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The supernatural realm of Gods and deities have religious and functional purposes within the lives of the Maya.The Maya utilize rituals to seek results needed for success in many facets of life, such as making rain to sustain crop fertility and drinking water. Chaac is the God of Rain, who is associated with the animate landscape; rain is associated with mountains, hills, caves, cenotes, fountains, rivers and agricultural centers. Chaac is the ebodientment of the deified environment and weather that the people interact with, as the Maya have an interconnected relationship to their environment. Rain is both symbolically and literally responsible for life among the Maya and their agricultural based communities. Religiously, in the creation story of the Popol Vuh, life giving water was brought down from the sky from the Gods. Without the Gods providing life-giving water, existence would have never been possible. The supernatural sacrifices made to provide life for the elite lineages and rest of humanity resulted in the Maya being in debt to their creators; in order for the four sided world to continue to function properly, the Maya people worship their Gods with numerous functional rituals and offerings. This can be seen through their architecture, ceramics, codicies, sculptures and ritual practices; Maya Gods are notable everywhere, as a reminder of who is responsible for life. Throughout the Late Classic period, much of the architecture was created with zoomorphic heads, and deity depictions; at times there will be four statues or zoomorphic heads on four corners of the architecture, representing the four corners of the world, and the center of the temple as the axis mundi. Breath scrolls, frequently featured on depictions of Chaac, animate the God depictions further, and represent the life-giving rain he provides. Chaac is often accompanied by plumed serpents, such as Quetzalcoatl, embodying the respiration of clouds and mist from caves. Their bodies generally depict clouds, as they face sacrificial cenotes, making them significant deities of rain bearing. Individuals will practice rain rituals including songs, dance, sacrifices and offerings while wearing masks embodying Chaac. Chaac’s reconstructions are found generally in caves, as this is where water,  himself and many other supernatural beings dwell. Iconography of Chaac is depicted in codicies, and painted ceramic vessels. They tell the story of his pivotal role in life, and emphasize that fertile land requires water; with water, the Gods of Death homed in Xibalba can be avoided. As the supernatural Chaac provides life in many forms, he is honored throughout the Ancient Maya, and is still celebrated today.

Astor-Aguilera, Miguel. “Maya Rites, Rituals, and Ceremonies.” The Maya World, 2020, pp. 648–668., https://doi.org/10.4324/9781351029582-39.

Taube, Karl. Gateways to Another World: The Symbolism of Supernatural Passageways in ...https://www.researchgate.net/publication/285307855_Gateways_to_another_world_the_symbolism_of_supernatural_passageways_in_the_art_and_ritual_of_Mesoamerica_and_the_American_Southwest.

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(Banta, Object 1: Photograph of a ceramic vessel with a mythological scene from The Metropolitan Museum of Art)
This Maya ceramic drinking vessel was found in Guatemala, and dates between the seventh and eighth century A.D. The dimensions of this vessel are five and a half inches tall, and four inches wide. The scene painted surrounds Chaac emerging from a rocky animate mountain adorned with feathered eyelids, suggesting the mountain embodies a witz. Chaacs pose is active, both legs and arms stretched forward in ritual celebratory dance. Chaac is celebrating the birth of the baby jaguar beside him, who just escaped the possibility of being taken by the God of Death’s skeletal fingertips. The art symbollicy demonstrates the life that is brought out of the supernatural cave, where Chaac resides; the mountains, breathing out clouds, provide rain which is essential to provide life, and ultimately avoid death. The mountain depiction is important as it is thought to be the home of Chaac, as caves create the elements Chaac controls, as well as houses other supernatural deities. For the Maya people, landscape is directly linked to religion and the supernatural plane. This is due to their surroundings being animate, and often deified. Caves serve the community as the axis mundi, as they are the birthplace of the four elite Maya lineages and ultimately all of human creation. Caves along with mirrors are considered a gateway to the supernatural realm; as water is abundant within caves and can reflect as a mirror does, caves are sacred spaces, highly sought out to perform rituals tied to the God of Rain, Chaac.

“Vessel, Mythological Scene .” Metmuseum.org, 2020, https://www.metmuseum.org/art/collection/search/310364.

Vidal Lorenzo , Cristina, and Patricia Horcajada Campos. “Water Rituals and Offerings to the Maya Rain Divinities.” European Journal of Science and Theology, 13 Oct. 2019, http://www.ejst.tuiasi.ro/Files/81/12_Lorenzo & Campos.pdf.

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(Banta, Object 2: Photograph of a fossiliferous limestone stone sculpture from The Metropolitan Museum of Art)

This photo is an image of a Maya stone sculpture, Head of a Rain God. This Maya sculpture was found at the site of Chichen Itza, at temple 5c3 known as the House of Small Heads. Dated sometime between the tenth and eleventh century, the sculpture is thirteen and three quarters tall and twelve inches wide. This is a depiction of Chaac, the rain God. The traces of red coloring on the pupils, bumps along the underneath of the large eyes and scrolls connected to the mouth signal this is a sculpture of a God. The large headband with a jewel atop long hair, ear flares and spiral designed pupils indicate this recreation as Chaac. Chaac is generally identified with these designs, along with a short muzzle shaped nose, large prominent lower jaw and occasional shell headband. The spondylus shell ear flares have a spiral shape, and similarly to the mouth scrolls are associated with whirlwinds. Though absent from this sculpture, both fangs and fish glyphs are traditionally present. The fish symbolizes both Chaacs symbolic control over water as a fisherman, as well as represents his ability to conjure clouds and wind. Chaac is a prominent figure throughout all aspects of Maya life, this sculpture along with many other depictions helps signify that. There are specific celebrations throughout the year, which include offerings and sacrifices to the supernatural being.The nineteenth day in Maya calendar embodies and is named after Chaac; the date is called Cauac, where celestial dragons, rain, lightning and thunderbolts are celebrated as Chaac is celebrated that day as the day God.

Ashmore, Wendy. “Mountains, Caves, Water: Ideational Landscapes of the Ancient Maya (James E. Brady and Wendy Ashmore) (1999).” Archaeologies of Landscape: Contemporary Perspectives, Edited by Wendy Ashmore and A. Bernard Knapp, Pp. 124-3145. Blackwell, Oxford., 24 Apr. 2014,https://www.academia.edu/5271928/Mountains_Caves_Water_Ideational_Landscapes_of_the_Ancient_Maya_James_E_Brady_and_Wendy_Ashmore_1999_.

Doyle, James. “Head of a Rain God.” Metmuseum.org, 2020, https://www.metmuseum.org/art/collection/search/310480.

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(Banta, Object 3: Photograph of a limestone sculpture from The Metropolitan Museum of Art)
This Maya limestone sculpture of Chaac is from ninth century Mexico. The stone sculpture stands at eighty four and a half inches tall, and twenty four inches wide. This figure is much larger than the others in my museum collection; this large scale creation is representative of his strength, as he is depicted as a warrior in this work. Chaak is holding a large ax, with holes that were made to fit obsidian or jade stones. Jade is a precious stone to the Maya, reserved for Gods and the elite, while obsidian is a strong black volcanic glass that is symbolic of the supernatural realm. This is due to obsidian being used to create mosaic mirrors, which provide individuals to travel and connect to the Gods; the fashioning of either of these precious stones onto the axe, show the importance of Chaac to the Maya people. The left hand is not intact, but due to similar depictions at Chichen Itza’s Temple of Chacmool, it would have likely held a shield or another ax. His expression and open mouth displays him yelling, and his adornments include a feathered headdress, large ear flares and a padded waist band. Chaac is being depicted as a warrior and Storm God; the ax is symbolic of both rain and lightning, while the shield and attire is that of a fearsome warrior. Bat Chaak is the term for Chaac’s ax in Yucatec, and u ya’ax baat hahanak’uh in Lacandon means lightening, the hand ax of the Rain God. The ax is thought to have been thrown to earth from a bolt of lightning for the God, and Chaac continues to throw it to create storms.

Przybyla, Joy. “Georgia State University ScholarWorks @ Georgia State University.” ScholarWorks, 2021, https://scholarworks.gsu.edu/cgi/viewcontent.cgi?article=1170&context=anthro_theses.

“Monumental Figure.” Metmuseum.org, 2020, https://www.metmuseum.org/art/collection/search/309404.

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(Banta, Object 4: Photograph of Chaac in the Madrid Codex, page 30a)
This Madrid Codex image was found in Peten Guatemala, and is dated to the Post Classic period between one thousand and fifteen hundred AD. The images depict God Chaac in blue symbolizing water with large fangs and corn kernels on his forehead, alongside the Goddess Chac Chel who is wearing a large serpent designed headdress. The kernels are representative of the successful maize harvest to come with plentiful rain. They are standing on the head and tail of a serpent, pouring out water from two vessels; the serpent may represent the giant caiman, the embodiment of the earth itself. This water can be identified as life giving rain, being poured onto the earth. This is symbolic of the Popol Vuh, the codex which explains the creation of the Maya people through the self sacrifices and mediation of the Gods. Life giving water was necessary for creation, and survival. Water rituals and offerings to the Maya rain deities were, and are still currently performed by men. Women are thought to off put the rain deities, and are generally absent from the practice. Spanish conquistador Francisco López de Gómara documented rituals before rainfall, involving the burning of incense and resin, along with sacrifices of animals. Today, the  Ch'a Cha ́ ak ceremony persists in late spring, and translates into rainfall; an altar's legs symbolically intersect with Xibalba, while four arches point in the four cardigan directions where offerings such as copal and food are placed. This ritual and offering is in hope for water and fertile land.

