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(Toledo, object 1: Photograph of a plain Cylindrical Vessel from Metropolitan Museum of Art) The image shows a plain but elegant vessel without any hieroglyphs . Vessels lacking precise archaeological context limit our ability to understand these artifacts as cultural objects (Stuart pg. 158). The vessel is a taller vessel than most used in the late classic period where other vessels latter developed and hieroglyphs were imprinted by potter artists. This vessel is painted in a flaming red color which was common during this period and identified the Maya culture during the time. Cylindrical vessels of this type were being utilized for drinking water, cocoa and luxury drinks. As you can see, this vessel shows a burning flame from the bottom flat surface which makes it both one of a kind and elegant. In addition, there is six incised lines  starting from the bottom up to the upper portion of the vessel. These incised lines exhibited the early stages of Maya art which later became common  in Maya pottery. Pottery at the time was made with clay and made by different potters. It was not until a later time that potters began to implement vivid scripts onto their pottery which gave name to themselves. After the new development of scripts on pottery their creation became of higher request by those who ruled. Such pottery became to be used domestically by royalty for consumable products.

References:

The Metropolitan Art Museum “Cylindrical Vessel.” New York City.
https://artsandculture.
google.com/asset/cylindrical-vessel/bwGZxIdH0CnkfQ.           Retrieved 8 December 2020.

Stuart, David, 1989 Hieroglyphs on Maya Vessels. In The Maya Vase Book: A Corpus of Rollout  Photographs of Maya Vases, Vol 1, edited by Justin Kerr, pp. 149-160. Kerr Associates, New York, NY. Retrieved 8 December 2020.

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Cylindrical Vessel - The Metropolitan Museum of Art

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(Toledo, object 2; Photograph from Princeton University Art Museum, Princeton Vase, K0511 MS1404). The image shows a cream color vase with hints of red which was commonly used in the late classic era. In addition to this, the vase exhibits black color scripts that surround the vase. It was in the nature of the Maya people to create a script on the majority of their pottery. Like most Maya ceramics containing glyphs, “the famed Princeton Vase shows a liquid (presumably some cacao or maize drink) being poured from a cylindrical vessel. It stands to reason that elaborately deco-rated Maya vessels were not always made for funerary purposes but were rather well-used beverage utensils of the deceased, used in both ritual and daily life (Stuart, pg. 152). These scripts represented important vivid events during the Maya era. In this case, “an old, toothless underworld god sits on a throne within a palace, represented by the pier behind him and a cornice above. Curtains, which were used as doors among the ancient Maya, have been pulled up to reveal the interior scene. This deity, known among scholars as God L, wears his characteristic shawl and a broadbrimmed hat bedecked with owl feathers and an owl. In addition to ruling the Maya underworld, God L was the patron deity of tobacco and merchants. Five elegant female figures—possibly concubines— surround him. A rabbit scribe, who might be spying on God L, sits below, writing in a book” (Princeton, par.1). Scripted vases such as the Princeton Vase were made to hold drinks but it was an important representation of the Maya wealth status for Kings and Queens.

References:

Museo Nacional de Antropologia, Mexico. “Princeton Vase”             https://artsandculture.google.com/partner/museo-nacional-de-antropologia-mexico. Retrieved 6 December 2020.

Stuart, David, 1989 Hieroglyphs on Maya Vessels. In The Maya Vase Book: A Corpus of Rollout  Photographs of Maya Vases, Vol 1, edited by Justin Kerr, pp. 149-160. Kerr Associates, New York, NY. Retrieved 6 December 2020.

Princeton University Art Museum “The Princeton Vase, A.D. 670-750.”                         https://artmuseum.princeton.edu/collections/objects/32221. Retrieved 6 December 2020.

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(Toledo, object 3: Photograph of Resurrection Plate by Justin Kerr, Added 1998-06-05. K#1892) This image is a close-up of a codex style plate that was made during the Popol Vuh classic period Maya ceramics. This codex style plate was made with clay and painted with cream and red colors paint which were quite common color used on Maya pottery. In addition to this the plate exhibits a vivid story. While there are many story telling scripts in many discovered Maya pottery it is particularly important to know the story behind this specific script on this vessel. The story on this plate depicts the moment of resurrection of the Hero Twins father, the Maize God. After the Hero Twins father head was chopped off after their first lost against the underworld gods the Hero Twins once again went down and played a ballgame. This time, the Hero Twins were victorious and their father Hun Hunahpu, the Maize God was reborn once again. While there were many domestic potteries made during this time, codex style scripted plates with vivid scenes or with important event scripts, were only owned by kings and queens. This showed their social status among those without.
References:

Kerr, Justin “Codex Style.” Resurrection Plate. http://research.mayavase.com/kerrmaya_list.php?allSearch=&hold_search=&x=0&y=0&vase_number=1892&date_added=&ms_nu            mber=&site=. Retrieved 8 December 2020.

