GENERAL DESCRIPTION
This finely carved stone panel is from the site of La Corona, a ruin discovered in 1997 by Maya archaeologists. Prior to the site's discovery, the unknown origin for this panel and many other sculptures had been known to Maya scholars as Site Q. The stone panel commemorates a period ending of a twenty-year cycle (k'atun) in the Maya calendar system—9.15.0.0.0, 4 Ajaw 13 Yax in the Maya Long Count, which is equivalent to August 18, 731 CE.
More specifically, the carved panel celebrates an extended history of intermarriage between the rulers of La Corona (or Sak Nikte', meaning "White Flower" or "White Flower Tree") and royal women of the Snake (Kan, or Kanal) court. The latter royal court was centered at the sites of Dzibanche and Calakmul through the Classic period. Three dates are recorded for the arrival (hul) of the Kan women—520, 679, and 721 CE—documenting the elite connections between these Maya centers for over 200 years.
The relief imagery depicts the current queen of La Corona (and daughter of the Calakmul king), adorned in a beaded skirt and standing within a watery temple that is supported by old gods. Across from her is the queen who arrived at La Corona from the Kan court nearly two centuries earlier, in 520 CE. She resides under a central Mexican or Teotihuacan style feline, facing her successor. The panel thus documents a longstanding historical connection between two Classic Maya royal courts.
Excerpt from
Carol Robbins, Label text, A. H. Meadows Galleries, 2010 [originally David Freidel, PhD, and Richard R. Brettell, PhD, Label text, 1993].
NOTES
- Maya, Late Classic, 731 C.E. (noted on TMS), updated by KJones on 09/23/13, 01/14/14, 01/15/14, and 01/30/14.
- Noted in TMS, Notes / Text Entries, Other (see remarks) -- Provenance Note (added by RHoot on 06/04/09):
- This is one of a group of monuments which have been identified by their Emblem Glyphs and style as having come from "Site Q," Guatemala. Site Q's exact location is known only to a few persons -- the looters, Ian Graham, some locals. It is between Tikal, Guatemala, and the Usumacinta River, and about 20 kilometers north of the Rio de la Pasion. (as per conversation with John Stokes, 5/26/88)
- Agueda Herrero, Mexico City (Spanish citizen, mother-in-law of John Stokes, died 1986, had lived in Mexico for forty years)
- Provenance prior to her ownership is unknown.
- Work is sold by order of the executors of the estate of Agueda Herrero, John Stokes Gallery as agent.
Catalogue essays
Artist/designers
Cultures
Pre-Columbian (American): AAT: 300016619
Maya: AAT: 300017826
Lowland Maya: AAT: 300017099
Geography
Guatemala (nation): TGN: 7005493
Petén (department): TGN: 1000727
La Corona (Site Q/Sak Nikte'/deserted settlement): TGN: 7441521
Process/materials
limestone (rock): AAT: 300011286
paint (coating): AAT: 300015029
pigment: AAT: 300013109
carving: AAT: 300053149
relief (sculpture techniques): AAT: 300053622
Historical periods
Classic (mesoamerican period): AAT: 300016983
Late Classic Period: AAT: 300016986
Individuals
Subject terms
panels (surface components): AAT: 300069079
historic monuments: AAT: 300007031
commemoratives (objects): AAT: 300235430
time: AAT: 300133089
k'atun (Maya Long Count / 20 years of 360 days each): DMA
Mesoamerican Long Count (Maya(n) Long Count / calendar / calendar system): DMA
calendars: AAT: 300026741
histories (literature genre): AAT: 300026358
marriage (social construct): AAT: 300055475
rulers (people): AAT: 300025475
king: AAT: 300025481
white (color): AAT: 300129784
flowers (plants): AAT: 300132399
trees: AAT: 300132410
nobility (nobles / aristocracy): AAT: 300025942
woman: AAT: 300025943
Snakes (serpentes suborder- same as DMA serpent): AAT: 300250870
snakes: DMA
Dzibanché (ruins): TGN: 7441492
Calakmul (deserted settlement): TGN: 7032431
Kan (Chan / Kanal / Snake Kingdom / Calakmul Emblem Glyph): DMA
arrivals (events): AAT: 300393194
