Fig. 979.—Guatemalan symbols.
This is a block of dark gray porphyry (vulcanite) 12 feet long, 3 feet broad and 2 feet thick, the upper left corner of which is slightly broken off. The sculpture occupies 9 feet of its upper part. The upper portion represents the head and breast of a female, surrounded by a circle, from which the arms project. Besides the stereotyped frill surrounding the forehead, the only ornament of the head consists of two entwined rattlesnakes. The hair is of medium length and descends in tresses to the shoulders and breast. The ear is ornamented with circular disks inclosing smaller ones. Around the neck is a broad necklace of irregularly-shaped stones of extraordinary size. Below the necklace the breast is covered with a kind of scarf or textile fabric, the upper ends of which are fastened by buttons. To the center of this scarf seems to be attached a globe, the upper part of which is adorned by a knotted band from which four others ascend. From the lower part of the globe descends another band, with incisions characteristic of Mexican sculpture, while its sides are adorned by wreaths like wings. The wrists of both hands are covered with strings of large stones perforated in the center. From the semicircular bands emanate two of the twining staves; to the staves are attached knots, leaves, flowers, and various other emblems of a mythical character. The most conspicuous of these is the representation of a human face in a circle resembling the ordinary pictures of the full moon. The two central staves, originating from the neck, pass downward, and are differently ornamented. The fact that the head and part of the breast are surrounded by a circle, and that the image of the moon forms one of its ornaments, induces us to believe that this is the figure of the moon goddess. In the lower part of the sculpture appears, again, an individual imploring the deity with face upturned and elevated hand. The supplication is indicated by a curved staff knotted on the sides. Excepting a circular disk attached to the hair, the head is without ornament; the long hair hangs down to the breast and back, ending in a complicated ornament extending below the knees. In the lobe of the ear is a small ring from which a larger one depends. The breast is adorned with a globe similar to that on the breast of the goddess, only it is smaller. Around the wrist of the right hand is a plain cuff, while the left hand is covered by a skull; a stiff girdle, with a boar’s head ornamenting its back part, surrounds the waist. This girdle differs from the previous ones by being ornamented with circular depressions. From the front of the girdle descend two twisted cords surrounding the thigh, and a band tied in bow and ends. Below the right knee is a kind of garter with a pear-shaped pendant. The left foot, with the exception of the toes, is inclosed in a sort of shoe.
In front of the adorer is a small altar, the cover of which has incisions similar to those in the pendant of the globe on the breast of the deity. On the altar is a human head, from the mouth of which issues a curved staff, while other staves in the shape of arrows appear on the side of the head.
Fig. 980 is reproduced by permission from Lieut. H. R. Lemly (a), U. S. Army, who calls it a “stone calendar.” It is the work of the Chibcha Indians of the United States of Colombia, and its several parts, some of which are to be compared with similar designs in other regions, are explained as follows:
a, Ata, a small frog in the act of leaping. This animal was the base of the system, and in this attitude denoted the abundance of water. b, Bosa, a rectangular figure with various divisions, imitating cultivated fields. c, Mica, a bicephalous figure, with the eyes distended, as if to examine minutely. It signified the selection and planting of seed. d, Muihica, similar to the preceding, but with the eyes almost closed. It represented the dark and tempestuous epoch in which, favored by the rain, the seed began to sprout. e, Hisca, resembling c and d of the stone, but larger, with no division between the heads. It was the symbol of the conjunction of the sun and moon, which the Chibchas considered the nuptials or actual union of these celestial spouses—one of the cardinal dogmas of their creed. f, Ta, almost identical with b. It represented the harvest month. g, Cuhupcua, an earless human head upon one of the lateral faces of the stone. It was the symbol of the useless or so-called deaf month of the Chibchan year. h, Suhuza, perhaps a tadpole, and probably referred to the generation of these animals. i, Aca, a figure of a frog, larger than a, but in a similar posture. It announced the approach of the rainy season. j, Ulchihica, two united rhomboids—a fruit or seed, and perhaps an ear. It referred to their invitations and feasts. k, Guesa, a human figure in an humble attitude, the hands folded, and a halo about the head. It is supposed to represent the unfortunate youth selected as the victim of the sacrifice made every twenty Chibchan years to the god of the harvest.
The characters b and f below, markedly resemble one given by Pipart (a), with the same signification. It referred to the preparation of the ground for sowing.
Fig. 980.—Chibcha symbols.
Wiener (f) gives the following summary of prominent Peruvian symbols: