Mayan Throne Backrest

The Mayan artists had certain aesthetic cannons that apply invariably in the narratives where several personages participated.  

Thus, the personage of higher rank, generally the ruler or Ajaw, tended to be located on the right side.

While in front of it on the left side of the scene were its spokespersons, as occurs in this monument.  

The ruler is sitting in an oriental manner with his body facing forward and his head to the side looking at those accompanying him. His hair is done in locks and is tied in the front, falling forward.  

During the Classic the Mayan rulers were shown with the main attributes of the gods. They emulated or represented them in this manner, perhaps with the intention of making their qualities theirs. We can observe how the ruler, in addition to the headdress, has a bone with a carved tip fastened to his hair, perhaps a utensil used to carve or write, further highlighting its his connection to Itzamnaah, the creator of scripture.  

The sculptor wanted to highlight the thoroughness of the pectorals, as well as the relaxed and careless posture that many Mayan rulers show in a situation of reception of tribute or visits from vassals and allies.   

In addition, by the position of the arms resting on the legs, and the body slightly inclined forward, it would be said that the ruler dialogues with the other personages of the scene.

The personage sitting in the center is a winged deity that, as Zender recognizes, could act as a messenger of Itzamnaah, as is noted in several classic cups.  

As Miller and Martin point out (2004 this personage is also known in other scenes as a tree (TE’) which is known as Pax, because the face of this entity is used as the head of the month Paax or Paaxil.  

The personage on the left is a woman with a deteriorated profile, as with her spokesperson, a notable oblique tabulation also being noted on the forehead in spite of the nose being lost.

Her hair is worn in rolled locks bound by a ribbon on the upper part of the head and knotted on the lower part, allowing the ribbons of the knot behind the hair and a bundle of feathers that adorn it to be seen. In this case it preserves the ear but has lost the earring.

The side view position of his personage seems to wrap and protect Pax. Her right arm rests lightly on her knee while her closed hand rests on the ground. The other hand rests of the back of the god.  

Both dolls are adorned by bracelets or wristbands of similar craftsmanship as those worn by the ruler.   

This personage is covered with a loin cloth that is tied on the lateral part of the waist, covers up to the middle of the thigh and is crowned by a double fringe ornament.  

This entire scene is framed in a rectangle formed by a succession of anthropomorphic faces decorated with signs tun, “stone” and vegetable elements that are woven with glyphic texts.  

It should be added to this that one of the gods from the Pre-Classic period appears in the representations associated with the Pax tree is Itzamnaah in its avian form.   

The last intention of the artist that created this sculptural program was most likely to create a mythological passage set in this mythical hill from which the Pas or Paaxil tree sprouts. Therefore, it seems that everything converges in this representation. On one hand, the entire scene is developed in a mythical hill, for it is the chosen frame to set the scene. 

On the other hand, the presence of a winged Pax or Paaxil could allude to its dual function, that of a messenger of the gods, as appears in a vessel of the Classic, as well as the tree that springs from this mythical hill, probably the same from which the grain of corn was extracted.  

For his part, the ruler with the headdress of Itzamnaah would be emulating the god in the mythical passage in which the hill, the Pax tree and Itzamnaah converge in the form of a bird.