Escolar Documentos
Profissional Documentos
Cultura Documentos
AUTOR:
Arqlgo. MRSM Vctor Hugo Zapata Cerda
FECHA:
16 de Septiembre de 2008
Abstract:
La delimitacin del espacio en las composiciones grficas y arquitectnicas
mesoamericanas, como es evidente al tratarse de productos de la cultura material,
obedece a un por qu, cuestionamiento que, hasta ahora, ha sido poco abordado
por arquelogos, historiadores, epigrafistas y otro tipo de investigadores. El
presente ensayo, basndose en datos arqueolgicos concretos y en la teora de la
simetra, propone un delineamiento terico y una metodologa de anlisis tcnico,
para el espacio en las obras de arte mesoamericanas, con el fin de incorporar un
enfoque que sirva como apoyo a los estudios sobre arqueologa, epigrafa e
iconografa, planteando la hiptesis del sistema de delimitacin del espacio
iconogrfico empleado en la lpida del sarcfago de Hanab Pakal, Seor de
Palenque. La motivacin para un escrito de sta naturaleza, recae en la necesidad
de investigar los sistemas que originan los espacios mesoamericanos y la
ideologa que les subyace, argumento que resulta trascendente, debido a que
cualquier imagen artstica o paisajstica, necesita de lmites para desenvolverse.
The
delimiting
space
in
the
graphical
and
architectural
Indo-American
INTRODUCCIN
La epigrafa, se puede considerar como una disciplina cientfica auxiliar de la
historia, la cual, tiene por objetivo estudiar las inscripciones hechas en materiales
duros, estableciendo metodologas de interpretacin para obtener informacin. La
iconografa por su parte, acomete la descripcin de iconos, tambin mediante
metodologas dirigidas a facilitar su interpretacin, que es tarea de la iconologa. El
estudio de tales iconos e inscripciones, se centra en su contenido simblico,
histrico y cultural, mismo que es comprendido mediante la elucidacin de
diversas narrativas o datos concretos de sociedades pretritas, las cuales, en
ocasiones, no presentan una continuidad espacial y/o cronolgica, por lo que se
hace necesaria la disertacin de sus restos materiales para revelar cuestiones
relacionadas a su sociedad, conocimientos y forma de vida: tal labor, es propia de
la arqueologa con sus mtodos de investigacin y enfoques tericos
interpretativos.
Las
composiciones
grficas1,
plasmadas
en
materiales
duros
Por composicin grfica, se comprender la dimensin total del esquema representado en un plano definido.
Mapa del sitio, en Especial Arqueologa Mexicana, Los tesoros de Palenque, no.8, Mxico D.F., agosto
del 2001, p.29.
3
Cuevas Garca, Martha y Arnoldo Gonzles Cruz, La presencia de Palenque en los museos de Mxico y del
mundo, en Especial Arqueologa Mexicana, Los tesoros de Palenque, no.8, Mxico D.F., agosto del 2001,
pp.15-17.
4
Bentez, Fernando, El descubrimiento de la tumba en Palenque (Segunda Parte), En Lakamha, Boletn
Informativo del Museo y Zona Arqueolgica de Palenque, Ao 2, no.7, Mxico, CONACULTA-INAH,
Abril-Junio
de
2003,
pp.4-9,
[En
lnea],
disponible
en
World
Wide
Web:
<www.uacam.mx/bib.nsf/4a24042bd57e05c980256509003e0809/df48228d0ca3399886256f8f006f1c47/$FIL
E/lakamha17.pdf >.
En este caso, el concepto de reflexin se enfoca bajo el contexto de las matemticas del diseo,
ejemplificando: , es una reflexin de con respecto a la perpendicular de su lnea de simetra.
6
Tresidder, Jack, Diccionario de los smbolos, Mxico, D.F., Grupo Editorial Tomo, 2003, p.123.
CONCEPTUALES
DESARROLLO
DE
UN
DELINEAMIENTO TERICO
Los estudios de la forma, el contenido y el significado de obras de arte, conducen
a definiciones de estilo y permiten las clasificaciones, existe adems, la variable
temporal, que ayuda a dilucidar la duracin del estilo, siguindose por
comparacin con otros, la posibilidad de establecer sus antecedentes y
ramificaciones posteriores7. Ahondando en la forma, evidentemente existen
patrones lineales bsicos que nos permiten comprender lo que apreciamos,
algunas de las similitudes que podemos reconocer, presentan por fundamento
figuras geomtricas bsicas, de las que despus podemos razonar sus diferentes
transformaciones, combinaciones y deformaciones, para evocarnos una imagen
que nos resulte familiar, a la cual, podemos atribuirle una funcin e incluso un
significado, si contamos con elementos reales de apoyo, en el caso del arte maya,
el previo conocimiento de los nmeros y la escritura es cardinal para cometer tal
labor.
Quirarte, Jacinto, Estilos artsticos tempranos de Mesoamrica y arte Maya del Clsico Temprano, en Los
orgenes de la Civilizacin Maya, Mxico D.F., Fondo de Cultura Econmica (FCE), 1989, p.275.
Tomasini Bassols, Alejandro, Filosofa y Matemticas, Ensayos en torno a Wittgenstein, Mxico, D.F.,
Plaza y Valds Editores, 2006, pp. 110-125.
9
De Robina y Rothiot, Ricardo, Arquitectura insertiva, en Cuadernos de arquitectura mesoamericana,
no.15, Mxico, D.F., diciembre de 1991, pp.13-32.
10
Novoa Magallanes, Csar, Espacio y forma en la visin prehispnica, Mxico, D.F., UNAM, 1992.
11
Martnez del Sobral, Margarita, Geometra mesoamericana, Mxico, D.F., Fondo de Cultura Econmica
(FCE), 2000.