Reents-Budet, Dorie “Codex-Style Ceramics: New Data Concerning Patterns of Production and           Distribution” http://www.mayavase.com/codex.pdf. Retrieved 10 December 2020

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(Toledo, object 4: Photography of Lidded Vessel from The Metropolitan Museum of Art) This photo is a close-up of a lidded vessel that was developed in the early classic period. This lidded vessel was an updated cortex style pottery. It included more color in it is art. There is several hints of orange, blue, cream and a black trim. Like many other developed potteries another scripted vivid scene is displayed on this vessel, “Two acrobats on the wall of the main bowl chamber and two on the sloping lid strike poses with their torsos on the ground, arms extended in front of them, while lifting one leg into the air and placing the other knee on the ground. They are adorned with jewelry, body paint, and elaborate headdresses. Acrobats such as these, often reaching their feet towards their heads, appear in Mesoamerican art from the 1st millennium B.C., and in Maya art the Maize God is often performing such feats” (Doyle, 2016). This vessel gives it a closer and similar look to the basal flange pottery. The lidded vessel also has a lower apron that makes it look like it is floating from the surface. Such developed Maya pottery was still used to hold food or beverages of some kind.

References:

Mayavase.com “Lidded Vessel” https://artsandculture.google.com/asset/iQE1t0rXP8QzkA?  childAssetId=ogHHn_xY1g79qA. Retrieved 8 December 2020.

Doyle, James “Lidded Vessel” The Metropolitan Art Museum.  https://www.metmuseum.org/art/collection/search/315884. Retrieved 9 December       2020.

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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(Toledo, object 5: Photograph of Jar, Virtual Scene from the Metropolitan Art Museum) The jar with the cylindrical neck is painted with the colors red, orange, and black. Much like the beginning of the early Maya era, this jar exhibits incised lines that were first used during the development of Maya pottery. In addition, there is also two scenes painted. One exhibited on the cylindrical neck of the jar and the second on the lower body of the jar. It appears that this scene is some sort of virtual scene. “Throughout the scenes appear jars of the same shape with the black dots near the rim indicating a foamy alcoholic beverage. Large jars of this form are known to have been used for fermented beverages, such as pulque, made from the sap of maguey (Agave Americana). The scenes and the jar may be related to a ritual of intoxication. The male in one lower scene bows his head and holds his hand to his mouth, as if he were not feeling well” (Doyle, 2016). Like many other pottery styles that were develop throughout the Maya era, majority of the pottery that contained scripted scenes were owned by those who ruled. In addition, these types of pottery styles that were designed by well-known potters were not only used for foods and drinks. Rulers gave them as gifts in order to show off their economic status.

References:

Doyle, James “Jar, Ritual Scenes” The Metropolitan Art Museum.             https://www.metmuseum.org/art/collection/search/316813. Retrieved 9 December               2020.

The Metropolitan Art Museum, “Jar, Ritual Scenes.” https://g.co/arts/iuEN4js3h5bCPo9d8. Retrieved 9 December 2020.

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Jar, Ritual Scenes - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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(Reyes, Object 1 Maya. clay. Alta Verapaz, Guatemala. Mask of the Sun God. National Museum of Guatemala no. 5235. Published in The Ancient Americas p.166)
The mask is a representation of the sun god which was of great importance to the Mayan people. The Mayan had a reverence to the sun god since the beginning of creation. The sun god's beginning is explained in the Popol Vuh story. This is the story of creation where the Quiche Mayans describe how humans came to exist and all living creatures. In the story the sun and the moon are the two hero twins that defeated the underworld gods by their intelligence and strategies versus their strength. The hero twins defeat the underworld gods and resurrect their father and he became the maize god.  The Mayans show a great importance and reverence to the universe and it stars because they studied them to know when to harvest their maize. The mask consists of clay and doesn't display any hieroglyphics, but the facial features demonstrate characteristics that were important to the Mayan. For example, the nose is pointed out and the nostrils flare out. This is a dominant trait among the Mayan pottery and stone carvings to display rulers with a pointed out nose and flared out nostrils. Even in the face structure the high cheek bones were a sign of beauty for the Mayans. The vessels and vases show the Mayans had great ingenuity for art and they didn't stop at that they were inventive. They found ways to portray their belief of polytheism in pottery and clay figurines. Mayans would use jade masks to bury people of high authority and importance. Rulers would wear masks in rituals as well.
http://research.mayavase.com/portfolio_hires.php?search=masks&date_added=&image=4894&display=8&rowstart=48

