Art 357 Exam 1 images

Devi as Chamunda, 10-11th century, from Madhya Pradesh

-10-11th century; Madhya Pradesh -sent to decapitate two demons; Hindu divine mother -frightening grimace; skulls in her head dress; partly decayed person with scorpion crawling up her rib cage (symbol of sickness and death); bulging eyes; necklace of snakes -haunts cremation grounds; worshiped with ritual annual sacrifices and wine; other invokes to help clear people of negative thoughts

Kaliya Damana: Krishna Overcoming the Naga Demon Kaliya, paint on paper, second half of 18th century from the Punjab.

-18th century; Punjab -miniature painting; tempura on paper -vishnua (incarnated as krishna), gets rid of the demon thats presented as a water snake -wives of the naga demon beg for him to not kill their husband; he keeps him alive but makes him powerles

Durga Slaying the Buffalo Demon, Mamallapuram, ca 550-897

-7th century -durga riding in on a lion to mess stuff up -durga she was able to destroy him (Buffalo Demon) because she was female -Buffalo Demon was powerful and cant be destory by man -Durga used clubs and arrows

-Mahadeva Kandariya temple, Chandella dynasty, 1025-50 in Khajuharo

-85 temple but now 25 left -covered in eroctic cultures -union between female and male -mandapa-halls/porches -garba griha-shrine -sikhara-tallest point -jagati-platform -lucky and protecting -amlaka-tall wheel -Lord of Lords temple -capital of the Chandella dynasty - up a set of stairs through a porch to the mandapa and the sanctuary, -holding a Shiva lingam -create pulsating waves of energy that rise through the columns on the porches and give birth to the towers and the amalaka (sunburst) crowns at their summits pointing to the other world of the heavens. - vertical lines of the towers allows the eyes to move upward and inward along the roofline turrets to a central tower with a gently curved profile known as a sikara. - towers link the terrestrial and celestial realms. -800 sculptures turn and twist on their pedestals in dynamic poses that give a sense of movement to the piers and walls -the figures tend to be tall, with elongated, tubular legs and bodies, and some are arranged in erotic poses. - This taught that the female force (shakti) was the prime one in the universe because it could activate the male force. -Consequently, the female consorts of the male gods assumed new importance in the religion and its art. Images of sexual union represent the fusion of female wisdom and male compassion. -Devotees link, symbolically, with Shiva and achieve a sense of unity and wholeness through sexual union with one another.

Chi Wara Headdresses, Bamana people, Mali

-Antelop headdress -worn in dance -curved from wood -man dance and women sing but contain woman mask -insured crop and farmer entertainment -Bamana legends explain how the Chi Wara, a mythic animal combining features of humans, the antelope, and anteater, brought agriculture to the Bamana people --Wearing antelope headdresses, the young dancers leap and spin, imitating the graceful movements of the antelopes to invoke the favors of the fertility spirits and to instruct the members of the Chi Wara society in correct agricultural practices. - performed by the most athletic young men to the accompaniment of drums and women singing praises to the farmers -Paired dancers with headdresses representing the male and female principles symbolize human fertility and the union of the sun (male) and earth/water (female) in agriculture. -The antelope horns may represent the millet stalk, a staple food of the Bamana. -Zigzag motifs along the antelope's neck can symbolize the movement of the sun from solstice to solstice or the angled patterns of the antelope's gallop.

Female figurine found at Dolni. Vestonice, Czechoslovakia 34,000-26,500 BCE

-Bone and clay. -Large beast and buttocks, no facial features and eye shown in two slants. -symbol-fertility , sexuality. -not sure what is used for. -symbol of womanhood/manhood -hunter camp, stone age

Zeus or Poseidon from the seat at Cape Artemision c. 460-450 BCE (classical period)

-Bronze sculpture of god -zeus (leader of god) thunder bolt or poseidon (sea) triden -gleaming with silver might be zeus -6 ft extention to hurl pushing off with legs -classical period- more open -lost wax method -realism and balanced

