Animal Figures in the Maya Codices

by Alfred M. Tozzer; Glover M. Allen

Harpy Eagle (Thrasaetos harpyia). In the Nuttall Codex, what is undoubtedly the harpy eagle is of frequent occurrence. This great bird is not uncommon in the forests of southern Mexico and Central America, and must have attracted the notice of the people from its size. The elongated feathers at the back of the head form a conspicuous crest, a feature that characterizes this species in most of the representations. A stone carving from Chichen Itza ([Pl. 20], fig. 10) pictures a harpy eagle eating an egg-shaped object, and another similarly engaged is copied from the Codex Vaticanus 3773 ([Pl. 20], fig. 14). The former is considered to be a vulture by Maudslay, but the presence of feathers covering the head excludes this interpretation. In two stone glyphs ([Pl. 20], fig. 1, 3), occurs a large bird apparently devouring something held in its talons, as in [Pl. 20], fig. 10. From this general resemblance, it seems probable that both represent the harpy, although no crests are shown on the glyphs. In the Dresden and the Tro-Cortesianus occur a few figures of crested birds that probably are the same species. The crest feathers are reduced to two, however, or, in some cases, what may be a third projecting forward from the base of the bill ([Pl. 20], figs. 5, 7, 12, 13). The last two figures are not certainly identifiable, though it is probable that they represent the harpy.

The eagle seems to be the bird associated with warriors in the codices. Seler (1900-1901, p. 89) notes that the eagle and the jaguar are both the mark of brave warriors among the Nahuas. In the Aubin manuscript, the warrior god, Yaotl, is always associated with the eagle (quauhtli). In the Maya pantheon, god M is usually considered the war god, as he is almost always armed with a spear. He is seen in Dresden 74 ([Pl. 20], fig. 13), and in Tro-Cortesianus 109c with an eagle as a head-dress. There are other gods, however, who wear a similar head covering. God L appears in Dresden 14b ([Pl. 20], fig. 7) and again in 14c ([Pl. 20], fig. 5) with an eagle head-dress. God D in Dresden 23c ([Pl. 20], fig. 11) has an eagle coming from a Tun sign on top of his head. The eagle is probably represented at the prow of a boat in Dresden 43c ([Pl. 20], fig. 12) in which god B is rowing. In Tro-Cortesianus 88c ([Pl. 20], fig. 4), a bird which may represent the eagle appears sitting on a Cimi (death) sign. Above in the glyphs the character for the south is shown. Here, clearly, there is some connection between the signs of the cardinal points in the line of glyphs and the various creatures pictured below.

There seems to be only one glyph which can in any way be taken for that of the eagle in the Maya manuscripts and this appears only once, in Tro-Cortesianus 107c ([Pl. 20], fig. 9). This identification may be questioned, as there is no drawing of an eagle associated with the glyph. Attention has already been called to the two stone glyphs in [Pl. 20], figs. 1, 3. There are various drawings of the glyph for the eagle in the Nahua and Zapotecan codices ([Pl. 20], fig. 8), as the Nahua day, Quauhtli, has the meaning eagle. It is interesting to note in the glyph from the Nuttall Codex ([Pl. 20], fig. 8) the tips of the feathers are crowned with stone points, a frequent way of representing birds of prey among the Mexican peoples.

Yucatan Horned Owl (Bubo virginianus mayensis). Stempell makes a serious mistake by confusing the eared owl shown in full face with that shown in profile in the drawings, for he considers both to represent the great horned owl. The figures are, however, quite different in every way. The owl in full face view is unquestionably the great horned owl (Maya, ikim), the Yucatan form of which is recognized by the subspecific title mayensis. This is the bird opposed to the “Moan-bird” which, as will be shown later, is associated with death. In [Pl. 21] are some truly remarkable figures which seem to represent this horned owl, the first modelled in stucco from Palenque, the second carved in stone from Yaxchilan, and the third carved in wood from Tikal. Figs. 1 and 3 show the bird in flight with extended wings. The two erectile tufts of feathers or “horns” are conspicuously represented in fig. 3, at either side of the bird’s head and between them the flat top of the crown is secondarily divided in like manner into three parts, representing the “horns” and the top of the head. The beetling brows, heavy hooked beak, and spread talons combine to give a fierce and spirited mien to the great bird. [Pl. 21], fig. 2, may be a greatly conventionalized owl in which the essential characteristics of the bird are reproduced in a rectangular design. The large bill is conspicuous in the center, and in each upper corner terminates one of the ears. The eyes are represented by rectangular areas at the base of the bill, each with three vertical bars across it. Below the beak, or at either side of the tip, are the feet, each with the claw cross-hatched. What seem to be the reduced and highly conventionalized wings fill the lower corner of each side of the figure.

