1491_ New Revelations of the Americas Before Columbus - Charles C. Mann [139]
Most of the complex is open to tourists. Many of the sculptures have been put into museums; others presumably have been looted. Yet walking into the temple still felt to me like entering a mountain of solid rock. Over and over again, Andean stories tell of spirits embodied in stones and giants transformed into natural features. The landscape has an intricate numinous geography; it is charged with meaning that must be respected and heeded. The earth, in this view, is not something to be left alone; the wak’a that litter Peruvian anthropological sites are often partly sculpted, as if they had needed some human attention to manifest their sacred qualities. Thus the human-made tunnels into the temple were part of what made it embody the power of a mountain. As I walked down the dimly lighted corridor toward where the torchlit deity had stood, my fingers ran along the walls created by Chavín craftworkers. They were fit beautifully into place and as cold and hard as the mountains they came from. But they did not gain their power without my hand to close the circuit. The natural world is incomplete without the human touch.
PART THREE
Landscape with Figures
Made in America
ENTERING THE WATER
At some point, Chak Tok Ich’aak must have realized that January 14, 378 A.D., would be his last day on earth. The king of Mutal, the biggest and most cosmopolitan city-state in the Maya world, he lived and worked in a sprawling castle a few hundred yards away from the great temples at the city’s heart. (Now known as Tikal, the ruins of Mutal have become an international tourist attraction.) Audience seekers entered the castle through a set of three richly carved doors in its eastern wall. Inside was a receiving room where petitioners waited for the king’s attention. An inner portal led to a torch-lit chamber, where Chak Tok Ich’aak, flanked by counselors and minions, reclined on an ornate bench. On that bench is, quite possibly, where he met his fate.*23
Like most Maya rulers, Chak Tok Ich’aak spent a lot of his time luxuriating in his court while dwarf servants attended to his whims and musicians played conch shells and wooden trumpets in the background. But he also excelled at such regal duties as performing ritual public dances, sending out trade expeditions in search of luxury goods, and fighting wars—a celebratory stela has Chak Tok Ich’aak personally stomping a manacled POW. In another portrait, a bas-relief, the king is depicted as an alert man with a long breechclout and a jeweled mass of necklaces, bracelets, anklets, and pendants clicking and clattering about his person. Towering a foot over his skull was an elaborate headdress in the shape of a bird of prey, complete with swirling plumage. Like most Maya art, the portrait is too stylized to regard as a naturalistic rendering. Nonetheless, it effectively makes its point: Chak Tok Ich’aak was a major historical figure.
Mutal (modern Tikal) and the huge city-empire of Teotihuacan had trade relations—peaceful, so far as is known—that dated back to 200 A.D. Matters abruptly changed in January 378, when a force led by the Teotihuacan general Siyaj K’ak’ arrived in the court of the Mutal king Chak Tok Ich’aak. As depicted on a painting wrapped around a Mutal vase, the foreign soldiers, shown with bundles of spears and atlatls, marched away from a Teotihuacan-style building (above) and confronted the lightly clad Mutalking on the steps of his palace (near left). The outcome of the meeting—Chak Tok Ich’aak’s death—may be hinted at in the final image (far left), in which longhaired Maya pay their respects to an empty pyramid.
By combining scraps of data on several inscriptions, archaeologists have calculated that Chak Tok Ich’aak probably acceded to the throne in 360 A.D. At the time, the Maya realm consisted