12
Mora Echeverra, Jess Ignacio, Prctica y conceptos prehispnicos sobre espacio y tiempo: a propsito
del origen del calendario ritual mesoamericano, en Boletn de antropologa americana, no.9, Mxico, julio
de 1984, pp. 5-46.
grficos notables dentro de la composicin sobre los que se pudiese hacer otro
tipo de inferencia espacial, como ya se explic, ser necesario sustentarlas con el
contexto arqueolgico.
Al ejemplificar con la hoja de papel, se quiere hacer notar la importancia de
disponer de un espacio definido, tal y como los antiguos habitantes de Palenque
fijaron un rea para elaborar las composiciones grficas, ya que la intencin de
establecer ciertas dimensiones, es la pauta para discurrir un trasfondo ideolgico
que pueda ser asentido con datos culturales ya determinados, como puede ser el
tema de un panel.
El otro aspecto a tomar en cuenta, es el de la popular seccin fi 17. Como es
bien sabido entre los estudiosos del tema de la geometra, los nmeros de la serie
Fibonacci, al ser divididos consecutivamente pueden resultar en un cociente fi o
aproximado, tal es el caso del trece y el veintiuno, 21 / 13 = 1.615, nmero que
es cercano a 1.618 (nmero ureo). La importancia de describir la
consecuencia si son divididos los referidos nmeros, es que ambos son muy
prximos a los numerales calendricos mesoamericanos trece y veinte, 20 / 13 =
1.538416 (decimal peridico)18. Aunque no se descarta un posible uso de la
seccin urea entre los grupos mesoamericanos, ya que se trata de una
proporcin ligada a las disposiciones de los elementos de la naturaleza, debido a
los datos que se han presentado acerca de su cultura, religin, ciencia y forma de
vida, cuando se observan mesuras similares en su cultura material, es mayor la
posibilidad de que se trate del uso de numerales calendricos, a menos que,
efectivamente,
las
coincidencias
proporcionales
en
el
espacio
de
las
17
Seccin urea.
La operacin de la divisin, es particularmente importante para el anlisis geomtrico, ya que est
expresando una razn geomtrica, que es la comparacin de dos nmeros por cociente, o grficamente,
cuantas veces cabe un segmento de recta dentro de otro.
18
10
como
desarrollados:
1) los aspectos formales de la imagen que comprenden lneas; color; escalas;
proporciones y espacios, que pueden ser identificados como mayas, no
mayas o combinaciones.
2) El significado de las imgenes, que es transmitido por elementos, motivos,
temas y smbolos, que presentan diferentes modos de expresin.
3) Las cualidades expresivas de las imgenes, que se trasmiten por la forma y
el contenido, las cuales, pueden ser identificadas como de origen maya o
no.20
Entre los elementos del arte maya temprano, as como del Olmeca y de
Izapa, se destacan: las bandas diagonales; las bandas cruzadas; componentes en
U y sus combinaciones, stos grficos, presentan la funcin de signos, existen
19
20
Sanabria, Jos Rubn, Lgica, Mxico D.F., Editorial Porra, 2001, p.206.
Jacinto Quirarte, op. Cit., p.276.
11
tambin los llamados seres mixtos, que son deidades, seres sobrenaturales y
personificadores, los cuales comprenden cabezas felinas barbadas; paneles de
mscaras; cabezas de labios largos y figuras aladas, otros elementos notables son
los glifos e insignias21. En La Venta, el motivo en U enmarca una parte del nicho
del Altar 5, as como los apndices que rodean al nicho del Altar 4, desempeando
una funcin pictrica y simblica22.
El ejemplo de La Venta, indica la importancia dada a la delimitacin del
espacio, desde el horizonte cronolgico del arte temprano mesoamericano, ms
an, la flexibilidad que puede presentar la forma de tal delimitacin, pudiendo ser
desde un objeto natural como una roca. La razn por la que se examina
primeramente una demarcacin polgona para el uso del espacio, es porque es la
observada a simple vista, y tambin, porque en varias ocasiones, es la que est
previamente determinada por las dimensiones fsicas del elemento arquitectnico
que contiene a la composicin, no obstante, podran existir elementos limitantes
an no esclarecidos por los estudios actuales, los cuales, no necesariamente
presentaran un esquema lineal que nos pudiera parecer convencional.
Al referido elemento U que se encuentra comnmente inscrito en la
lengua de un jaguar, se le atribuye el valor numrico de 1 o uno tigre23. Si tal
smbolo en los contextos en que delimita a una composicin grfica, presenta el
mismo valor, entonces podra estar sealando un conjunto. Un espacio puede ser
asimilado como un conjunto, pues ste, puede estar vaco o no, su trascendencia,
radica en que puede englobar una serie de elementos que se vinculan por una
regla o propiedad que slo stos cumplen. Evidentemente, si la descripcin
anterior se traslada al campo del anlisis ideolgico, entonces, la delimitacin de
un espacio para una composicin grfica, puede ser tambin, el plano doctrinario
sobre el que los smbolos desarrollan su mensaje.
El espacio es relativo, y por lo tanto, susceptible de modificar sus
dimensiones y esquemas. En los casos en que se configura un silabograma dentro
de un logograma para formar palabras, el primer componente, queda supeditado a
21
Ibdem, pp.277-278.
Ibdem, p.279.
23
Ibdem, p.283.
22
12
los lmites establecidos por el contorno del segundo, sta, es una forma del
espacio que puede ser claramente identificada, y que revela, la trascendencia
dada a la contencin dentro de la estructura del sistema de escritura maya. Lo
mismo podra elucidarse del llamado entorno contextual de un smbolo, o de un
escenario en paneles narrativos, siguindose por lo tanto, los conjuntos dentro de
otros conjuntos hasta llegar al delineamiento del elemento fsico que los contiene,
el cual, a su vez, puede presentar afinidad con la figura de un grupo de plantas
arquitectnicas del mismo sitio.