Siva as Nataraja, Lord of the Dance, Chola dynasty, 13th century

-Bronze statue -lord of the dance -Chola; 11th century -lost wax bronze casting -usually shown within a ring of fire -hair splayed out because he was asked to help out the Ganges river fall to earth safely -standing on (crushing) the dwarf/demon of ignorance one hand indicating the dwarf; another signaling no fear (mudra) -raised leg symbolizes escape from ignorance of the world -Shiva's dance-destroys the universe, born again in a perpetual cycle of death and rebirth. -fire symbolizes the destruction of samsara and maya, - Shiva holds a flame, which symbolizes the fire that will consume the universe, and a drum, symbol of akasa, the prime substance from which the universe will be rebuilt.

Claus Sluter, Head of Christ, wood sculpture from the Moses Fountain c. 1400, originally from the Carthusian monastery, Dijon, France

-Chartreuse de Champmol (Monastery in France) -Made to make Christ more empathetic as opposed to the mid-evil sense of Christ (St. Francis's work) -Part of a fountain sculpture (well of Moses) -paid for by Philip the Bold (Duke of Burgundy)

Standing Bodhisattva from Gandhara (Pakistan), 3rd c. CE

-Ghandara; 2nd century -more decorated than Buddha; males could be pictured with mustaches -individuals that could've attained enlightenment but chose to stay on earth to help other reach enlightenment -Buddha hand gestures or mudras -They show the Buddha with a Roman nose, cupid-bow lips, and wavy locks of hair— features resembling many Roman portraits of noblemen, emperors, and the gods, -ushnisha (a knot of hair over the head symbolizing superior spiritual knowledge)

Ball Court, Copan, Honduras (c 600)

-In the Popul Vuh the gods in Xibalba invite two mortal brothers to join them in a so-called ball game. - challenge to one of the men's twin sons, Hunahpu and Xbalanque, Hero Twins. -They accept, descend to Xibalba, and defeat the gods in a series of contests. -gods are especially impressed by the way the twins can sacrifice people and bring them back to life and decide to try it for themselves. -the evil gods sacrifice themselves, the twins do not bring them back to life - They restore life to their father, Hun Hunahpu, and he becomes the maize god, a symbol of fertility and the cycle of life and death. -the twins became the sun and moon - twin gods are symbols of life and death. - the three gods are also allegories for the transfiguration of the Maya leaders who can leave this earth to commune with the gods, return with oracles, and, in death, join the gods in the heavens.

Tomb of Pakal, Sarcophagus lid, 684 CE

-King Hanab Pakel-low relief -show what happen to them after death for their souls. -if he win the ballcourt , rise to heaven to see his mother ancestors through the tree of life. -A relief on the lid of the king's sarcophagus shows him at the moment of his death, falling backward like the setting sun into the skeletal jaws of an earth monster on his way to Xibalba . -For the king's body, that descent to the otherworld began as he was carried from the temple at the summit of the "mountain" down the stairs through the body of the superimposed platforms to the tomb at ground level. -Images of Hasan Pakal's regal ancestors and inscriptions in the tomb indicate that he was descended from a long line of kings and two noble ruling ladies. -His grandmother ruled from 583 to 604 and his mother ruled before 615, very possibly as Pakal's regent. -In his inscriptions, Pakal praises his mother, calling her the "mother of the gods," and double portraits of the women appear on the sides of his sarcophagus.

Temple of the Inscriptions, Palenque (Mayan), Chiapas, Mexico ca 683 CE

-Mayan site in Palenque, Mexico -Temple of the Inscriptions, the final resting place of King Hanab Pakal -replacing portions of the old palace with light, airy, thin-walled enclosures containing multiple doors and large, decorative vaults. -The steeply inclined and flatsided corbel vaults of the temple and tomb below reflect this timeless domestic prototype. -Corbeled stone vaults are often called "false" arches to distinguish them from the round arches with keystones used by the Romans and the wide variety of pointed arches used in the Gothic period.