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(Reyes, Object 2) Maya. clay. height 12.9 cm.. Jaina. Dwarf with spangled turban. Dwarfs played a large part in Maya courts acting as; (as seen on Maya vessels) mirror holders, wine tasters, messengers, and attendants. The Princeton Art Museum, Princeton. NJ PUAM# y1968-134
The figurine of the dwarf is important because it holds a clue to it's position in the royal court. This is a distinctive role because rulers usually allowed very few people to approach them or to be around them. Usually rulers were not openly available to their people. The first clue is that Mayans wear headdresses to show their authoritative power or to describe what position they held. The spangled turban that the figurine is wearing is a suggestive clue to knowing that dwarfs had a role in royal court. Figure 2 on the right is a vessel that has a dwarf with a small headdress in the middle of two parties that are in a war. The dwarf has his arms crossed suggesting that he is not in agreement or being dismissive. He appears to be a mediator or is a messenger because of the position between both parties. This is an insight into the lifestyle of the Mayan royalties and politics as well as what role their servants had. The figurine doesn't display any hieroglyphics, but dwarfs are seen in other vessels that help identify their importance and role in the Mayan culture. Authors Anna Bishop and Erica A. Cartmill write in their article The Body of Hierarchy:.. that "Distal figures were much less distinctive in their dress, accoutrements, and attributes, and were often classified as a general subsidiary or attendant. The dwarf figurine can be classified as a distal figure because the attire is less distinctive than the royal party.
Reference:
Bishop, Anna, and Erica A. Cartmill. “THE BODY OF HIERARCHY: HAND GESTURES ON CLASSIC MAYA CERAMICS AND THEIR SOCIAL SIGNIFICANCE.” Ancient Mesoamerica, 2020, pp. 1–15., doi:10.1017/S0956536120000097.

LINK:
http://research.mayavase.com/portfolio_hires.php?search=dwarf&date_added=&image=2846&display=8&rowstart=8

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(Reyes Object 3) Suggests parley of two sides in a war by Ah K'hunob. Publication: The Face of Ancient America p.102
This vessel depicts an important scene of a war that was going on between two important parties in Mayan history. The hieroglyphics inscribed in the vessel help elaborate more on what is happening. According to David Stuart in his article Hieroglyphs on Maya Vessels he mentions that, " Hieroglyphic texts on vessels likewise hold a special fascination, for they sometimes describe and name the actors and events portrayed in the painted or carved scenes." Based on a study that was conducted by Michael Coe on Mayan hieroglyphics that were found on vessels, much can be identified because there is a primary standard sequence. In other words, there is a repetition in a sequence of hieroglyphics around vessels. The figures that are shown on the vessel also play an important role because they are shown in a scene like in a movie displaying an event. The posture is key to knowing what is being implied as well. The article The Body of Hierarchy... written by Anna Bishop and Erica A. Cartmill explains that, "...focal figures used relatively more complex gestures like the trisected and bisected gesture, and fewer simple gestures like unilateral and crossed...distal figures use basic gestures more often than figures in other positions, and their use of each gesture decreases as the complexity increases." In this scene on the right side, both tall men have hand gestures that suggests that they are carrying out the conversation. Then on the left side of the scene everyone has their arms crossed showing a dismissive behavior.