Los espacios que contienen las diversas composiciones grficas, cundo se
trata de elementos arquitectnicos, suelen ser planos verticales o inclinados, en
formas cuadrilteras o trapezoides, dispuestos a manera de paneles, caras de
pilastras, paramentos, alfardas, etc. y al igual que las plantas de los edificios que
los guarecen, son derivados de segmentos de rectas, que pueden ser ortogonales
o no. La razn en los casos de las plantas arquitectnicas, como se ha probado
exhaustivamente en varias ocasiones, se debe a las disposiciones astronmicas
que suelen modificar a las formas regulares, con el objeto de que sus vrtices o
lados presenten ciertas orientaciones. Una solucin para determinar las
proporciones de los espacios delimitados por formas irregulares, ha sido el
rectngulo de enmarcamiento, en el que se insertan los vrtices de las figuras, o
bien, los elementos lmites de una composicin grfica. El descrito procedimiento,
ser el utilizado en el presente estudio, no sin antes asentir la necesidad del
desarrollo de un mtodo de mayor precisin.
En el anlisis a efectuar, secundando a la teora postprocesual24, ser
necesario establecer un contexto histrico e ideolgico sobre el que se
interpretarn los datos, este anlisis, se entretejer sobre la base de informacin
ya determinada y aceptada como correcta. Objetivamente, las pautas culturales
referentes al contenido de la obra que se estudia y a la ideologa que sta
simboliza, deben ser presentadas, de este modo, ser posible, mediante el
anlisis comparativo, encontrar, si es que existen, diferencias y semejanzas
simblicas y conceptuales con los datos que se obtengan del esquema a
24
Hodder, Ian, Interpretacin en arqueologa, corrientes actuales, Espaa, Editorial Crtica, 1988.
13
dibujndose
las
representaciones
de
manera
sinptica,
no
anlogamente,
al
aplicar
la
geometra
de
grupos
de
14
28
29
Ibdem, pp.149-150.
Ibdem, p.150.
15
El cuadrado puede ser usado como unidad de medida debido a que ostenta
la misma distancia en cualquiera de sus lados, lo que le hace susceptible tambin
de ser usado como mdulo. Por otro lado, el nmero cuatro se considera
fundamental en todos los pueblos mesoamericanos, ya que se relaciona con los
cuatro rumbos del universo, los que a su vez, estn delimitados por los cuatro
puntos solsticiales, y los das con que se inicia el ciclo calendrico de 260 das,
30
Kettunen Harri y Christophe Helmke, Introduccin a los Jeroglficos Mayas, Manual para el taller de
escritura, trad. de Juan Ignacio Cases Martn, Universidad de la Laguna, 2004, pp.8-19, [En lnea], disponible
en World Wide Web: <www.mesoweb.com/resources/manual/JM2004.pdf >.
31
Despus de Harri Kettunen y Christophe Helmke, op. cit., p.19.
16
Gonzles Torres, Yolotl, Diccionario de Mitologa y Religin de Mesoamrica, Mxico, D.F., Ediciones
Larousse, 2001, p.52.
33
El modulo se refiere tambin a una razn geomtrica, puede ser la altura del rectngulo entre la base o
viceversa.
17
Ilustracin 2. - 1) Lpida del sarcfago de Hanab Pakal34. 2) Dimensiones de la lpida en vista superior.
3) Rectngulo de siete unidades de largo y cuatro de ancho que se aproxima al rectngulo que enmarca
la lpida. 4) Al sobreponer el rectngulo compuesto de 28 unidades cuadradas sobre el rectngulo de la
lpida, se pueden obtener las lneas de simetra de la composicin grfica que delimita.
Despus de: Morales Lpez, Rubn B., El universo mesoamericano conceptos integradores, en
Desacatos, no.5, Mxico, D.F., Centro de Investigaciones y Estudios Superiores en Antropologa Social,
Invierno
de
2000,
pp.31-44.
[En
lnea],
disponible
en
World
Wide
Web:
<http://redalyc.uaemex.mx/redalyc/pdf/139/13900503.pdf>.
35
En ste enfoque, el mdulo del rectngulo, es la razn geomtrica (cociente) entre su altura y su base.
18
36
Castillo F. Vctor M, Unidades Nahuas de medida, en Estudios de cultura Nhuatl, Mxico, D.F.,
UNAM, 1972.
19
Ilustracin 3. 5) Disposicin de elementos grficos del rectngulo que enmarca en vista superior la
lpida de Hanab Pakal, la relacin espacial, se establece mediante 7 filas y 4 columnas de cuadrados. 6)
A diferencia de la primera relacin, en la segunda disposicin, se establece un eje de simetra en el que
existe la reflexin de dos columnas.
20
41
Los nombres de los elementos de la composicin, fueron cotejados en: La lpida de Pakal en el Templo de
las Inscripciones, en VOZINAH, no.13, ao 1, agosto-octubre de 2003, pp. 14-16.
42
Ayala Falcn, Maricela, Mtodos para estudiar la escritura Maya, en Arqueologa Mexicana, La
escritura maya, no.48, vol.3, Mxico, D.F., marzo-abril del 2001, pp. 55-56.
21
Lado oeste; El 9 de Marzo de 612 entr en el camino Hanab Pakal (I), seor
del linaje de Palenque. El 27 de enero de 633 la seora Sak Kuk
conmemora el final del periodo. El 12 de septiembre de 640 entr en el
camino la seora Sak Kuk. El 1ro de enero de 643 entr en el camino K
an Mo-Balam, seor del linaje de Palenque. El hijo de Kan Mo-Balam, el
hijo de la seora Sak Kuk.43
Debido a tales disposiciones, es evidente que el espacio que delimita la
Ibdem, pp.56-57.