Siva and Parvati, temple relief from Orissa, 12-13thc

-Parvati-daughter of mountain -many flying deities -holding all their attributes-siva has 4 arms (one with a trident; another a rosary; another a lotus flower) -Siva-bull -Parvati-lion -stone -made for a shrine

Descent of the Ganges, Mamallapuram Raths (Shrines), Pallava dynasty, ca 550-897

-Shiva, yoga pose with yogic cat and mices -mamallapuram -site of the ocean; large carved rocks -unfinished cliff carving,represent The Descent of the Ganges or The Penance of Arjuna -Arjuna was one of the legendary Pandava brothers who underwent penance beside a river to enlist the aid of the god Shiva in battle. -he is shown seated beside a small shrine to Shiva to the left of the cleft in the cliff. -During rainy season, water from above cascades down the center of the relief, over cobraheaded spirits of water and earth called nagas, illustrating the descent of the sacred river goddess Ganga to the earth as it was filtered through Shiva's hair. -All of creation, the river deities, lions, bears, cats, mice, deer, devas (gods), and a pair of slightly larger-than-lifesize elephants with their calves, converge upon the sacred waters. - elephants, which occupy a prominent position in the relief, are highly naturalistic, the lions, with their schematic, curly manes, -it represents all space and all time—the eternal present. -commissioned by Mamalla 1

Ganesha, Orissa, 13th century

-Son -symbolize with riding on a rat, rosary in hand -stone -schist relief

Amasis Painter, Dionysos with Maenads, c. 450 BCE, Ceramic Black Figure Amphora

-amphora used for wines or olive oil -black figure -Dionysos with Maenads -god of wine

Coatlicue, from Aztec temple precinct at Tenochtitlán, c. 1500

-aztec earth goddess associated with the dual themes of life and death -mother of the patron god Hutizilopotchi -feet with eyes and talons -wearing skirt with intertwined snakes and human hearts -necklace made of hands and human hearts -decapitated with snakes coming out of her neck creating a snake head -snakes at the wrists where she was also dismantled

The Good Shepherd, mosaic in the Mausoleum of Galla Placidia, Ravenna, Italy, c. 425.

-bisantine side,chapel -mosiac, peter and paul -barrel vaults,moonet, -Christ as good Shepard and more kingly, nimbus (halo) -more color purple means royality

Praxiteles, Hermes with the Infant Dionysos, 350-330 BCE (late classical/Hellenistic)

-contropposto, marble, temple of hera -Hermes (messenger) delivering baby stop in forest to tease infant grape on other hand -praxiteles-last classical period -naturalistic and humanistic, emotion, relaxed stance and soft S-curves and shadow -emotion- hermes amusement and dionysus impatience

Mithuna (Loving) Couple relief from entry of chaitya hall at Karli, India ca 120

-couple gaurding the entrance -may be donator or patron

Christ Pantocrator, mosaic in dome of Dormition church, Daphni, Greece, c. 1020

-dome mosaic in church of dormition -nimbus king -holy book -gold -frightening

Vishnu as the Boar Avatar rescuing the Earth, cave 5 Udayagiri, early 5th c.

-early 5th century -udayagiri -relief sculpture of Hindu god Vishnu incarnation as the boar-headed Varaha, rescuing the earth symbolically represented by Bhudevi clinging to the boar's tusk as described in Hindu mythology

Christ as the Good Shepherd, the Story of Jonah, and Orant figures, fresco (wall painting) from a cubiculum ceiling in the Catacomb of Saints Peter and Marcellinus, Rome, early 4th century

-images of the good shepard(center) -images of people pray with arms out -Fresco- wet plattering with wet pigment -jonas jump of ship, 3 days off ship, peach the words of god.

