Komura Paper Company of Kobe, Japan. The thinness of this paperproved the key factor for the amount of detail desired, though that very quality renders it very fragile andsubject to tearing. When dry, this paper has the general character of strong tissue paper. I used two layersfor each section of the rubbing so that none of the pigment would reach the surface of the monument.

I began with the relief of the figure since that area-in contrast to the incised glyphs-possessedvarious levels of worked surface, and thus more potential problems. First the (doubled) paper was care-

05

30

Nl-7

5cale 1:1

31

fully placed on the surface of the monument, covering the desired rectangle, and moistened with waterfrom a plastic spray bottle. The proper amount of moisture for effective results is difficult to formulatewith any precision; suffice it to say that it must be enough so that the paper begins to mold itself to theunderlying surface, providing a clear outline of the features on that surface. 3 As the paper began to dry inplace, I began to gently tamp it with what can best be described as a slow but firm "pounding" ac­tion-this to complete the pressing of the paper into the details (lines, crevices, etc.) of the sculpture. Athick layer of felt tapped with a very light rubber mallet works well, but in this case I used a tight cylindri­al roll of felt batting, two or three inches in diameter, to force the paper as deeply as possible into thedepths of the carving. Also, I worked from the center of the rectangle of paper outward toward the edges.This not only helped assure that the paper would stay in place, but also minimized the problems causedby air that might become trapped beneath the paper, causing bubbles.

When the paper, clinging to the details of the sculpture as closely as possible, had dried to the pointat which the ink would not spread by capillary action, the actual application of the pigment was begun. 4

For this stage, I used "daubers" made from squares of Italian necktie silk into the centers of which hadbeen placed a few thicknesses of surgical gauze wadding. With the corners drawn together, twisted, andtaped, a small, firm bag-like implement is created. The taped portion forms an effective handle for grasp­ing, and the bottom becomes a smooth convex surface with just enough balance between firmness and

32 33

resilience to act as an ideal inking surface. In anticipation of the rubbing of the La Mojarra monument,around 20 of these daubers had been made.

At this point, a few cubic centimeters of pigment-l prefer black architect's India ink by Pelikan,sometimes thickened with finely ground stick ink-were placed in a shallow glass container. I used a"master" dauber to dip into the ink dish, then transferred the pigment evenly over the smooth surfaces oftwo others, which were used for the application of the ink to the paper on the monument.

Working with quick but gentle wrist action, I used the inked daubers, one at a time. This action­more a "stamping" than a "rubbing" motion-proceeded so that one contiguous area or one completefeature of the sculpture was covered at a time. (It is usually advisable to work from one corner into therectangle). When all the features of the sculpture in any given section had been inked in this manner, thepaper was left in place until it was completely dry.

The rubbing of La Mojarra Stela I took approximately eight hours, and was done in six sections ofvarying size. The original is now at the ational Geographic Society, Washington, D. c., and a full-sizecopy has been made for the Museum of Anthropology of Xalapa.

The accompanying illustrations, including the use of the rubbing as a "negative" (p. 35), show thatrubbings possess qualities which perfectly complement the photographic record, and that together thetwo can help in providing the optimum documentation of a monument such as La Mojarra Stela 1.5

t?

'-

, ,.

,.

scale 1:1

".

,'0

" ..~~ ; .... '. ;""e.

~'.

.....

,;

M8-11 scale L I N'i-lb

RUBBING OF THE FIGURE 1:4 NEGATIVE IMAGE OF THE RUBBING

36

NOTES

1 In some cases where relief is unusually high, the flattening out ofthe finished rubbing illtroduces some areal distortion. 111 this installCe,fortunately, that distortion proved to be negligible.

2 A useful popular accowlt of the methods and materials involved inthe wet paper technique is that by KellIleth Starr ill the December 1957Chicago Natural History Museum Bulletin (pI'. 4,5). For the roleof rubbings in the recording of Mesoamerican mOllumwts, see AIl­drews IV (1943:57); Greene (1967); TOlleyama (1971); I. Graham(1972); and Grewe, Rands, alld Graham (1972). The Iloteworthycollection of original rubbings of Maya Area monumwts by MerleGreene Robertson is in the Latin American Library, Tulalle Univer­sity, New Orleans, Louisiana.

J Porous stones such as sandstone or limestone tend to suck the paperonto their surfaces by capillary action.

4 In the controlled atmosphere of the Xalapa Museum, this dryillgrate was accurately predictable. 111 outside field cOllditions, however,with fluctuating humidity alld other variables, the drying rate ismuch more difficult to calibrate.

s The use ofa film positive of the rubbillg (or any portion of it) as anegative produces an image that is perhaps epen 1I10re illfornzatil'ethan the original black-an-white ill1age ill its lI1anifestatioll of surfacetexture, line configuration, and the character of low relief sculpture.Film positives of the La Mojarra stela were dO/Ie at the photographiclaboratories of the National Geographic Society, alld later conl'ertedinto "negative" halftOIles at the Cellter for Maya Research.

LIST OF REFERENCES

ANDREWS IV, E. WYLLYS

1943 The Archaeology of Southwestern Campeche.Contributions to American Archaeology and History,no. 40. Carnegie Institution of Washington, Pub. 546.Washington, D. C.

GRAHAM, JOHN A.1972 The Hieroglyphic Inscriptiolls and Monumental Art of Altar

de Sacrificios. Papers of the Peabody Museum of Ar­chaeology and Ethnology, Harvard University, vol.64, no. 2. Cambridge, Massachusetts.

GREENE, MERLE

1967 Ancient Maya Relief Sculpture. New York: The Museumof Primitive Art.

GREENE, MERLE, ROBERT L. RANDS, AND JOHN A. GRAHAM

1972 Maya Sculpture from the Southern Lowla/lds, the Highlandsand Pacific Piedmont, Guatemala, Mexico, HOlldurns.Berkeley, California: Lederer, Street, and Zeus.

TONEYAMA, KOlIN

1971 Relief Sculpture of Allcie,lt Mexico: RubbillgS of Objectsfrom the Mayan and Aztec World. Boston, Massachu­setts: Boston Book and Art (and Bijutsan Shuppan­sha, Tokyo).

R7,8

scale 1:1

Editor's Acknowledgements

This is to express my deep gratitude to all who helped with the preswt research report: Mimi Crossley, who toldme of the monument; E. Logan Wagner, who showed me his first photographs; and Femando Winfield Capitaine, theauthor, who had immediately realized the significancc of thc piece and agreed to write its first scholarly description forthis series. I am indebted to Isabel Churruca for her help with the Spanish text. I thank Wilbur E. Garrett, editor ofNational Geographic for his support; and the following members of the National Geographic Society staff: EllwoodM. Kohler, Jr., of Pre-Press Graphics; Alfred M. Yee of Photographic Scruices; Kathryn Bazo of Translations; andmy associates Suzanne Borenzweig and Diana McFadden. I thGllk Gwe Stuart for invaluable editorial help, andDavid Stuart for useful advice. Special acknowledgements are dlle to the extraordinary contributions of E. LoganWagner and John M. Keshishian, M. D., during the April trip to Veracruz; and to Lic. Griue Garcia Mora,Presidente Municipal of Alvarado, for making possible our trip lip the ACllla River. Finally, I thank DomingoValencia and his family for their hospitality at La Mojarra.