Lunar mythology
The sources for Maya lunar mythology are almost entirely contemporaneous, with the exception of the Popol Vuh. A division can be made according to the moon's kinship roles.
- Moon as a male sibling: celestial power.
In the Popol Vuh (16th century), the Maya Hero Twins are finally transformed into sun and moon, implying the recognition of a male moon, in a departure from the main Maya tradition. However, the Popol Vuh hardly belongs to lunar mythology, and becoming Sun and Moon may well be a metonym for acquiring dominance over the sky and thus, metaphorically, political predominance.
- Moon as a wife: origin of menstruation.
True lunar mythology is first and foremost represented by the Qʼeqchiʼ myth of Sun and Moon first studied by Eric Thompson. [1] It makes the Moon Goddess (Po) the daughter of the Earth God, or 'Mountain-Valley'. She is wooed and finally captured by Sun. They sleep together. When this is discovered and the couple flees, the angry father reacts by having his daughter destroyed. In all likelihood, this patriarchal punishment of a basic infraction of the rules of alliance represents the origin of menstruation, the 'evil blood' of a disobedient daughter colouring the water of sea and lake red, or sinking into the earth. [2] The menstrual blood is stored in thirteen jars. In the jars, it is first transformed into creatures such as snakes and insects, a transformation leading up to the origin of poison and the diseases caused by it. However, some jars also hold medicinal plants. The thirteenth jar is the lunar jar: On being opened, the Moon is reborn from it. The creation of her vagina on instigation of, or directly by, her husband represents the origin of human procreation. Subsequent episodes make the Moon Goddess cohabit with Sun's elder brother, Cloud, and with the devil in the shape of a king vulture, thus connecting her to rainfall and black sorcery.
- Moon as a (grand)mother: the rabbit in the moon.
Among the Mayas of Chiapas and the Northwestern Highlands of Guatemala, Moon is not Sun's wife, but his mother or grandmother, while Sun is a young boy harassed by his elder brethren. Only in this mythology do we find the origin of the lunar rabbit, either as one of the elder brethren transformed into wild animals and caught by his mother, [3] or as a creature responsible for the resurgence of the wild vegetation on Sun's maize field. In the latter case, the rabbit is caught by Sun, passed on to his mother, and again taken into the sky. [4] In Northwestern Guatemala, the rabbit in the moon is sometimes replaced by a deer in the moon.
The moon goddess in the Post-Classic and Classic periods
Moon Goddess with rabbit (left); Maize God with rabbit (right)
In the three Post-Classic codices, the Moon Goddess is underrepresented. Instead, one finds almanacs devoted to what appears to be her terrestrial counterpart, the Goddess I ('White Woman'). In Classic Maya art, however, the Moon Goddess occurs frequently. [5] She is shown as a young woman holding her rabbit, and framed by the crescent of the waxing moon, which is her most important, identifying attribute. The Moon Goddess may also be sitting on a throne, alone (as in the Dresden codex), or behind god D (Itzamna). Although, in oral tradition, the goddess is often treated as the consort of the Sun Deity, Classic iconography does not insist on this (see Kinich Ahau). The lunar rabbit (perhaps a Trickster character) has an important role to play in a poorly understood episode involving the Moon Goddess, the Twins, the Maya maize god, and the aged god L. In some cases, the Moon Goddess is fused with the main Maya maize god, making it uncertain whether what one sees is a Moon Goddess with a maize aspect (that is, a maize-bringing moon), or a Maize God with a lunar aspect or function.
Mayan or Maya mythology is part in of Mesoamerican mythology and comprises all of the Maya tales in which personified forces of nature, deities, and the heroes interacting with these play the main roles. The legends of the era have to be reconstructed from iconography. Other parts of Mayan oral tradition are not considered here.