Rajarajeshvara temple to Siva at Thanjavor (Thanjore) India, c. 1000

-enter through a gate tower on an axis leading to the vimana - Steps passing the open, columnar shrine to Nandi (Shiva's bull mount) lead to a colonnaded porch, flat-roofed mandapa halls, an enclosure with thirty-six columns, and the square shrine. -The inner ambulatory of the shrine is lit by windows that are flanked by niches containing monumental statues representing aspects of Shiva and other Hindu deities. -Worshipers move through a succession of progressively smaller and darker spaces until they arrive at the cult image, a lingam, in the garbhagriha. -The lingam is a symbol of male sexuality, specifically that of Shiva. later linga tend to be more abstract and geometric and appear with the yoni, a circular symbol of female sexuality. -The walls of garbhagrihas tend to be plain and dark so that nothing within distracts the worshiper from the rather simplified images of the lingam and yoni in the heart of the temple. -A monolithic, eight-ribbed stupika (capstone) topped by a gold-plated finial rises above the steep thirteen-level pyramidal vimana. This giant tower is decorated with ribbed domes, chaityas, window motifs, and statues of dwarfs.

Kanaga Mask, Dogon people, Mali (231-33)

-farming people -blacksmith is important -everything have dama -ancestor worship,need to be honor -man arms and legs mean heaven and earth -dancing mimic- hands to ground and up again - dance rituals designed to transport the souls of the deceased out of their villages. --The dancers' costumes include bright vests of red broadcloth strips covered in white cowrie shells, beads, brightly colored fiber skirts over indigo pants, and Kanaga masks with towering antennaelike head crests -The long, graceful, spinning and leaping movements of the Dogon dancers are intensified by the tall, double-armed poles on the crests of their masks, which may represent a bird or mythical crocodile. - The dances of the Dogon and other groups fuse the reality of this world with the otherworld of spiritual beings.

Akuaba figure, Asante people, Ghana, c. 1950

-fertility -akua cant have baby until she make a akuaba figure to be able to have a child -women would feed and birth figures . -women would borrow and return to shrine. -Disk-headed akuaba figures- they are consecrated by priests and carried by women who hope to conceive a child. -The flat, disklike head is a strongly exaggerated convention of the Akan ideal of beauty: a high, oval forehead, slightly flattened in actual practice by gentle modeling of an infant's soft cranial bones. --The flattened shape of the sculpture also serves a practical purpose, since women carry the figures against their backs wrapped in their skirt, evoking the manner that infants are carried. -The rings on the figure's neck are a standard convention for rolls of fat, a sign of beauty, health, and prosperity in Akan culture. -The name akua ba comes from the Akan legend of a woman named Akua who was barren, but like all Akan women, she desired most of all to bear children. She consulted a priest who instructed her to commission the carving of a small wooden child and to carry the surrogate child on her back as if it were real. Akua cared for the figure as she would a living baby, even giving it gifts of beads and other trinkets. She was laughed at and teased by fellow villagers, who began to call the wooden figure Akua ba, or "Akua's child." Eventually though, Akua conceived a child and gave birth to a beautiful baby girl. Soon thereafter, even her detractors began adopting the same practice to overcome barrenness. -All genuine akua ba are female images, primarily because Akua's first child was a girl but also because Akan society is matrilineal, so women prefer female children who will perpetuate the family line. Girls will also assist in all household chores, including the care of any smaller children in the family.

The Gorgon, Medusa, from the west pediment for the Artemis Temple at Corfu, 580 BCE (Archaic period)

-frightening protect goddess inside -medusa, snake hair, stone eyes, -shield reflected then head cut off -2 lions (sons) god of sea and god of pegasus

Kouros from Sounion, c. 580 BCE (Archaic period)

-function: grave markers, votice figure and goddess. -naturalistic, learned from egyption -stiff, knee straight, head fist, left foot forward, braided hair, eye large and staring, archic smilie, ideal figure, big muscle and abs, a nude man who die in the battle remain young ideal of youth -marble meet to last for years

Yakshi bracket figure from E. gate (Torana) of Great Stupa, Sanchi, India 1st c. BCE. bce

-have palithoic nude women with breast and kicking the mango fruit into blossom and fruiting fertility -tree goddess assoicated with the generative or productive forces of nature, water and strength of bramma -mythical being of hindu -pre-buddha figure -dancing in the air as visitors enter the grounds