Reference:
Stuart, David
1989 Hieroglyphs on Maya Vessels. In The Maya Vase Book: A Corpus of Rollout Photographs of Maya Vases, Vol 1, edited by Justin Kerr, pp. 149-160. Kerr Associates, New York, NY.
Bishop, Anna, and Erica A. Cartmill. “THE BODY OF HIERARCHY: HAND GESTURES ON CLASSIC MAYA CERAMICS AND THEIR SOCIAL SIGNIFICANCE.” Ancient Mesoamerica, 2020, pp. 1–15., doi:10.1017/S0956536120000097.
LINK:
http://research.mayavase.com/kerrmaya_hires.php?vase=532

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(Reyes, Object 4) Maya. painted clay. height 23.8 cm Ruler dressed as Chac-Xib-Chac. Published Blood of Kings p.76. The Kimbell Art Museum, Fort Worth..
This is a figurine of a Maya ruler that demonstrates a very detailed regalia of war.  This ruler was dressed as Chac-Xib-Chac and the Holmul dancer. It is associated with the god of war, sacrifice, dancing, and fishing. It is from the Late Classic Period. The headdress is very elaborate with a heavy chest armor that shows that he is ready for war, as well as his shield. The figurine serves as an example of the attire that was worn for war. In the article Studying Figurines by Marcus, Joyce it mentions that, "Some groups believed that when one's animal alter ego died, so would his human counterpart. While we do not know how far back this belief goes, pre-hispanic figurines often depict animals, and some of these may represent alter egos. Most revealing are figurines that combine animal body parts with human body parts or humans costumed to impersonate animals, any of which could show early versions of a belief in the alter ego." The alter ego was a concept that the Mayans understood and personated through animals. It is of importance how it is being depicted in this figurine. This figurine could of served as part of a ritual to gain favor from the gods to win a war. The Mayans would do rituals to gain favor from the gods or to please them. The fact that the figurine is wearing a war regalia and his chest plate says that he is ready to take captives is a big part of the Mayan culture.
Reference:
Marcus, Joyce. “Studying Figurines.” Journal of Archaeological Research, vol. 27, no. 1, Mar. 2019, pp. 1–47. EBSCOhost, doi:10.1007/s10814-018-9117-7.
LINK:
http://research.mayavase.com/portfolio_hires.php?search=*Maya*&date_added=&image=2824&display=8&rowstart=56

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(Reyes, Object 5) Maya Ceramic. Early Classic double vessel with the Hero Twin Hunahpú shooting at Vucub Caquix with his blowgun.
This is a vessel from the Early Classis Period that has that long vase structure on both sides and a red color paint on the major bird deity Vucub Caquix. The vessel is a part of the Popol Vuh iconic story for the Mayans. It is a story that can be seen through several vessels in the Early Classic period. Vessels told different scenes from the story in artworks. This happens to be the scene where a deity is being defeated by Hunahpu.
Both vessels appear to have some hieroglyphs. There is a big hieroglyph in the center of both vessels. These vessels appear to be of importance because it displays the story of the Popol Vuh. The Mayans had a mindset of preserving their rituals and beliefs, as well as displaying them through artwork.  In the Early Classic period large tall vessels were used to keep cacao. In the article Folk Classifications of Classic Maya Pottery written by Stephen D. Houston, David Stuart, and Karl A. Taube it mentions that, " The tall vases, of the type epigraphi- cally labeled as containers for cacao, often appear in Late Classic palace scene."  Now this whole vessel is a scene in 3D without the palace in the background or any added hieroglyphs. Instead, it is like pressing pause on a certain scene of a movie and zooming in on a certain character eliminating the background. The person that created the vessel wanted to emphasize the act of killing a deity or perhaps highlight an important part of the Popol Vuh story.
Reference:
Houston, Stephen D., et al. “Folk Classification of Classic Maya Pottery.” American Anthropologist, vol. 91, no. 3, 1989, pp. 720–726. JSTOR, www.jstor.org/stable/680877. Accessed 13 Dec. 2020.
LINK
http://research.mayavase.com/portfolio_hires.php?search=hero&date_added=&image=3105a&display=8&rowstart=0

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(Grzeczkowski, Object 1: Photograph of Colored Cylindrical Vessel from the San Diego Museum of Man) The vessel shows a plain face of a man with very highlighted features, specifically the mouth and nose are very pronounced with color and distinction. The vessel is important for many reasons for the Maya, it helps to connect the incense they burn to the gods during various ceremonies and rituals to help them prosper in everyday activities. Rituals for rain, and good harvests use intense amounts of incense because the god of rain, Cháak, can only be coaxed out by the finest offerings, and those include various incense forms and scents. This vessel would be ideal for holding bundles of incense like copal pom.