hul (to arrive / arrival / Maya hieroglyph): DMA
interior spaces: AAT: 300078790
water: AAT: 300011772
Temples: AAT: 300007595
elderly: AAT: 300025913
deities: AAT: 300343850
figures: AAT: 300189808
human figures: AAT: 300404114
queens (people): AAT: 300025483
portrait: AAT: 300015637
profiles (figures): AAT: 300123319
standing: AAT: 300239500
beading (edging pattern): AAT: 300054013
skirts (garments): AAT: 300209932
headdress: AAT: 300046023
necklaces: AAT: 300046001
pectorals (jewelry): AAT: 300211902
bracelets (jewelry): AAT: 300045991
earspools: AAT: 300209300
staffs (staff weapon components): AAT: 300204653
scepters: AAT: 300214161
God K (K’awil / K'awiil / Maya deity of lightning/fire/royal lineage): DMA
ancestors: AAT: 300255718
Tlaloc (Mesoamerican / Aztec deity of rain and lightning): CONA: 1001411
Tlaloc (Mesoamerican / Aztec deity of rain and lightning): DMA
feather (material): AAT: 300011809
Central America (Mesoamerica): TGN: 7016739
Mexico (nation): TGN: 7005560
Teotihuacán (deserted settlement): TGN: 7007218
Teotihuacán: AAT: 300017031
feline: DMA
effigies (funerary sculpture): AAT: 300047108
statues: AAT: 300047600
courts (social groups): AAT: 300236519
cartouches (ornament): AAT: 300010256
hieroglyphics (scripts / writing): AAT: 300028721
Maya (Classical Mayan language): AAT: 300388844
registers (compositional): DMA
RELATED OBJECTS
PROVENANCE
From at least 1965-1966: Richard Parker Kuhn (d. 1963) and Margaret Parker Kuhn, Bedford Hills, NY [1], [2], [3]
1966-d. 1986: Agueda Herrero, Mexico City [1], [3], [4]
1986-1988: her son-in-law, John A. Stokes Jr., Upper Nyack, NY and Glencoe, MD, by inheritance [1], [2], [3], [4], [5], [6], [7]
From 1988: Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Mr. and Mrs. Frederick M. Mayer, purchased from the above (John Stokes Gallery, agent) [1], [3], [8], [9]
[1] The main source for this provenance is existing information in TMS. Exceptions and other supporting documents are noted.
[2] The main source for this provenance is statement from John A. Stokes Jr. (dated February 25, 1988, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[3] The main source for this provenance is invoice from John A. Stokes Jr. (dated May 18, 1988, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[4] The main source for this provenance are notarized statements from Mr. and Mrs. John B. Howell, Roger S. Howard and Marilyn L. Howard, William A. Perry, Jr. (dated July 18, 1972 and October 25, 1971, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[5] The main source for this provenance is letter from Carolyn Tate, Associate Curator of Pre-Columbian Art the Dallas Museum of Art, to John B. Howell (dated May 12, 1988, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[6] The main source for this provenance is letter from Carolyn Tate, Associate Curator of Pre-Columbian Art the Dallas Museum of Art, to Roger S. Howard and Marilyn L. Howard (dated May 12, 1988, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[7] The main source for this provenance is letter from Carolyn Tate, Associate Curator of Pre-Columbian Art the Dallas Museum of Art, to William A. Perry, Jr. (dated May 12, 1988, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[8] The main source for this provenance is Acquisition Record (dated June 01, 1988, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[9] Works of art given or purchased by The Eugene and Margaret McDermott Art Fund, Inc., a non-profit organization, are placed in the custody of the DMA for the purpose of public display on the premises of the Museum or in other recognized art galleries or museum. The title to all works of art purchased (or otherwise acquired) by the McDermott Art Fund remains with the Fund.
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
269856849: UMO. [Caption] La Corona Panel 6 (1988.15.McD), drawing by Carolyn Tate, 1989. Source: Scanned drawings available in TMS Object Record: Related / Media.