The Teaching Vase: Codex-Style Vessel, ca 600, Mayan late 8th century. Guatemala

-how we learn about maya writing culture-pictrogram -drinking cup -depicts two scenes with the deity Pawahtun, a principal god of Maya scribes, in animated lessons with young disciples. -The Pawahtun is recognizable by his aged features and his netted headdress with a brush wedged into the ties. In one scene, the Pawahtun is holding a pointer and reading from a folded codex placed in front of him. As he looks directly at the two individuals seated in rapt attention in front of him, he recites the bar and dot numbers attached to a speech thread, which may represent a date. -In the second scene, the Pawahtun hunches intently forward and taps the ground as he speaks to two similarly attentive pupils, an Ah k'hun (a keeper of the holy books), who wears a turban with the bundle of quill pens stuck into the top, and a second figure with a goatee. The Pawahtun's spoken words appear as a group of glyphs connected to a speech thread that emanates from his mouth, which may be interpreted as "receive my bad omens." -The Codex style takes its name from a small group of vessels painted with scenes of great realism in very fine monochromatic lines on cream backgrounds by artists who must have been primarily painters of codices, the folding-screen books that the Maya made from bark paper coated with stucco. -These codex-style ceramics give an excellent idea of the high elegance and extraordinary delicacy that must have characterized ancient Maya books, none of which has survived from the Classic period.

Colossal Buddha from Bamiyan, Afghanistan, 1st-5th c., destroyed 2001

-huge cave buddha in bliss/englightment -Bamiyan, Afghanistan -tourist attraction, destory. -Encased in his deep, close-fitting niche -the largest of these Buddhas of Bamiyan --Bamiyan, an international trading center on the southern part of the Silk Road. -was once clothed in string-type drapery (applied lime plaster and paint). This technique of rendering the sanghati as a semitransparent cover visible only in its folds .

Great Boddhisattva (Beautiful Bodhisattva) Cave 1 Ajanta, India c. 600 CE

-lotus bearer-enlightenment -down cast eye-mediate -paintings over lime, over layers of clay, cow dung, and other elements that had been spread onto the rock faces of the walls. -in the tribhanga pose, holds a blue lotus and wears a jeweled tiara, pearls, and a sacred thread woven from seed pearls -unaffected smaller figures, peacocks, monkeys, and fantastic creatures around him. - remains calm like an island of spiritual disengagement in activity around him, are bathed in a soft, glowing light with no shadows. As one on the edge of nirvana, who has glimpsed the reality of the brahman, he is aloof and spiritually disengaged, knowing that the sights and sounds around him are a grand illusion.

Seated Buddha Preaching the First Sermon, Sarnath, India 5th c. CE

-lotus disk and figure flowing above the head - spiritualized yogi ascetic, seated cross-legged on a lion throne - Buddha may appear to be nude, the hemlines of his sheer muslin garment, known as a sanghati, are visible at his neck, wrist, and ankles -large round nimbus or sun orb - universal spirit of the Buddha. -The deer and six disciples turning the Wheel of the Law in the register below refer to the Deer Park at Sarnath, where the Buddha preached his first sermon. - hand gesture for teaching in which the Buddha sets the Wheel (chakra) of the Law (dharma) in motion and counts the principles of his Eightfold Path of Righteousness on his fingers. -The texture patterned snailshell curls in Buddha's hair contrasts with the smoothness of his idealized body -The winged lions on the back of the throne symbolize royalty, the Buddha as the lion of the Shakya clan, and the regal roar and authority of his preaching.

Ere Ibeji, Yoruba people, Nigeria before 1870

-male and female -45% ere ibeju culture is highest recorded rate of twin births in the world -since both cant survive, these figure are honored until they reach adulthood. -the birth of twins is greeted with rejoicing because they are believed to possess special powers and the ability to bring good fortune to those who honor them properly. -multiple births have an increased risk of one of the twins dying during infancy. ibeji, are memorials to deceased twins. - Their elaborate hairstyles and beaded jewelry mark their honored status. When one twin dies, a single sculpture is commissioned and cared for by the mother and later by the surviving twin. - If both infants die, a sculptor creates two images. The figures are ritually washed, dressed, and offered favorite foods. Such figures reflect the various styles of individual artists and regions. The heads of the pair from the Oyo region have been repeatedly bathed with indigo, symbolizing the calming of the spirit's inner being.