Qʼuqʼumatz was a god of wind and rain of the Postclassic Kʼicheʼ Maya. It was the Feathered Serpent that according to the Popol Vuh created the world and humanity, together with the god Tepeu. It carried the sun across the sky and down into the underworld and acted as a mediator between the various powers in the Maya cosmos. It is considered to be the equivalent of the Aztec god Quetzalcoatl and of Kukulkan, of the Yucatec Maya.
Kʼawiil, in the Post-Classic codices corresponding to God K, is a Maya deity identified with lightning, serpents, fertility and maize. He is characterized by a zoomorphic head, with large eyes, long, upturned snout and attenuated serpent foot. A torch, stone celt, or cigar, normally emitting smoke, comes out of his forehead, while a serpent leg represents a lightning bolt. In this way, Kʼawiil personifies the lightning axe both of the rain deity and of the king as depicted on his stelae.
Ixchel or Ix Chel is the 16th-century name of the aged jaguar goddess of midwifery and medicine in ancient Maya culture.
In the Late Post-Classic Maya mythology of the Popol Vuh, Camazotz is a bat spirit at the service of the lords of the underworld. Camazotz means "death bat" in the Kʼicheʼ language. In Mesoamerica generally, the bat is often associated with night, death, and sacrifice.
Chaac is the name of the Maya god of rain, thunder, and lightning. With his lightning axe, Chaac strikes the clouds, causing them to produce thunder and rain. Chaac corresponds to Tlaloc among the Aztecs.
Kinich Ahau is the 16th-century Yucatec name of the Maya sun god, designated as God G when referring to the codices. In the Classic period, God G is depicted as a middle-aged man with an aquiline nose, large square eyes, cross-eyed, and a filed incisor in the upper row of teeth. Usually, there is a k'in ('sun')-infix, sometimes in the very eyes. Among the southern Lacandons, Kinich Ahau continued to play a role in narrative well into the second half of the twentieth century.
The Maya Hero Twins are the central figures of a narrative included within the colonial Kʼicheʼ document called Popol Vuh, and constituting the oldest Maya myth to have been preserved in its entirety. Called Hunahpu and Xbalanque in the Kʼicheʼ language, the Twins have also been identified in the art of the Classic Mayas. The twins are often portrayed as complementary forces.
Xquic is a mythological figure known from the 16th century Kʼicheʼ manuscript Popol Vuh. She was the daughter of one of the lords of Xibalba, called Cuchumaquic, Xibalba being the Maya underworld. Noted particularly for being the mother of the Maya Hero Twins, Hunahpu and Xbalanque, she is sometimes considered to be the Maya goddess associated with the waning moon. However, there is no evidence for this in the Popol Vuh text itself.
San Bartolo is a small pre-Columbian Maya archaeological site located in the Department of Petén in northern Guatemala, northeast of Tikal and roughly fifty miles from the nearest settlement. San Bartolo's fame derives from its splendid Late-Preclassic mural paintings still heavily influenced by Olmec tradition and from examples of early and as yet undecipherable Maya script.
The traditional Maya or Mayan religion of the extant Maya peoples of Guatemala, Belize, western Honduras, and the Tabasco, Chiapas, Quintana Roo, Campeche and Yucatán states of Mexico is part of the wider frame of Mesoamerican religion. As is the case with many other contemporary Mesoamerican religions, it results from centuries of symbiosis with Roman Catholicism. When its pre-Hispanic antecedents are taken into account, however, traditional Maya religion has already existed for more than two and a half millennia as a recognizably distinct phenomenon. Before the advent of Christianity, it was spread over many indigenous kingdoms, all with their own local traditions. Today, it coexists and interacts with pan-Mayan syncretism, the 're-invention of tradition' by the Pan-Maya movement, and Christianity in its various denominations.
