General Identification[]
Found in Tiquisate, Guatemala, this Incense burner top originated in the Mayan Civilization during the Early Classical Period from 400-600 ce. Usually made out of ceramic, these Incense burners were highly used throughout the Mayan Civilization for ritualistic purposes. Ancient American people universally believed in the existence of an “animal spirit companion” for every human being. Shamanic spirituality includes the visionary experience of transforming into one’s animal self during ritual trance states. This Tiquisate Teotihuacan-style incense burner top has a human head wearing wide, circular ear flares and a large headdress that forms a building which surrounds the figure. There were many different designs and versions of these burners that have been found throughout Guatemala. This particular incense burner was found in Guatemala and can now be found in the Boston Museum of Fine Arts, in Boston Massachusetts. [See mfa.org]
Technological Evolution[]
Because this is Earthenware, this Mayan Incense burner was made out of miceacous clay, with traces of yellow, white and red paint. The location of the Mayan civilization was very ideal for making ceramics.Especially in the highlands of Guatemala, this area has a rich geological history comprised mainly from a volcanic past. The metamorphic and igneous rock, as well as the sand and ash from the pumice areas provide many types of tempering. In the area, there are a range of clays that create varied colors and strengths when fired. It is believed that ancient Mayans obtained their clay from exposed river valleys which is still in practice today. Having such rich soil allowed them to make earthen ware without having to use the resources of other civilizations.
Because these pots vary so much in shape and design, it s believed that it was highly unlikely they were made by skilled artisans in formal workshop settings. Most burners were created for one time use, one can usually tell this by how detailed each burner is. The more carefully made and detailed the burner was, the more uses and meaning it would have.
Mayans created these ceramics using coil and slab techniques. Once they have collected clay and temper, pottery creation began. The maker would take the clay and mix it with the temper (the rock pieces, ash, or sand). Temper was used to strengthen the device for the pottery. Once worked into a proper consistency, the shape of the piece was created. Mayans did not have a a Potters wheel, so instead they used the coil and slab methods. Coiling involved the formation of clay into long coiled pieces that were smoothed together to create the walls of the burner. Slab method used square slabs to create boxes or anything like feet or a lid for the burner. This was used for the bottom of this burner which has a cylindrical bottom. After they have let it dry to leather hard, the burner is painted and inscribed. The last step is firing the vessel using a kiln. Ancient Mayans used their own versions of kilns which were fired by wood, charcoal and sometimes grass. [See Prudence (1999)]
In Guatemala, between about 1974 and 1981, John B Fulling purchased this burner and a group of objects and sold it to MFA donor Landon Clay in 1987. At the end of 1988, Landon Clay gave these artifacts to the Boston Museum of Fine Arts. Its Accession date was January 25th 1989. This burner and other artifacts are now known as the "November Collection". [ See mfa.org for more details]
Historical Context[]
From 400 to 600 ce, this was apart of the Classic Period or the "Golden Age" of the Mayan Civilization. This period was also a time of great change for the Mayan civilization. Cities evolved into independent city-states, each of which was ruled by a king who claimed kinship with one of the Mayan gods. Despite frequent rivalries and wars, an extensive trade network existed among the city-states. [See Sharer 2006]
The Golden Age of the Maya also brought along great artistic advancements. Each city had a pyramid and an elaborate palace filled with murals, jewelry, etc. Pottery especially was becoming more prominent and pottery forms became more refined and typically featured intricate painted designs such as this Incense Burner. Looking at the intricacy of this Incense burner, we can tell that it was used by some elite. Only the elite had painted elaborate burners for their rituals, common people just made less elaborate burners because of their short term use. These burners were highly important to burn incense because the smoke was considered a form of communication between the human and the supernatural realms.
Incense burners were not only used by the elite. Throughout Mesoamerica, individuals used ceramic vessels like "incensarios" to burn organic materials.These burners were highly important because the smoke was considered a form of communication between the human and the supernatural realms. The materials they burned included copal, corn and even human blood. [ See Rice 25,50]
Religon:
The Mayans religion involved aspects of nature, astronomy and rituals. Most Gods represented a form in nature, for example, Sun God, Kinih Ahous, or Maize God, Yum Kaax.[ See Mayan Religions, 2013] The Mayans were known for their calendars and astronomical buildings. These were used during their religious rituals. Similar to the Egyptians, the Mayans built Pyramid like temples for religious reasons. The main difference in shape being that the Mayan pyramids have a flat top to build temples on top. Mayans believed that every person had an animal companion who shared their soul, these animals were usually depicted in their incense burners.[ See Mayan Religions, 2013]
Jobs:
In each city, there was a King who held the highest social status among the people. The more skilled the king was in warfare, the better chances he had not to be dethroned. Mayan rulers also had to erect religious temples and other architectural structures to please the gods. These acts pleased the nobility and commoners. Mayan kings also had to protect his people and provide resources such as food. Other jobs included nobility, farmers, warriors, priests, scribes, merchants and women. Mayans were fairly advanced in their diversity of jobs among social classes. Women had no role in public life and their primary role was domestic work.
World Historical Significance[]
Mayan Incensarios are highly understudied despite their common use in Mayan ritual culture Mayan Incense burners have been found in various shapes, colors, and sizes all around modern day Guatemala and southern Mexico. In a greater world scheme, the incense burners show the Maya virtuosity at creating realistic figurines and elaborate vessels and incense burners. These burners are created as vibrant beings in small scale to be placed in the burials of family members, show expressive scenes of the daily and ritual lives of the Maya. [See Rice 25,50]
Bibliography[]
Sharer, Robert J., and Loa P. Traxler. The Ancient Maya. Sixth Edition. Stanford, CA: Stanford University Press, 2006.
Houston, Stephen, and Karl Taube. “An Archaeology of the Senses: Perception and Cultural Expression in Ancient Mesoamerica.” Cambridge Archaeological Journal10-2(2000):261-94.
Rands, Robert L., and Barbara C. Rands. “The Incensario Complex of Palenque, Chiapas.” American Antiquity 25-2(1959):225-36.
Rice, Prudence M. “Rethinking Classic Lowland Maya Pottery Censers.” Ancient Mesoamerica 10-1(1999):25-50.
Miller, Mary, and Karl Taube. The Gods and Symbols of Ancient Mexico and the Maya: An Illustrated Dictionary of Mesoamerican Religion. London: Thames and Hudson, 1993.
“Incense Burner Top.” Museum of Fine Arts, Boston, 5 Feb. 2018, www.mfa.org/collections/object/incense-burner-top-36222.
“Incense Burner with Sun God-Jaguar God of the Underworld Lid.” ODYSSEY/Rome/Writing, carlos.emory.edu/content/incense-burner-sun-god-jaguar-god-underworld-
“Mayans Religion: Gods, Animal Spirits and Pyramids.” Rise of Civilization, 24 Apr. 2013, anthropology.msu.edu/anp264-ss13/2013/04/24/mayans-religion-gods-animal-spirits-and-pyramids/.
Mayan Languages, mayansandtikal.com/mayan-civilisation/mayan-jobs/.
The Met's Heilbrunn Timeline of Art History, www.metmuseum.org/toah/hd/mayas/hd_mayas.htm.