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(Grzeczkowski, Object 2: Photograph of Tripod Bird Bowl from The Metropolitan Museum of Art in New York) The Tripod Bird Bowl is exquisite in detail of a bird catching a fish, with wings that spread to create the lid, and tail to form the handle. It has been said that these bowls are often found near burial sites, and could have significance to the afterlife or those who have passed on. The bowl itself is not designed in any way besides function, and all emphasis is placed on the lid itself. This is likely to draw the viewers eye upward, and to inform the user that it is in fact a bowl with lid, instead of a solid piece of art with no function, which was not in Maya taste.

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(Grzeczkowski, Object 3: Photograph of Plate with Trumpeter from The Metropolitan Museum of Art in New York) Plate with Trumpeter shows an elaborate plate full of color and lively design. The Trumpeter in question is dressed traditionally, while performing. The edge of the plate is filled with blue and yellow triangles, as a design element to draw the eye in towards the glyphs before meeting the trumpeter in the center. The Trumpeter's finery is often related to ceremonies celebrating the gods, and the plate would be used for corn tamales or meat.

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(Grzeczkowski, Object 4: Photograph of Yoke-Form Vessel from The Metropolitan Museum of Art in New York) This vessel in a monochrome fashion highlights the death of a seasoned ball player, characterized by the two faces with eyes closed to mean death, and the human figure wearing a thick belt often associated with sports. The vessel is vastly decorated, most likely in reverence to someone who has died and is to be remembered. The yoke formation seems to be associated also with a belt, reinforcing the theme of sports as a means of fun and competition.

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(Grzeczkowski, Object 5: Effigy of Chaac) This stylized effigy of the god Chaac follows traditional guidelines for the facial construction and appearance of the god. The curved nose and tusks in mouth are first mentioned in a story of Chaac fighting a battle where these elements are useful to the martial fighting style, paired with the god's lightning infused axe. The ceremonial armor is both to identify that he is god of the Maya, and also to protect himself from threats of both a natural and supernatural nature, as Chaac is said to protect the Maya and provide rain for the Maya people in the Yucatan.

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1984, Gift of Carolyn C. and Dan C. Williams, 1984. “Tripod Bird Bowl.” Metmuseum.org, 2020, www.metmuseum.org/art/collection/search/314827.

1989, Gift of Eugene and Ina Schnell, 1989. “Plate with Trumpeter.” Metmuseum.org, 2020, www.metmuseum.org/art/collection/search/316274.

1970, Purchase, Mrs. Charles S. Payson Gift, 1970. “Yoke-Form Vessel.” Metmuseum.org, 2020, www.metmuseum.org/art/collection/search/309713.

2020, Creative Commons Attribution-ShareAlike License. “Maya Ceramics.” Wikipedia, Wikimedia Foundation, 5 Dec. 2020, en.wikipedia.org/wiki/Maya_ceramics.

2020, Creative Commons Attribution-ShareAlike License. “Chaac.” Wikipedia, Wikimedia Foundation, 1 Oct. 2020, en.wikipedia.org/wiki/Chaac.

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Unprovenienced vessel made during the Late Classic period of the Maya.

Two cacao trees on opposite sides of the vessel sprout heads bearing the distinctive sloping brow, tonsured hair, and jewels of the Maize God, Hun Hunaphu. This depiction in the Popol Vuh as a cacao tree (a sign of wealth and status in Maya culture) and subsequent depictions where he is covered in cacao seeds also provide substance to the speculation that he may have been both the god of maize and cacao as well. At the base of each tree are large lowers, specifically the frangipani (also known as Plumeria), which were viewed as sources of divine birth in some Maya lore. This vessel depicts a scene of the Popul Vuh that takes place right after his decapitation in the underworld. Here the Popul Vuh says, "Now when they went to place his head in the midst of the tree, the tree bore fruit. The tree had never borne fruit until the head of One Hunahpu was placed in it... One Death and Seven Death marveled at the fruit of the tree, for its round fruit was everywhere. Neither could be seen clearly the head of One Hunahpu, for his face had become identical in appearance...". This comparison to the fruit of the tree is a common image in Maya art, and in some cases, the words for "fruit" and "face" are interchangeable with one another. Later on, Hun Hunaphu would impregnate a maiden of the underworld through his spittle (a clear metaphor for his "seed"). This leads to the creation of his two sons, the named "Hero Twins" Hunter and Jaguar Deer. This cylindrical vessel has no immediately defined uses, but most likely would have been a vessel for cacao or some other basic resource.