Hun Hunahpu "One Hunahpu" is a figure of Late Postclassic Maya mythology whose name connects him to the XXth day of the day count, Hunahpu. His tale is part of the early-colonial "Popol Vuh" manuscript. According to this source, Hun Hunahpu is the father of the Maya Hero Twins, Hunahpu and Xbalanque. He is also the father of the twins' half-brothers, the patrons of artisans and writers, Hun-Chowen and Hun-Batz. Hun Hunahpu is paired with his brother, Vucub-Hunahpu "Seven Hunahpu". These two brothers of the generation preceding that of the hero twins were tricked into the Dark House by the lords of the Underworld (Xibalba) and sacrificed. Hun Hunahpu's head was suspended in a trophy tree and changed to a calabash. Its saliva impregnated Xquic, a daughter of one of the lords of Xibalba. She fled the Underworld and conceived the Twins. After defeating the Underworld lords, the twins recovered the remains of their father and their father's brother, but could not resuscitate them.
Among the Classic Mayas, the howler monkey god was a major deity of the arts—including music—and a patron of the artisans, especially of the scribes and sculptors. As such, his sphere of influence overlapped with that of the Tonsured Maize God. The monkey patrons—there are often two of them—have been depicted on classical vases in the act of writing books and carving human heads. Together, these two activities may have constituted a metaphor for the creation of mankind, with the book containing the birth signs and the head the life principle or 'soul', an interpretation reinforced by the craftsman titles of the creator gods in the Popol Vuh.
Like other Mesoamerican peoples, the traditional Maya recognize in their staple crop, maize, a vital force with which they strongly identify. This is clearly shown by their mythological traditions. According to the 16th-century Popol Vuh, the Hero Twins have maize plants for alter egos and man himself is created from maize. The discovery and opening of the Maize Mountain – the place where the corn seeds are hidden – is still one of the most popular of Maya tales. In the Classic period, the maize deity shows aspects of a culture hero.
The pre-Columbian Maya religion knew various jaguar gods, in addition to jaguar demi-gods, (ancestral) protectors, and transformers. The main jaguar deities are discussed below. Their associated narratives are still largely to be reconstructed. Lacandon and Tzotzil-Tzeltal oral tradition are particularly rich in jaguar lore.
God L of the Schellhas-Zimmermann-Taube classification of codical gods is one of the major pre-Spanish Maya deities, specifically associated with trade. Characterized by high age, he is one of the Mam ('Grandfather') deities. More specifically, he evinces jaguar traits, a broad feathery hat topped by an owl, and a jaguar mantle or a cape with a pattern somewhat resembling that of an armadillo shell. The best-known monumental representation is on a doorjamb of the inner sanctuary of Palenque's Temple of the Cross.
Goddess I is the Taube's Schellhas-Zimmermann letter designation for one of the most important Maya deities: a youthful woman to whom considerable parts of the post-Classic codices are dedicated, and who equally figures in Classic Period scenes. Based on her representation in codical almanacs, she is considered to represent vital functions of the fertile woman, and to preside over eroticism, human procreation, and marriage. Her aged form is associated with weaving. Goddess I could, perhaps, be seen as a terrestrial counterpart to the Maya moon goddess. In important respects, she corresponds to Xochiquetzal among the Aztecs, a deity with no apparent connection to the moon.
The Maya death gods known by a variety of names, are two basic types of death gods who are respectively represented by the 16th-century Yucatec deities Hunhau and Uacmitun Ahau mentioned by Spanish Bishop Diego de Landa. Hunhau is the lord of the Underworld. Iconographically, Hunhau and Uacmitun Ahau correspond to the Gods A and A' . In recent narratives, particularly in the oral tradition of the Lacandon people, there is only one death god, who acts as the antipode of the Upper God in the creation of the world and of the human body and soul. This death god inhabits an Underworld that is also the world of the dead. As a ruler over the world of the dead, the principal death god corresponds to the Aztec deity Mictlāntēcutli. The Popol Vuh has two leading death gods, but these two are really one: Both are called "Death," but while one is known as "One Death," the other is called "Seven Death." They were vanquished by the Hero Twins.