Vidal Lorenzo , Cristina, and Patricia Horcajada Campos. “Water Rituals and Offerings to the Maya Rain Divinities.” European Journal of Science and Theology, 13 Oct. 2019, http://www.ejst.tuiasi.ro/Files/81/12_Lorenzo & Campos.pdf.

Ashmore, Wendy. “Mountains, Caves, Water: Ideational Landscapes of the Ancient Maya (James E. Brady and Wendy Ashmore) (1999).” Archaeologies of Landscape: Contemporary Perspectives, Edited by Wendy Ashmore and A. Bernard Knapp, Pp. 124-3145. Blackwell, Oxford., 24 Apr. 2014,https://www.academia.edu/5271928/Mountains_Caves_Water_Ideational_Landscapes_of_the_Ancient_Maya_James_E_Brady_and_Wendy_Ashmore_1999_.

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(Banta, Object 6: Photograph of a ceramic effigy censer of Chaac)
This ceramic effigy censer depicting Chaac was found at the site of Chilonche in Peten Guatemala, dating between one thousand and fifteen hundred AD. Found in South Palace 3E1, room 3S, alongside offerings for Chaac. Effigies are generally made to embody the deity they are made to appease. Ceramic effigies are portable, as Chaac is thought to reside in caves, it is likely the censer was moved to caves during rain rituals.  Shell beads, jade beads, upside down ceramics and freshwater snail shells connect this effigy to  rain summoning rituals; these rituals are responsible for renewing the life the Gods provided during creation, as water ensures life through agricultural success. Most offerings and ceremonies are thought to be conducted around the time of dry seasons, in order to have enough water to drink and to cultivate with. Effigy censers play a vital role to ritual and religion, as they are generally filled with copal offerings, to communicate with Gods. Incense and copal burnings are significant, as deities are said to consume the aroma that exudes from the smoking offerings, as they are created from substances not of this world but of wind. Chaac is also known to attract rain clouds by burning copal. Along with the aquatic and aromatic offerings to the Rain God, music and sacrificial offerings are said to appease Chaac. Young children in particular are utilized for sacrificial offerings to Chaac, as they are thrown into springs and cenotes outside of caves to drown. This is evident due to a collection of bones collected being majorly aged between four and eighteen.

Lope, Carlos. “Mayapán’s Effigy Censers: Iconography, Context, and External ... - FAMSI.” Famsi, 2005, http://www.famsi.org/reports/05025/05025Milbrath01.pdf.

Vidal Lorenzo , Cristina, and Patricia Horcajada Campos. “Water Rituals and Offerings to the Maya Rain Divinities.” European Journal of Science and Theology, 13 Oct. 2019, http://www.ejst.tuiasi.ro/Files/81/12_Lorenzo & Campos.pdf.

# data[].attributes.body
Ashmore, Wendy. “Mountains, Caves, Water: Ideational Landscapes of the Ancient Maya (James E. Brady and Wendy Ashmore) (1999).” Archaeologies of Landscape: Contemporary Perspectives, Edited by Wendy Ashmore and A. Bernard Knapp, Pp. 124-3145. Blackwell, Oxford., 24 Apr. 2014,https://www.academia.edu/5271928/Mountains_Caves_Water_Ideational_Landscapes_of_the_Ancient_Maya_James_E_Brady_and_Wendy_Ashmore_1999_.

Astor-Aguilera, Miguel. “Maya Rites, Rituals, and Ceremonies.” The Maya World, 2020, pp. 648–668., https://doi.org/10.4324/9781351029582-39.

Doyle, James. “Head of a Rain God.” Metmuseum.org, 2020, https://www.metmuseum.org/art/collection/search/310480.

Lope, Carlos. “Mayapán’s Effigy Censers: Iconography, Context, and External ... - FAMSI.” Famsi, 2005, http://www.famsi.org/reports/05025/05025Milbrath01.pdf.

“Monumental Figure.” Metmuseum.org, 2020, https://www.metmuseum.org/art/collection/search/309404.

Przybyla, Joy. “Georgia State University ScholarWorks @ Georgia State University.” ScholarWorks, 2021, https://scholarworks.gsu.edu/cgi/viewcontent.cgi?article=1170&context=anthro_theses.

Taube, Karl. Gateways to Another World: The Symbolism of Supernatural Passageways in ...https://www.researchgate.net/publication/285307855_Gateways_to_another_world_the_symbolism_of_supernatural_passageways_in_the_art_and_ritual_of_Mesoamerica_and_the_American_Southwest.

“Vessel, Mythological Scene .” Metmuseum.org, 2020, https://www.metmuseum.org/art/collection/search/310364.

Vidal Lorenzo , Cristina, and Patricia Horcajada Campos. “Water Rituals and Offerings to the Maya Rain Divinities.” European Journal of Science and Theology, 13 Oct. 2019, http://www.ejst.tuiasi.ro/Files/81/12_Lorenzo%20&%20Campos.pdf.