Link for displayed image:
http://www.mayavase.com/still/5615still.jpg

Click for full, laid out image:
http://research.mayavase.com/kerrmaya_hires.php?vase=5615

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Unprovenienced vessel.
Late Classic period.

The full vessel is a depiction of a palace in the underworld. Seated in a throne room is a being that scholars define as God L, who is identified by the owl on his broad hat, with a placement that suggests that he is the most senior and powerful lord of the Maya Underworld. An aged figure with jaguar characteristics, he is often shown with a decorated cape, a staff, and a cigar. He speaks with the torch-headed K’awiil, who gestures toward an anthropomorphic tree weighted with cacao pods, another representation of the Maize god, Hun Hunaphu. His placement in the Underworld provides a place in the Maya timeline, where the Maize god remains underground, before the brothers Hunter and Jaguar Deer enter the underworld to challenge the gods. Like the corresponding gods in the Popol Vuh (One Death and Seven Death) the owl-adorned god would have presided over the demise of the Maize God and possessed the resulting Maize Tree. The presence of cacao in the scene elevates the status of the gods by displaying their power and wealth of cacao. These gods also carry other representations of wealth. On the very right of the image, a god wears a headdress bearing the likeness of a scarlet macaw. He also possesses a rack of macaw feathers going down his back. Several of these gods are also wearing large jade jewelry, which is also a mark of great wealth and power. On the bottom rim of the vessel, a servant (yet another mark of power) grinds the cacao seeds into a powder. This powder will be processed and will eventually become what we know as chocolate.

Link for displayed image:
http://research.mayavase.com/kerrmaya_hires.php?vase=631

Click for full laid out image:
http://research.mayavase.com/kerrmaya_hires.php?vase=631

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Unprovenienced
Late Classic Maya Period.

One of the larger known Maya vessels, this cup depicts an elaborate scene of a ruler on his throne. His elbow slightly cuts into the accompanying glyphs, which seem to form from the smoke of his cigar, which simply his ownership of the glyph (and therefore ownership of the vessel). The accompanying text reads "yuk'ib baje wa-KAAN TOOK' bakab," or "the drinking cup of Baje(?) Kaan (or Chan) Took', the ruler." This illustration is a prime example of how artistic (and literal) the Maya people were with their designs. The themes of bountiful food incised on the outside of the vessel inform its function as a container of chocolate (which was crucial for royal feasts), and the sheer size of the vessel indicates that it was a kind of communal "punch bowl" that others would dip their cups into.

This figure  wears a necklace perhaps composed of the two joined halves of a shell, and jade earrings, similar to those depicted on royalty. His forehead slopes back, indicative of cranial deformation (a practice of Maya nobility), and his hair are held back by a royal headband made of jadeite beads—a distinctive item worn by Maya kings and queens. He also wears a large headdress made from Quetzal feathers, another sign of noble birth.

The rest of the scene does not show a royal court, as commonly portrayed on other Maya vessels. Instead, a large deity head sprouting vegetation takes up most of the scene. One fascinating detail of the deity head is the upside-down, human-like profile that sprouts up from an ear of corn, which represents the maize god. The theme of the disembodied head of the maize god being reborn from sprouting vegetation is common among Maya vessels. This representation and connection with the maize god equivocates the ruler with an agricultural abundance of maize, a sacred and common composition of a Maya diet.

Link For Displayed Image:
https://www.metmuseum.org/art/collection/search/316711

Link for full, laid out image:
http://research.mayavase.com/kerrmaya_hires.php?vase=7669

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Mayan Lowlands
Early Classic Period

The hieroglyphs translate to:
y-uk'ib ta yutaal kakaw yuk'ib [ta] ixi [i] mte '[el] kakaw y-uk'ib ta ajawte' kakaw bolon tz'akbu [ul] ajaw
"His glass for fruity cocoa, his glass for corn cocoa, his glass for cacao of the lordships, lord of many successions"

The hieroglyphic texts on the edge of this vessel mention that it was used to drink fruity cocoa, cocoa with corn and cocoa for kings. Chocolate was one of the most precious beverages for the Mayan rulers, for this reason, at the end of the text a noble title is mentioned that represents a king of many successions, thus guaranteeing his lineage through time. The size and relative simplicity to the design infer that it was the personal cup of the described lord, as opposed to the large vessel which held chocolate for others to dip their cups in and drink from. There was most likely no ceremonial linkage to this specific cup, but it's presence and obvious reference to the lord implies power. Not only does this man have access to multiple drinks at his disposal, he has a special cup for it. The reference to lineages could simply mean that he had many children (his successors), and so his permanence will live on through them as an extension of his power.