22
del Sol, siendo su Dios patrono Buluc Chabtn, identificado como el Dios de la
tierra44. Asociando los simbolismos, el maz maduro podra representar al propio
Hanab Pakal y el oeste su muerte.
Segn Ayala, debido a la manera como el texto emplea las fechas, la
historia que se cuenta es circular, pues alude que no tiene principio ni fin,
caracterstica presente en la aplicacin de la escritura maya, destacando la
importancia de las situaciones glficas y advirtiendo la exigencia de corroborar la
informacin con datos arqueolgicos, lingsticos e histricos45. La similitud que
existe entre lo que es infinito y lo que es cclico en un sentido peridico, es que
ambos no tienen fin, pero tanto lo cclico como el crculo no son infinitos en un
sentido logartmico, tal y como s lo es un nmero irracional.
Esa es la
23
47
Ibdem, p.18.
Yolotl Gonzles Torres, op. cit., pp. 90-91.
49
Ibdem, p.8.
48
24
Elemento
Numerales Nombres
Correlacin
Pjaro Celeste
1y2
probable
Aliento o vida
Imix e Ik
50
Ibdem, p.102.
Ibdem, p.61.
52
Ibdem, p.122.
53
Ibdem, p.158.
51
25
Serpiente Bicfala
rbol del Mundo
Hanab Pakal
Fauces
del
3
3y4
4y5
5y6
Akbal
Akbal y Kan
Kan y Chicchn
Chicchn y Cimi
Oscuridad
Maz maduro
Serpiente celeste
Muerte
Inframundo
Monstruo Solar
Cimi
Sol y Muerte
54
55
26
27
28
INTRODUCTION
The epigraphy can be considered to be a scientific discipline auxiliary of history,
which, it has as an aim study the inscriptions done on hard materials, establishing
methodologies of interpretation to obtain information. The iconography for their
part, attacks the description of icons, also by means of methodologies directed to
facilitate its interpretation, which is a task of iconology.
29
The study of such icons and inscriptions, it centers on its symbolic, historical
and cultural content itself, that is understood by means of the elucidation of diverse
narratives or concrete information of past societies, which, in occasions, do not
present a spatial and / or chronological continuity, so that it becomes necessary
the dissertation of its material remains to reveal questions related to its
organization, knowledge and form of life: such labor, it is proper for archaeology
with their methods of research and theoretical interpretive approaches.
The graphical compositions56 formed of hard materials belonging to the
material culture of a human group of the past, are capable objects of study of the
epigraphy, the iconography and the archaeology, disciplines that are in the habit of
centring on the symbolic images that are observed, generally without examining
spatial relations that are established between the same ones, and also, tries to
demonstrate in the present study, information can be obtained for a perfectible
interpretation of the graphical elements of a composition.
In agreement with the previous observation, one of the intentions of the
present essay, is to develop a theoretical delineation for the study of space in the
graphical Indo-American compositions, following almost by corollary, the
incorporation of a methodological proposal of spatial analysis, which should serve
to quote mention scientific disciplines, taking the case of the rectangle as an
example on the top sight, of the tablet of the sarchofagus of Hanab Pakal, Lord of
Palenque, using theoretical precedents in which arranges on the above-mentioned
type of analysis, and adding other approaches of exegesis, by this, to contribute an
approximation towards a theory that it allows a technical and interpretive way, to
join both the epigraphy and the archaeological iconography.
Alluding to the case study, Palenque, archaeological site located in Chiapas,
it began as a farmers' village in the year 100 A. C, its urban development
originates in the Classic period (300-900 A.D.), as its height and abandon (850-900
A.D.), being prominent inside its chronology and that of the western Mayan region,
the reign of Pakal II or Hanab Pakal (615-683 A.D.) 57.
56
For graphic composition, will be understood the total dimension of the outline represented in a defined plan.
Mapa del sitio, en Especial Arqueologa Mexicana, Los tesoros de Palenque, no.8, Mxico D.F., agosto
del 2001, p.29.
57
30
The first expeditions to Palenque initiated in the year of 1784 under the
supervision of the lieutenant Antonio Caldern, being prominent immediately the
important urban development of the site, due to the architectural characteristics
and the variety of opposing objects58. Such tangible conditions, they evoke in the
reflection of the analyst, at some time specialist attended, whose ideology and
expressive qualities, they remained materialized in its solid cultureless creations.
In the year of 1949, the archeologist Alberto Ruz Lhuillier began the
explorations in the " Temple of the Inscriptions ", discovering in this year, on the
sanctuary, the domed access of a passage that was descending inside the
building, extending the labors of liberation for three years until June 15, 1952,
when it revealed itself the funeral chamber of the leader K'inich Janaab ' Pakal or
Pakal II59.
Given the historical and cultural importance of the site under analysis, a
study on any of its historical monuments, is fully justified by the deleterious value
that it shows, in benefit of education and culture, indispensable factors in the social
development of the people or nation. In addition, since it has already elucidated,
one expects to contribute new tools of analysis to archaeology, iconography and
epigraphy, so also it justifies itself with the topic treated by the academic
contribution to science.
The Investigation Problem
The existing symmetry motives of several graphical Indo-American compositions,
as well as the order that the icons keep, reveals a use of the before established
space, the problem to achieve its comprehension, develops in explaining why and
how such a disposition took place, which carries to the need to come closer to its
58
Cuevas Garca, Martha y Arnoldo Gonzles Cruz, La presencia de Palenque en los museos de Mxico y
del mundo, en Especial Arqueologa Mexicana, Los tesoros de Palenque, no.8, Mxico D.F., agosto del
2001, pp.15-17.