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1988.15.McD
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General Description
This finely carved stone panel is from the site of La Corona, a ruin discovered in 1997 by Maya archaeologists. Prior to the site's discovery, the unknown origin for this panel and many other sculptures had been known to Maya scholars as Site Q. The stone panel commemorates a period ending of a twenty-year cycle (k'atun) in the Maya calendar system—9.15.0.0.0, 4 Ajaw 13 Yax in the Maya Long Count, which is equivalent to August 18, 731 CE.
More specifically, the carved panel celebrates an extended history of intermarriage between the rulers of La Corona (or Sak Nikte', meaning "White Flower" or "White Flower Tree") and royal women of the Snake (Kan, or Kanal) court. The latter royal court was centered at the sites of Dzibanche and Calakmul through the Classic period. Three dates are recorded for the arrival (hul) of the Kan women—520, 679, and 721 CE—documenting the elite connections between these Maya centers for over 200 years.
The relief imagery depicts the current queen of La Corona (and daughter of the Calakmul king), adorned in a beaded skirt and standing within a watery temple that is supported by old gods. Across from her is the queen who arrived at La Corona from the Kan court nearly two centuries earlier, in 520 CE. She resides under a central Mexican or Teotihuacan style feline, facing her successor. The panel thus documents a longstanding historical connection between two Classic Maya royal courts.
Excerpt from
Carol Robbins, Label text, A. H. Meadows Galleries, 2010 [originally David Freidel, PhD, and Richard R. Brettell, PhD, Label text, 1993].
Fun Facts
Archival Resources
Web Resources
Notes
- Maya, Late Classic, 731 C.E. (noted on TMS), updated by KJones on 09/23/13, 01/14/14, 01/15/14, and 01/30/14.
- Noted in TMS, Notes / Text Entries, Other (see remarks) -- Provenance Note (added by RHoot on 06/04/09):
- This is one of a group of monuments which have been identified by their Emblem Glyphs and style as having come from "Site Q," Guatemala. Site Q's exact location is known only to a few persons -- the looters, Ian Graham, some locals. It is between Tikal, Guatemala, and the Usumacinta River, and about 20 kilometers north of the Rio de la Pasion. (as per conversation with John Stokes, 5/26/88)
- Agueda Herrero, Mexico City (Spanish citizen, mother-in-law of John Stokes, died 1986, had lived in Mexico for forty years)
- Provenance prior to her ownership is unknown.
- Work is sold by order of the executors of the estate of Agueda Herrero, John Stokes Gallery as agent.
Catalogue essays
Artist/designers
Cultures
Pre-Columbian (American): AAT: 300016619
Maya: AAT: 300017826
Lowland Maya: AAT: 300017099
Geography
Guatemala (nation): TGN: 7005493
Petén (department): TGN: 1000727
La Corona (Site Q/Sak Nikte'/deserted settlement): TGN: 7441521
Process/materials
limestone (rock): AAT: 300011286
paint (coating): AAT: 300015029
pigment: AAT: 300013109
carving: AAT: 300053149
relief (sculpture techniques): AAT: 300053622
Historical periods
Classic (mesoamerican period): AAT: 300016983
Late Classic Period: AAT: 300016986
Individuals
Subject terms
panels (surface components): AAT: 300069079
historic monuments: AAT: 300007031
commemoratives (objects): AAT: 300235430
time: AAT: 300133089
k'atun (Maya Long Count / 20 years of 360 days each): DMA
Mesoamerican Long Count (Maya(n) Long Count / calendar / calendar system): DMA
calendars: AAT: 300026741
histories (literature genre): AAT: 300026358
marriage (social construct): AAT: 300055475
rulers (people): AAT: 300025475
king: AAT: 300025481
white (color): AAT: 300129784
flowers (plants): AAT: 300132399
trees: AAT: 300132410
nobility (nobles / aristocracy): AAT: 300025942
woman: AAT: 300025943
Snakes (serpentes suborder- same as DMA serpent): AAT: 300250870
snakes: DMA
Dzibanché (ruins): TGN: 7441492