Link for displayed image:
https://popolvuh.ufm.edu/exhibicion/el-legado-de-los-reyes/

Click for 3D Model:
https://sketchfab.com/3d-models/cuenco-para-cacao-e76b06a8c0384462a7736d4486edfed7

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Rio Azul Tomb
Late Classic Period

When looking upon this vessel, the viewer is immediately drawn to the pattern on the handle. Modeled after the tail of a jaguar, which is a sacred and ritualistic animal in Maya culture, it represents power and transmits possible linkages to nobility. Most depictions of royalty and nobility are clothes in jaguar skins, and many actually include the word Jaguar in their names (for example one of the Hero Twin's names is Jaguar Deer). This also exemplifies how sacred the vessel is, because jaguar tails are often used as handles for ritualistic objects (such as incense bags). As the viewer's eye is drawn downwards, it leads to the glyphs surrounding the lid. Right near the handle appears this glyph:
https://www.mexicolore.co.uk/images-8/840_00_2.jpg

The glyph translates to ka-ka-wa, or cacao. Using liquid chromatography, scientists have provided conclusive proof that the vessel indeed once held liquid chocolate. Given its archaeological findspot in a burial tomb, the Río Azul vessel also provides compelling insights into the cultural, religious, and sociopolitical importance of cacao during this period. In Classic Mayan burial practice, the deceased were physically surrounded by pottery dishes, bowls, and cylindrical vases that held the food and drink that the deceased was meant to enjoy and utilize in the afterlife. The Río Azul vessel’s function as a container for a cacao beverage suggests that the vessel’s cacao contents were intended to sustain the tomb’s owner in the afterlife. The Río Azul vessel designates cacao as an essential food for the afterlife and as a valued commodity in both life and death, thereby augmenting the argument that important insights can be derived from studying material objects.

Link for displayed image:
https://chocolateclass.wordpress.com/2017/03/10/speaking-stoneware-the-rio-azul-vase/

Link for opened vessel:
https://www.mexicolore.co.uk/images-8/840_00_2.jpg

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Many of the vessels were listed as Unprovinienced, meaning that they have no known location of origin, because many of the vessels are privately owned and lent to museums.

Martin, Simon. "Cacao In Ancient Maya Religion: First Fruit From The Maize Tree And Other Tales From The Underworld". Mesoweb.Com, 2020, http://www.mesoweb.com/about/martin/Martin_2006_Cacao.pdf.

Beukers, Laura. The Maya Ceramic Book Of Creation: The Trials Of The Popol Vuh Hero Twins Displayed On Classic Maya Polychrome Painted Pottery. University Of Leiden, Faculty Of Archaeology, 2013, https://studenttheses.universiteitleiden.nl/access/item%3A2624430/view. Accessed 10 Dec 2020.

Coe, Sophie D. "The Maya Chocolate Pot." Oxford Symposium on Food & Cookery, 1988: The Cooking Pot: Proceedings. Oxford Symposium, 1989.

Stephen D. Houston, David Stuart, and Karl A. Taube. "Folk Classification of Classic Maya Pottery." American Anthropologist 91.3 (1989): 720-26. Web.

Doyle, James. "The Drinking Cup Of A Classic Maya Noble". Metmuseum.Org, 2014, https://www.metmuseum.org/blogs/now-at-the-met/2014/maya-drinking-cup.

Vail, Gabrielle. "The Food Of The Gods: Cacao Use Among The Prehispanic Maya". Mexicolore.Co.Uk, 2020, https://www.mexicolore.co.uk/maya/chocolate/cacao-use-among-the-prehispanic-maya.

"Speaking Stoneware: The Río Azul Vessel". Chocolate Class, 2017, https://chocolateclass.wordpress.com/2017/03/10/speaking-stoneware-the-rio-azul-vase/.

Stuart, David. 1988. “The Rio Azul cacao pot: epigraphic observations on the function of a Maya ceramic vessel.” Antiquity 62: 153-7.