59
Bentez, Fernando, El descubrimiento de la tumba en Palenque (Segunda Parte), En Lakamha, Boletn
Informativo del Museo y Zona Arqueolgica de Palenque, Ao 2, no.7, Mxico, CONACULTA-INAH,
Abril-Junio
de
2003,
pp.4-9,
[En
lnea],
disponible
en
World
Wide
Web:
<www.uacam.mx/bib.nsf/4a24042bd57e05c980256509003e0809/df48228d0ca3399886256f8f006f1c47/$FIL
E/lakamha17.pdf >.
31
own conceptions of space, and the methods to establish the relations of distance
and moderation among the different graphical elements.
Therefore, the questions of investigation for the case study, develops which
is the underlying ideological in the spatial relations of the graphical composition?,
and attending to the technical aspect, what procedure did surmise the symmetry
motives and its dimensions?, clarifying that we will precisely look, for the symmetry
lines in the icons that present a reflection 60, agreeing with Tresidder's following
definition for the concept of icon:
In art, sacred representative image that has the purpose of being
exclusively symbolic. [] This way, the icon has the purpose of not being
"alive" but reflecting or symbolizing a transcendent reality in which the
clairvoyant can ponder 61.
60
In this case, the reflection concept is focused under the context of the mathematics of the design,
exemplifying: , it is a reflection of with regard to the perpendicular of their symmetry line.
61
Tresidder, Jack, Diccionario de los smbolos, Mxico, D.F., Grupo Editorial Tomo, 2003, p.123.
32
Quirarte, Jacinto, Estilos artsticos tempranos de Mesoamrica y arte Maya del Clsico Temprano, en
Los orgenes de la Civilizacin Maya, Mxico D.F., Fondo de Cultura Econmica (FCE), 1989, p.275.
63
Tomasini Bassols, Alejandro, Filosofa y Matemticas, Ensayos en torno a Wittgenstein, Mxico, D.F.,
Plaza y Valds Editores, 2006, pp. 110-125.
33
The one that is called composed geometry by straight and curved lines;
points; vertexes; edges and planes like Euclidean, evidently, it does not imply that
such characteristics are sole rights of the classic perception, since they can be
present in other systems of description of the visual environment, nevertheless,
given our own cosmology, such traffic is necessary to understand the system that
is foreign to us.
Studies exist realized by Ricardo de Robina64 and Csar Novoa65, that they
treat the topic of space in the Indo-American vision from a philosophical approach,
going deeply into theoretical questions, that they refer to its cosmology and its link
with the absent-minded forms of nature and the cosmic order, other works,
elaborated by Margarita Martnez66 and Jesus Mora Echeverra67, have proposed to
approach the geometry in the Indo-American art, worthy of discovering geometric
classified figures and that are defined by a technical outline, exposition that, united
to the analysis of different proportions like the use of the section fi 68, has allowed a
" formal analysis " that, in occasions, is helped by attributions related to the so
called sacred geometry.
An approach rather different from the previous ones, is the raised by Achim
Lelgemann, who analyzes the space of the archaeological site La Quemada,
Zacatecas, by means of astronomy, arithmetic and numerology69. Nevertheless
that its results give course for a formal discussion, and that its interpretations can
be considered to be Superiors to other from a theoretical archaeological approach,
scarce of geometric attributions in its studies in architecture, it dissents with the
essence and the principles not only from this one, but from the design itself.
Undoubtedly to know the repetition of certain geometric figures in the artistic
forms, can be important for the classification of styles, but even when there are
64
34
35
paper of 15.3 by 20.5 cm to write. After obtaining the delimiting, one will proceed to
look for internal components of related sizes, which dimensions, they allow to
establish a geometric module (a square in this case) and this way, to obtain a
certain number of cells that will fulfill the area of the object without exceeding this
perimeter71, being observed simultaneously, that should exist a relation with the
lines of symmetry that form the graphs.
In having obtained the cells and having been recounted by a measurement
system, they will provide the guideline for a metric relation with other components
that the delimited plane contains, and other elements of the site or out of this one,
but be precise to the object itself, being able to realize this way, the comparison
with other sites of chronologies and shared cultural features. If later, there exists
notable graphical elements inside the composition in which it was possible to do
another type of spatial inference, as already it has been explained, it will be
necessary to sustain them with the archaeological context.
In having exemplified with the sheet of paper, one wants to make notice the
importance of having a definite space, as the former inhabitants of Palenque fixed
an area to elaborate the graphical compositions, since the intention of establishing
certain dimensions, is the guideline to think up an ideological background that
could be agreed by cultural already certain information, since it can be a panel
topic.
Another aspect to bear in mind is that of the popular section fi72. Since it is
well known among the experts of the topic of the geometry, the numbers of the
series Fibonacci, being divided consecutively they can result in a quotient fi or
approximate, such is the case of thirteen and twenty-one, 21 / 13 = 1.615 ,
number that is near to 1.618 (golden number). The importance of describing
the consequence if the above-mentioned numbers are divided, is that both are very
71
Such a procedure, it is similar to the knows as upholstering a plan forming a lattice that is characteristic of
the geometry of transformations groups, however, the difference between this and the actual proposal, it is
that the groups of tapestries, are applied by means of operations with lineal algebra transformations, while for
the case in study, a more practical geometric method based on archaeological available data will be adapted.
72
The golden section.
36
which
supposes,
in turn,
the
notion of
unit
of
The operation of the division is particularly important for the geometric analysis, since it is expressing a
geometric reason that is the comparison of two numbers for quotient, or graphically, how many times it fits a
straight line segment inside another.
74
Sanabria, Jos Rubn, Lgica, Mxico D.F., Editorial Porra, 2001, p.206.
37
38
studies, which, not necessarily they would present a linear scheme that could to us
seem to be conventional.
