COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
DMA_.1968.39.FA
amicoid
DMA_.1968.39.FA
AMICA ID
false
AMICA Library Year:
2003
aly
2003
AMICA Library Year
false
Object Type:
Architecture
oty
Architecture
Object Type
false
Creator Nationality:
Mexico, southern Maya lowlands, state of Tabasco, Pomoná, Maya culture
crc
Mexico, southern Maya lowlands, state of Tabasco, Pomoná, Maya culture
Creator Nationality
false
Creator Name-CRT:
Mexico, southern Maya lowlands, state of Tabasco, Pomoná, Maya culture
crt
Mexico, southern Maya lowlands, state of Tabasco, Pomoná, Maya culture
Creator Name-CRT
false
Title:
Wall panel depicting Na-Bolon-K'an in ritual dress
otn
Wall panel depicting Na-Bolon-K'an in ritual dress
Title
false
View:
Full View
rid
Full View
View
false
Creation Date:
Late Classic period, c. A.D. 790
oct
Late Classic period, c. A.D. 790
Creation Date
false
Creation Start Date:
770
ocs
770
Creation Start Date
false
Creation End Date:
810
oce
810
Creation End Date
false
Materials and Techniques:
Limestone, stucco and paint
omd
Limestone, stucco and paint
Materials and Techniques
false
Dimensions:
Overall: 86 3/4 x 30 1/4 x 6 in. (220.35 x 76.83 x 15.24 cm.)
met
Overall: 86 3/4 x 30 1/4 x 6 in. (220.35 x 76.83 x 15.24 cm.)
Dimensions
false
AMICA Contributor:
Dallas Museum of Art
oon
Dallas Museum of Art
AMICA Contributor
false
Owner Location:
Dallas, Texas, USA
oop
Dallas, Texas, USA
Owner Location
false
ID Number:
1968.39.FA
ooa
1968.39.FA
ID Number
false
Credit Line:
Dallas Museum of Art, Foundation for the Arts Collection, gift of Mr. and Mrs. James H. Clark
ooc
Dallas Museum of Art, Foundation for the Arts Collection, gift of Mr. and Mrs. James H. Clark
Credit Line
false
Rights:
orl
<a href="http://www.DallasMuseumofArt.org"target="_new">http://www.DallasMuseumofArt.org</a>
Rights
false
Context:
Maya stone sculpture often took the form of freestanding vertical monuments (stelae) erected in plazas; circular altars or pedestals; and a variety of low-relief carvings used in architectural contexts as lintels and wall panels. These forms have in common the integration of figural images and hieroglyphic texts. The figures usually represent the principal participants in a ritual event, while the text records the name of the subject depicted, the nature of the event, and the date on which it occurred.The protagonist of the Dallas wall panel is a woman, and in characteristic Maya style, the emphasis is on ritual regalia rather than a faithful likeness of the individual. The primary costume elements are consistent with depictions of elite women on other Classic period monuments: symbol-laden headdress, beaded circular neckpiece, shell belt ornament (fragmentary here), openwork skirt of tubular and spherical beads (probably jadeite), and scepter. In the brief, undated hieroglyphic text, two glyphs at the top record the action being performed, the nature of which is uncertain, while the other glyphs provide titles and names. The fifth glyph from the bottom is the most easily deciphered. The profile head is an honorific title for women, which may be read as "na." The circular element with an interior cross represents "k'an," which signifies preciousness and often refers to jade and shell, from which jewelry is made. The horizontal bar and dour dots indicate the number nine, "bolon," which has connotations of the uncontaminated and superlative. The noble woman's name is Na-Bolon-K'an, or Lady Nine Precious"Dallas Museum of Art: A Guide to the Collection," page 190We know this object to be a wall panel for the following reasons: first, the back of the panel was cut in ancient times with stone tools, as was the lower edge. Second, the panel was never "thinned" from a larger slab (stela) using modern tools. Therefore, this is its original thickness and length. It is too thin and has an insufficient "butt" to have been a freestanding stela. Third, the quantity of stucco and paint remaining on the panel suggests that it was protected by architecture. Wall panels of this size are known from the Palenque-Xupa-Jonuta region of Chiapas and Tabasco. They were placed on the door jambs and front walls of sanctuaries within larger structures and, like this piece, are extraordinarily well preserved. (20 March 1991)
cxd
Maya stone sculpture often took the form of freestanding vertical monuments (stelae) erected in plazas; circular altars or pedestals; and a variety of low-relief carvings used in architectural contexts as lintels and wall panels. These forms have in common the integration of figural images and hieroglyphic texts. The figures usually represent the principal participants in a ritual event, while the text records the name of the subject depicted, the nature of the event, and the date on which it occurred.The protagonist of the Dallas wall panel is a woman, and in characteristic Maya style, the emphasis is on ritual regalia rather than a faithful likeness of the individual. The primary costume elements are consistent with depictions of elite women on other Classic period monuments: symbol-laden headdress, beaded circular neckpiece, shell belt ornament (fragmentary here), openwork skirt of tubular and spherical beads (probably jadeite), and scepter. In the brief, undated hieroglyphic text, two glyphs at the top record the action being performed, the nature of which is uncertain, while the other glyphs provide titles and names. The fifth glyph from the bottom is the most easily deciphered. The profile head is an honorific title for women, which may be read as "na." The circular element with an interior cross represents "k'an," which signifies preciousness and often refers to jade and shell, from which jewelry is made. The horizontal bar and dour dots indicate the number nine, "bolon," which has connotations of the uncontaminated and superlative. The noble woman's name is Na-Bolon-K'an, or Lady Nine Precious"Dallas Museum of Art: A Guide to the Collection," page 190We know this object to be a wall panel for the following reasons: first, the back of the panel was cut in ancient times with stone tools, as was the lower edge. Second, the panel was never "thinned" from a larger slab (stela) using modern tools. Therefore, this is its original thickness and length. It is too thin and has an insufficient "butt" to have been a freestanding stela. Third, the quantity of stucco and paint remaining on the panel suggests that it was protected by architecture. Wall panels of this size are known from the Palenque-Xupa-Jonuta region of Chiapas and Tabasco. They were placed on the door jambs and front walls of sanctuaries within larger structures and, like this piece, are extraordinarily well preserved. (20 March 1991)
Context
false
Related Image Identifier Link:
DMA_.1968_39_FA.tif
ril
DMA_.1968_39_FA.tif
Related Image Identifier Link
false