Calakmul (deserted settlement): TGN: 7032431
Kan (Chan / Kanal / Snake Kingdom / Calakmul Emblem Glyph): DMA
arrivals (events): AAT: 300393194
hul (to arrive / arrival / Maya hieroglyph): DMA
interior spaces: AAT: 300078790
water: AAT: 300011772
Temples: AAT: 300007595
elderly: AAT: 300025913
deities: AAT: 300343850
figures: AAT: 300189808
human figures: AAT: 300404114
queens (people): AAT: 300025483
portrait: AAT: 300015637
profiles (figures): AAT: 300123319
standing: AAT: 300239500
beading (edging pattern): AAT: 300054013
skirts (garments): AAT: 300209932
headdress: AAT: 300046023
necklaces: AAT: 300046001
pectorals (jewelry): AAT: 300211902
bracelets (jewelry): AAT: 300045991
earspools: AAT: 300209300
staffs (staff weapon components): AAT: 300204653
scepters: AAT: 300214161
God K (K’awil / K'awiil / Maya deity of lightning/fire/royal lineage): DMA
ancestors: AAT: 300255718
Tlaloc (Mesoamerican / Aztec deity of rain and lightning): CONA: 1001411
Tlaloc (Mesoamerican / Aztec deity of rain and lightning): DMA
feather (material): AAT: 300011809
Central America (Mesoamerica): TGN: 7016739
Mexico (nation): TGN: 7005560
Teotihuacán (deserted settlement): TGN: 7007218
Teotihuacán: AAT: 300017031
feline: DMA
effigies (funerary sculpture): AAT: 300047108
statues: AAT: 300047600
courts (social groups): AAT: 300236519
cartouches (ornament): AAT: 300010256
hieroglyphics (scripts / writing): AAT: 300028721
Maya (Classical Mayan language): AAT: 300388844
registers (compositional): DMA
RELATED OBJECTS
PROVENANCE
From at least 1965-1966: Richard Parker Kuhn (d. 1963) and Margaret Parker Kuhn, Bedford Hills, NY [1], [2], [3]
1966-d. 1986: Agueda Herrero, Mexico City [1], [3], [4]
1986-1988: her son-in-law, John A. Stokes Jr., Upper Nyack, NY and Glencoe, MD, by inheritance [1], [2], [3], [4], [5], [6], [7]
From 1988: Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Mr. and Mrs. Frederick M. Mayer, purchased from the above (John Stokes Gallery, agent) [1], [3], [8], [9]
[1] The main source for this provenance is existing information in TMS. Exceptions and other supporting documents are noted.
[2] The main source for this provenance is statement from John A. Stokes Jr. (dated February 25, 1988, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[3] The main source for this provenance is invoice from John A. Stokes Jr. (dated May 18, 1988, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[4] The main source for this provenance are notarized statements from Mr. and Mrs. John B. Howell, Roger S. Howard and Marilyn L. Howard, William A. Perry, Jr. (dated July 18, 1972 and October 25, 1971, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[5] The main source for this provenance is letter from Carolyn Tate, Associate Curator of Pre-Columbian Art the Dallas Museum of Art, to John B. Howell (dated May 12, 1988, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[6] The main source for this provenance is letter from Carolyn Tate, Associate Curator of Pre-Columbian Art the Dallas Museum of Art, to Roger S. Howard and Marilyn L. Howard (dated May 12, 1988, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[7] The main source for this provenance is letter from Carolyn Tate, Associate Curator of Pre-Columbian Art the Dallas Museum of Art, to William A. Perry, Jr. (dated May 12, 1988, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[8] The main source for this provenance is Acquisition Record (dated June 01, 1988, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[9] Works of art given or purchased by The Eugene and Margaret McDermott Art Fund, Inc., a non-profit organization, are placed in the custody of the DMA for the purpose of public display on the premises of the Museum or in other recognized art galleries or museum. The title to all works of art purchased (or otherwise acquired) by the McDermott Art Fund remains with the Fund.
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