In reference with the above-mentioned element "U" that is inscribed
commonly in the language of a jaguar, assumes the numerical value of 1 or one
tiger78. If such a symbol in the contexts in which it delimits to a graphical
composition, presents the same value, then it might be indicating a set. A space
can be assimilated as a set, since this one, can be empty or not, its transcendency,
takes root in that it can include a series of elements that link themselves for a rule
or property that only these fulfill.
Evidently, if the previous description moves to the field of the ideological, at
the time analysis, the delimiting space for a graphical composition, it can be also,
the doctrinaire plane on which the symbols develop its message. The space is
relative, and therefore, capable of modifying its dimensions and schemes.
In the cases in which a silabogram is formed inside a logogram to form
words, the first component, it can be subordinated to the limits established by the
contour of the second one, this one, is a form of space that can be clearly
identified, and that it reveals, transcendency started to containment inside the
structure system of Mayan writing. The same thing might elucidate of so called
"contextual environment" of a symbol, or of a scene in narrative panels, following
therefore, the sets inside other sets until coming to the delineation of the physical
element that contains them, which, in turn, can present affinity with the figure of a
group of architectural floors of the same site.
The spaces that contain the diverse graphical compositions, when it is a
question of architectural elements, they are in the habit of being vertical or sloping
planes, in quadrilateral forms or trapezoids arranged like panels, faces of pilasters,
paraments, alfardas, etc. and as the floors of the buildings that protect them, are
derived from segments of straight lines, which can be orthogonal or not. The
reason in the cases of the architectural floors, since it has been proved
exhaustively in several occasions, it is due to the astronomic dispositions that they
78
Ibdem, p.283.
39
are in the habit of modifying to the regular forms, in order which its vertexes or
sides present certain orientations.
A solution to determine the proportions of the delimited spaces by irregular
forms has been the rectangle of delimitation", in that the vertexes of the figures
are inserted, or, the element limits of a graphical composition. The described
procedure, it will be the one used in the present study, not without before agreeing
the needs of the most precise development method. In the analysis to effect,
helping the postprocessual theory79, will be necessary to establish a historical and
ideological context in which the information, this analysis will be interpreted, will be
interwoven on the base of information already determined and accepted as correct.
the cultural guidelines relating to the content of the work that is studied and to the
ideology that this one symbolizes, they must be presented, thus, it will be possible,
by means of the comparative analysis, to find, if it is that they exist, you differ and
symbolic and conceptual similarities with the information that are obtained of the
scheme to develop.
The space in the elements of the graphical representations
The graphs that can be interpreted as a form of writing, begin for pictorial
representations classified as "icongrams", in which, they are not transmitted in a
constant way, the symbols do not express sentences or phrases, serving as
resources to register important facts, showing itself the representations of a
synoptic way, not separated80. Given the characteristics of the icongrams, it is
possible to coordinate, that represent the space in a direct abstraction of the visual
environment, the images of the objects being defined by the perception of the one
who elaborates them, without presenting spatial relations subordinated to any
system of measurement. The previous thing, evidently, makes the use of the
geometry almost impossible as descriptive tool of a technical - ideological
79
Hodder, Ian, Interpretacin en arqueologa, corrientes actuales, Espaa, Editorial Crtica, 1988.
Ayala Falcn, Maricela, La escritura, el calendario y la numeracin, en L. Manzanilla y L. Lpez Lujn
(eds.), Historia Antigua de Mxico, vol.4, Mxico, D.F., INAH, UNAM, Ed. Porra, 2001, p.148.
80
40
procedure, which a society could have applied for the accomplishment of this one
type of graphical expressions.
In a stage of the writing called "pictographical-ideographical", it is constituted
the "pictogram", which it represents the object itself in a universal sense, in which
the important idea is indirectly obtained by suggestion, the objects that constitute
the topic are draw one together with other one, agreeing the message by means of
the juxtaposition of elements81.
The space, in this case, intentionally modified to achieve reflective effects in
the observed elements, analogous, on having applied the geometry of groups of
transformations82, certain types of juxtaposition would be specified inside the
reflections. Therefore, for the disposition of the components, might be recognized
some general notions of a system of measurement and managing the forms, but it
might not realize a deeper geometric study, due to the fact that the graphical
representations, they can be still intelligible as direct abstractions of the visual
environment, though certainly modified.
In the transformation of the drawing to the so called "ideograms", the
represented objects evoke an action, an idea or a quality that associates them, and
to them such relations correspond to the icongrams, these, in its process of
change, can develop certain symbols, in which; they are achieved like geometric
concrete forms83. It is possible to examine in these cases, by means of the
mentioned figures, if notions exist on the outline or delineation of abstracted forms
not properly of the visual environment, but of a mental plane, in which the forms,
they were reasoned around radial curves and segments of straight line, for later, to
tie its proportions and be exact inside a system of moderation.
Also, by means of the observations and geometric applications in the
analysis of the spatial relations of the most complex icongrams, an approximation
can be obtained to the systems of measurement and outline used, if it is that they
existed. The "phonograms", they are signs that represent sounds associated with
objects, which, they can be equivalent to the complete word in a definite number of
81
dem.
The geometry of transformation groups usually applies operations with lineal transformations to generate
changes in objects.
83
Ibdem, pp.149-150.
82
41
sounds; a syllable as the first one of the name, or, a phoneme. These elements are
present in the Mayan writing, which is considered to be a combination of stages in
the transformation of the writing84.
The geometric analysis of these elements also remains subordinated at the
level of complexity in its system of representation. Exemplifying, inside the Mayan
writing, if existing elements that could provide the guideline on a unit of
measurement in the signs of a narrative speech, or any text, could be the
logograms, due to the regularity that these forms are in the habit of showing in its
dimensions and delineated. The logograms are signs that represent the phonemes
of complete words containing this meaning, warning these, they can be present
with phonetic complements so called silabograms, reason for which, the system of
Mayan writing is considered logosilabic85.
