On January 29, and 30, 2015 the internal experts’ workshop “Breaking Mesoamerican Codes” took place in the Dahlem museums. It included lectures, talks and guided tours as a preparation for the exhibition module “Graphic communications systems in Mesoamerica” in the Humboldt-Forum.

Day one: Presentation of Research Results

The director of the Ethnologisches Museum, Viola König, and the curator of the Mesoamerica collection, Maria Gaida, opened the workshop with a report on the current status of the plans for the Humboldt-Forum and, in particular, the concept for the Mesoamerica exhibition, which will focus on systems of communication and ritual ball-play. The written evidence from the pre-Columbian era, as seen on the artifacts to be displayed, reveal iconographic and script systems that have still not been comprehensively deciphered and for which the Ethnologisches Museum has no designated specialist. For this reason three expert colleagues were invited to present their latest research results on Mesoamerican writing systems within the framework of the workshop, and contribute their expertise to the exhibition concept.

To begin with, Marc Zender from Tulane University in New Orleans gave a basic introduction to the problems involved in research and the deciphering of script systems worldwide, and, in particular, in Mesoamerica. Afterwards, he looked at the interrelatedness of different Mesoamerican script systems. He discussed correlations and similarities in graphic elements as well as thematic emphases in the texts. He also talked about the possible kinship between script systems.

Javier Urcid from Brandeis University in Waltham, Massachusetts started off by presenting the chronology and regional distribution, as well as the characteristic features of Mesoamerican script systems. He elaborated on the dimensions of the concept of deciphering, and about the function of script, for example in divination, in the creation of identity and in the upholding of territorial control and hegemony. Afterwards, he went into closer detail about the Zapotec script, outlining its development and transformation over the centuries. Texts in Zapotec script are often found in burial chambers where the paraphernalia of rituals for the commemoration of the dead and ancestor worship took place.

Albert Davletshin from the Russian State University for the Humanities in Moscow reported on the latest, hotly debated, research results concerning the state, society and script of the Teotihuacan. First he gave a broad outline of the debates that were held about the structure of the state and the system of power in Teotihuacan society as well as addressing the question of whether murals or vase paintings should be considered in the first instance as works of art or script documents. He followed that up by showing which elements in the mural and vase paintings were iconographic representations of rulers and other top dignitaries, and identified other elements as glyphs of a script system, for instance, an element of the characteristic headdress of a ruler, which represented his title.

In the evening, two films by the documentary filmmaker David Lebrun were shown at the Ethnologisches Museum. “Dance of the Maize God” (2014) was about the widespread illegal excavations taking place in the Guatemalan Maya region, but also highlighted the polychromatic painted ceramics, the booty of choice for the looters. It also provided insights into vase paintings, which are stores of information in terms of the mythology and the courtly life of the Maya. Afterwards, the award-winning film “Breaking the Maya Code” (2010) about the deciphering of the Maya script was shown.

The podium discussion on the first film, which the audience was also invited to join, was chaired by Viola König, and the participants were: director David Lebrun, the Maya epigraphy specialist Marc Zender, Margarete van Ess, director of the Oriental department of the German Archeological Institute as well as being an archeologist in a region particularly affected by illegal excavations, and the documentary filmmaker Carola Wedel (director of the film “Raubgut und Beutekunst”). Central themes of the discussion were the enormous damage that illegal excavations cause, and the handling of objects with such inauspicious provenance by museums and researchers. While there was a consensus view that museums should not acquire such artifacts, opinion was divided as to whether or not the research field should utilize information provided by these looted objects, or simply disregard them.

Day two: Dating and the Interpretation of Objects

On the second day of the workshop with the three speakers from the previous day, together with Viola König and Maria Gaida, talks among experts took place around selected objects, planned for display at the Humboldt-Forum. As a result of this, it was possible to accurately date certain artifacts for the first time, and correct previous dates; in the case of some artifacts, it was also possible to clarify their function.

Some images and iconographic representations could be interpreted for the first time or were given a new interpretation. For other script documents, especially the Zapotec script, readings, even if only tentative ones, were put forward during the discussion. Particular emphasis should be given here to a stone monument from the highlands of Guatemala, which was until now thought to be a fragment of a Maya stele from the 9th century AD. But the fragment actually dates back to 550 AD. It could have come from an illegal excavation, as it is part of the pedestal of an incense burner whose decorative side was severed to be sold as a “stele.” This theory is supported by the hollowing on the upper side of the monument where the brazier was originally placed, as well as the column of Maya glyphs on both edges.

In addition, a series of steles and stone slabs from the Zapotec culture in Oaxaca, that bear images and iconographic depictions as well as texts in the Zapotec script, should be mentioned. They all belonged to the ritual complex of burial and ancestor worship. The dating revealed that they were created over a period of 500 years. The oldest piece was made between 400 and 500 AD, the most recent, between 800 and 900 AD. The monuments were originally positioned at the entrance and walls of burial chambers and, together with the murals and effigy vessels, completed their special pictorial agenda. The images and texts on the steles and stone slabs reveal that burial chambers were not only the last resting places of the dead but also sites for the carrying out of various rituals of ancestor worship. For example, on one of the steles a man is shown, whose name is provided by a glyph in his headdress. The accompanying glyph text indicates that he was responsible for the annual celebrations to commemorate the ancestors.

In the discussion about the two blocks of stone decorated with writing systems, the experts agreed on the late dating (14th/15th century, neo-Xochicalco) and on their function as sacrificial altars.

In conclusion it can be said that the experts’ workshop “Breaking Mesoamerican Codes” was very productive. The talks detailing the latest research gave rise to a lively discussion and the specialist talks on selected artifacts provided numerous new insights and interpretations.

Translated from German by Galina Green

Elke Ruhnau is a specialist on ancient American civilizations and a lecturer in Classical Aztec at the Institute for Latin American Studies at the Freien Universität Berlin.

Link Program Workshop “Breaking Mesoamerican Codes” (PDF)

The experts' workshop “Breaking Mesoamerican Codes” was held on January 29 and 30, 2015 at the Dahlem Museums.

Participants:
Albert Davletshin (Russian State University for the Humanities, Moskau)
Maria Gaida (Ethnologisches Museum, Berlin)
Viola König (Ethnologisches Museum, Berlin)
David Lebrun (Nightfirefilms, Los Angeles)
Javier Urcid (Brandeis University, Waltham, Massachusetts)
Margarete van Ess (Deutsches Archäologisches Institut)
Carola Wedel (Dokumentarfilmerin, Berlin)
Marc Zender (Tulane University, New Orleans)

Concept of the workshop: Maria Gaida, Viola König