The shield in the center of the Tablet of the Sun at Palenque ([Pl. 22], fig. 6) shows a face in which the motif seems to be the full-face view of the horned owl. The hooked bill curves over the mouth at each side of which is the curious scroll seen in the same connection in the figures of [Pl. 21]. The ears are somewhat shorter in proportion than usual and below each, at the sides of the face, is a large ear-plug, similar to that elsewhere found. The eyes are still further conventionalized with a decorative scroll surrounding each. Another example of the conventionalized owl’s head is on Stela 1 from Cankuan (Maler, 1908, [Pl. 13]). We are not yet ready to advance an explanation of the reason why the owl should occupy such a prominent position in the art of the Mayas.

In only one case is the horned owl found in the Maya manuscripts. In Tro-Cortesianus 95c ([Pl. 22], fig. 2), this owl appears as the head-dress of a woman in that portion of the codex where baptism and naming are shown. An owl’s head seems to be shown on the end of a warrior’s staff in the bas-relief of the Lower Chamber of the Temple of the Tigers at Chichen Itza ([Pl. 22], fig. 4). [Pl. 22], figs. 5, 7, show two owls from the Aubin manuscript; the first is considered to be the screech owl (chiqualli) and the second the horned owl (tecolotl, in Nahuatl). [Pl. 22], figs. 1, 3, show two drawings of owls from Nahua manuscripts.

Yucatan Screech Owl or Moan Bird (Otus choliba thompsoni). A second species of owl is represented by the figures on [Pl. 23]. This has likewise two feathered tufts or “ears” on its head and is always shown with the head, at least, in profile, but the tufts one in front, the other at the back of the head. The facial disc is not very prominent the beak rather long, the tail short, and the plumage somewhat mottled. A dark ring usually surrounds the eye. It is, with little doubt, the screech owl, the only other form of eared owl commonly met with in the Central American region, and in Yucatan is represented by the race above indicated. This owl, under the name of the Moan bird,[338-*] is always associated with the idea of death among the Mayas. The familiarity of this species and its mournful quavering cry uttered at night have no doubt led to its association with death and mystery as with owls in other parts of the world.

This Moan bird has an important place in the Maya pantheon, as it is the representative in many places of god A, the Death god. It appears with a human body in Dresden 7c ([Pl. 23], fig. 1), 10a ([Pl. 23], fig. 8), and 11a ([Pl. 23], fig. 3) and in Tro-Cortesianus 66a ([Pl. 23], fig. 2). In each of these places, it occupies the space in which one of the regular gods is usually found. In Dresden 10a, the day reached in the tonalamatl reckoning is Cimi, meaning death, and here, as has been noted, is found the Moan bird, the symbol of death, with another sign of death in the circle just above the head of the bird ([Pl. 23], fig. 8).

This owl is used as a head-dress itself, but always for women, Dresden 16a ([Pl. 23], fig. 19), 18b ([Pl. 23], fig. 5), Tro-Cortesianus 94c ([Pl. 23], fig. 4), and 95c ([Pl. 23], fig. 20). It occurs in both manuscripts in the pages mentioned several times before, where birth, baptism, and the naming of children are shown. The curious figure, with a head similar to [Pl. 23], fig. 21, carried on the back of some of the women, is the Moan sign, referring to the idea of death, possibly to still-birth, as copulation and birth are shown in this section of the codex (Dresden 18c, 19c). The Moan is found associated with man only once in the manuscripts. In Tro-Cortesianus 73b ([Pl. 23], fig. 18), he is found perching on a curious frame-like structure in which god B is sitting.

There are several glyphs representing the Moan bird or screech owl; the first type is easily identifiable, as the head of the bird is clearly pictured ([Pl. 23], figs. 11-14, 16). This head is frequently associated with the number thirteen (Dresden 8b). It may occur in the line of glyphs (Dresden 16c), and refer to the Moan pictured below, or it may occur in the line of glyphs with no picture corresponding to it below (Dresden 53b). [Pl. 23], fig. 15, from Dresden 38c has been placed with these drawings, although the identification is not certain. It may refer, however, to the large Moan head below, on which god B is sitting ([Pl. 23], fig. 11). The second type of glyph does not resemble in any way the Moan, but they are clearly signs for it, as they are often found in connection with the picture of the Moan, Dresden 7c ([Pl. 23], figs. 6, 7, 21) and 10a. In both places fig. 7 is associated with the number thirteen. Schellhas also places [Pl. 23], fig. 17, among the Moan signs.