84
Ibdem, p.150.
Kettunen Harri y Christophe Helmke, Introduccin a los Jeroglficos Mayas, Manual para el taller de
escritura, trad. de Juan Ignacio Cases Martn, Universidad de la Laguna, 2004, pp.8-19, [En lnea], disponible
en World Wide Web: <www.mesoweb.com/resources/manual/JM2004.pdf >.
85
42
Illustration 4. Logograms. The image 1), shows a logogram "WITZ" and a logogram with a phonetic
complement "wi-WITZ." 86 The image 2) the rectangles that define. In the image 3) is denoted that the
rectangle "R1" corresponding to the logogram "WITZ" is similar to a square, being able to be used as
a measurement unit.
The square can be used as unit of measurement due to the fact that the
same distance shows in any of these sides, which makes it capable also of being
used as module. On the other hand, the number four is considered to be
fundamental in all the Indo-American peoples, since it relates to four courses of the
universe, which in turn, are delimited by four solstitice points, and the days, with
which the ritual cycle begins 260 days, also they correspond to each of the
mentioned courses87.
The figure of the square, therefore, of being used to handle the space in the
graphical representations, not only would realize a technical labor shaping a
86
43
88
The module also refers to a geometric reason; it can be the height of the rectangle divided by the base or
vice versa.
44
Illustration 5. -1) tablet of the Hanab Pakal sarcophagus 89. 2) dimensions of the tablet in superior view.
3) Rectangle of seven units of long and four of width that approaches to the rectangle that frames the
tablet. 4) When superimposing the rectangle of 28 squares on the rectangle of the tablet, the symmetry
lines of the graphic composition can be obtained.
The second aspect to consider, the module90 of the rectangle of the tablet in
its top sight, was deciphered partially in having observed that the module of the
rectangle of 28U is equal to 1.75 (7/4 =1.75), very near to the found quantity
1.72, the question that follows, is if it is a question of a human mistake when 28
squares do not fit in its entirety, or if deliberately, found a figure that was presenting
a periodical decimal for module. The logical thing would be to establish the first
proposal, and to attribute the disruptions to the difficulties that the tablet took
sculpt, simultaneously that can impute to them an unlikelihood of looking for a
89
After of: Morales Lpez, Rubn B., El universo mesoamericano conceptos integradores, en Desacatos,
no.5, Mxico, D.F., Centro de Investigaciones y Estudios Superiores en Antropologa Social, Invierno de
2000,
pp.31-44.
[En
lnea],
disponible
en
World
Wide
Web:
<http://redalyc.uaemex.mx/redalyc/pdf/139/13900503.pdf>.
90
In this focus, the module of the rectangle, is the geometric reason (quotient) between its height and its base.
45
module as such, due to the system of Mayan numeration. The second question, it
will be approached in the conclusions of the present study, due to the possibility of
indicating ideological guidelines.
Every square unit, presents approximately 55cm each side, if there is
related measurements obtained by means of the decimal metric system, with what
is known it brings over of the quantitative Indo-American units, which, they were
based on anatomical moderations, it might establish a correspondence with the
length " from the elbow to the top of the fingers ", same that changes about them
45cm, according to the height average of the individuals in every culture91. Another
variable, he can be the specific personage of whom the proportions take to implant
the system, probably the precedent would relapse into the figure of the leader.
91
Castillo F. Vctor M, Unidades Nahuas de medida, en Estudios de cultura Nhuatl, Mxico, D.F.,
UNAM, 1972.
46
Ilustration 6. 5) Graphic elements disposition in the rectangle that frames in superior view the tablet
of Hanab Pakal, the spacial relation, is by 7 lines and 4 columns of squares. 6) Contrary to the first
relation, in the second disposition, a symmetry axis is in the reflection of two columns.
In the fifth scheme, was used in the rows the continuous numeration of the 1
to 7, and in the columns of the 1 to 4, the order goes from up down and from left to
right, emulating the way since habitually the glyphs were located to give them
reading92. The sixth scheme is similar to the first one, nevertheless, the numeration
of the columns was realized in agreement to how usually the glyphs were prepared
to read them in columns of two in two93.
The justification for the disposition of the sixth scheme, takes root in that,
evidently, there exists an axis or line of symmetry that it generates to the
composition (LS), by means of a horizontal reflection (l)94 of the figures with
92
47
regard to the above-mentioned line95, and guarding the numerical order of the
signs arranged in par, the graphical elements speculate, remain defined in axial
symmetry for columns numbered like 1 and 2, with no importance that its are in
opposite margins of the composition, since it is the case of the jaws of the
inframundo "96.
CONCLUSIONS
In continuation, one will propose an ideological interpretation of the iconographic
space, undertaking it with first asking for research: which is the ideological
underlying one in the spatial relations of the graphical composition?. In
continuation, there will be synthesized the technical steps followed in the effected
analysis, in order to propose a hypothesis to the second question: what procedure
did surmise the symmetry of motives and its dimensions?
Nevertheless, it is prudent to recognize, that the technical works on the
systems of delimiting the Indo-American space and its ideological connotations,
still find in a phase of theoretical and methodological development, largely, the
previous thing it is necessary, to disinterest showed by the archeologists to treat
the topic, leaving this one interpretation commonly the architects and another type
of specialists, that evidently, they will approach it in agreement to his training and
preparation level.
The calculation of the time is a relevant part of the Mayan writing, generally,
the order of the sentences begins with a temporary element, continued by the verb,
the subject and complements like objects and places, in such a way that the first
step of the modern epigraphic method, it consists of obtaining all the dates of a
monument followed of the identification of the verbs and other components of the
95
48
West side; On March 9 of 612 Hanab Pakal entered the way (I),
master of the lineage of Palenque. On January 27 of 633 the lady
Sak K'uk ' commemorates the end of the period. On September 12 of
640 the lady Sak K'uk entered the way '. On the 1st of January of 643
K'an Mo entered the way '-Balam, master of the lineage of Palenque.
The son of K'an Mo '-Balam, the son of the lady Sak K'uk ' 98.
Due to such dispositions, it is evident that the space that delimits the
graphical composition of the tablet, is in the beginning, subordinated to four
97
Ayala Falcn, Maricela, Mtodos para estudiar la escritura Maya, en Arqueologa Mexicana, La
escritura maya, no.48, vol.3, Mxico, D.F., marzo-abril del 2001, pp. 55-56.
98
Ibdem, pp.56-57.
49
courses of the universe, which converge with the solstitice points and are
associated with a dating sign.
If the environment is born in mind contextual that makes a detour to the
rectangle of the tablet, which, it consists of squares, these units would indicate
specific numbers, in such a way that reducing the same ones to 4 and 7, the first
one it indicates to Khan the mature maize associated with the south course, and
the second one to Manik associated with the west course, relating to the darkness
and sunset, being his God Buluc Ch'abtn, identified as the God of the land 99.
Associating the symbolisms, the mature maize might represent the own Hanab
Pakal and the west his death.
According to Ayala, due to the way like the text uses the dates, the history
that is told is to circulate, since it alludes that it has neither begun nor ended,
present characteristic in the application of the Mayan writing, emphasizing the
importance of " the glyphic situations " and warning the exigency of corroborating
the information with archaeological, linguistic and historical information100.
The similarity that exists among that is infinite and that is cyclical in a
periodic sense, is that both do not have end, but both the cyclical thing and the
circle are not infinite in a logarithmic sense, as it is inan irrational number. This it is
the symbolic connotation that might exist in the rectangle that defines Hanab
Pakal's tablet, in case its module had been deliberately obtained as a periodic
decimal number. Such they would be the features that would shape the contextual
environment, of the principal graphical composition in Hanab Pakal's tablet.
According to De la Garza, the sacred space is created as a limited and
concentrated image of the world, like a microcosm that possesses one o more
considered centers " center of the world ", being the sacred Mayan areas images
of the cosmos and places where the creation of the orb was carried out101. The
above-mentioned author argues the following:
99
50
102
103
Ibdem, p.18.
Yolotl Gonzles Torres, op. cit., pp. 90-91.
51
of the inframundo) and to the west curse (sunset)104. The spatial connotation
would do a reference to the death, though its position, it might be according to the
transition towards this one.
The third element, the " Tree of the World ", relates to the numerals 3 and 4,
which being spun by the previous component, it would be the following step in the
mortuary traffic, towards the numeral 4, Khan, mature maize, of south direction and
that was implying also wisdom and maturity105, for what this one parallelism, it
would suggest the historical moment for the decease of Pakal II. It continues in the
graphical composition, the space predetermined for Hanab Pakal's figure, to which,
there correspond the rows 4 and 5. This way, the mature maize, it would relate to
the Chicchn, the celestial serpent linked with the rains and the east, which
corresponds to the fifth Mayan day106.
The previous relation, it might allude an emblematic condition of divine
qualities attributed to the figure of the leader, in such a way that its space, would
distinguished numerically. Also it might present allusions to the renovation of life.
The "Jaws of the Inframundo correspond to the rows no. 5 and 6, in such a way
that, the numerical link, it would be realized with the sixth day, Cimi, that it
concerns the north course and to death, which was considered to be a way of
difficult traffic107. The last element that will be described, the " Solar Monster ",
corresponds to no. 6, the Sun among the Maya was presenting a dual aspect
during the Classic period, and in the mentality of the governing class, was
associating probably to a symbol of intimidating character108.
Undoubtedly that the interpretations on the exposed information, can be
better than elaborated in the present written, which, it tries to be as objective as
possible, even if it is conditioned limits. Next, be show a relationship of symbolic
elements and their corresponding numeral, for a better understanding of the
carried out elucidations.
104
Ibdem, p.8.
Ibdem, p.102.
106
Ibdem, p.61.
107
Ibdem, p.122.
108
Ibdem, p.158.
105
52
Name
Imix e Ik
Akbal
Akbal y Kan
Kan y Chicchn
Chicchn y Cimi
Cimi
Correlation
Breathing or life
Darkness
Mature maize
Celestial serpent
Death
Sun and Death
According to De la Garza, the Temple of the Inscriptions with its nine bodies
symbolizes the inframundo, and the representations in the tablet that covers
Pakal's sarchofagus, they correspond to symbols of three levels and four sectors of
the cosmos109, arguing the following:
[] the great Lord was represented in the center as symbol of the
terrestrial level; above there raises a cross very similar to that of the
Temple of the Cross formed by a two-headed serpent, as a horizontal
bar, with tops bead jaws of jade, and an equal head of serpent finishes off
on the top of the vertical axis. In this cross, there is connected also a twoheaded serpent of flexible body, of whose opened jaws there arises faces
of two variants of the god K. This one motive clearly symbolizes to the
celestial dragon and simultaneously to the mundi axis, which delimits
four cosmic sectors, by that it is compared by the ceiba mundi axis of
the cosmology myths gathered in the Books of the Chilam Balam. 110
The Celestial Dragoon " is identified by the god Itzamn, that was
considering the supreme celestial and creative god among the Mayas. As for the
technical analysis that developed, in order to propose a hypothesis of the
Mesoamerican system of spatial limitation, there will be specified the steps
followed in written this one:
1. Delineation in a rectangle of the space that was used to take form to the
graphical composition, and obtaining the quotient of its height between
the base.
109
110
53
54
55
56