Innana/Ishtar with Lions and Owls, c. 2000 BCE, Sumer, Mesopotamia

-naked winged woman flanked by owls and legs with bird talon grip lions back. -motif of mountain indicating high ground -southern Mesopotamia -Baked Clay, colored, polychrome -Deities/Goddess due to horned headdress -dark black pigment background andthe downward pointing wings associating the female figure with the underworld -Inanna -goddess encouraging fertility as she presided over love and sex (and also war) or A ruler due to lion for power -worshiped at temple

Reliquary Guardian, Kota people, Gabon, 19-20th c.

-not deity -sit in basket of ancestor bones so that the spirit of the ancestor are protect -wood carving/abstracted -missionare ask kuba to get rid off mask due to spread of christianity. -The Kota once used reliquary guardian figures to protect and demarcate the revered bones of family ancestors. The bones were preserved in containers made of bark or basketry. -stood atop this bundle, bound to it at the figure's lozenge-shaped base. - intended to reinforce and communicate the reliquary's intense power. -forms in their combination of wood and hammered metal.

Stone of the 5 Suns, or Aztec Calendar Stone from Tenochtitlán

-ollin glyph(sun) and 4 suns -around it is Aztec calendar -dates on glyph of rise sun and ruler in power of the line -snake glyph, not for sacrifices -painted -Aztec legends first four times the gods tried to create the world they did it imperfectly and had to destroy it. -The present world was created on Aztec Day Four, Ollin ("Movement" or "Earthquake"), and this act of creation too would end in an earthquake. -Aztec Calendar Stone, is not a calendar as such but a diagram of creation -The sign in the center of the stone—four arms surrounding the face of a creature with claws and a tongue in the shape of a sacrificial knife—is Ollin, the day on which creation took place. The small signs between the arms stand for the first four suns. -A band around them illustrates 20 days in aztec calender ,rulers, date of sun creation. -The Aztecs said the sun was created at Teotihuacan when two of the gods volunteered to sacrifice their bodies to provide the material for the new world. - One of the gods ascended the Pyramid of the Sun, the other the Pyramid of the Moon, and after four nights of penance they threw themselves onto a great bonfire, rising the next day as the sun and the moon. Since the world had been created out of their bodies, humankind inherited a debt they had to repay in kind to maintain the fifth sun—an ongoing series of human sacrifices

Interior and plan of Chaitya Hall, Karli, India 1st c BCE

-pillar of lotus/lion on top-allegiance to Buddha - on top pillar,couples symbolizing fertility and harmony, riding on kneeling elephants and horses -smaller stupa at end Buddhist assembly halls -built with wood, replace with stone cut -rib vault -horseshoe-shaped entryway -interior columns -rafter ceiling are decorative -places of worship and mediation in earlier Indian regions -has large number of vharas- monks cells -stonecarvers began by constructing a long tunnel at the apex of the vault and carved downward to floor level so that a minimum of scaffolding was needed. (a) vestibule; (b) nave; (c) side aisles; (d) stupa

The God Vishnu ca 850, from Kashmir

-preserver/savior of the individual, world, and cosmos -holding lotus and shell with cobra down his body -figure on both side as disk and club -very muscular -small figure between his feet -made of brass -depicted with a lion (saved pralada) and giant boar (rescued earth from drowning)

Gate (torana) and Great Stupa at Sanchi, India 1st century BCE

-small burial or reliquary mounds erected in sacred places for wealthy individuals and rulers imposing centers of Buddhist worship -After the Buddha was cremated, his remains were distributed to 8 stupas -symbolized arch of the sky -Vedika-stone fence around the mound, seperated scared and profane worlds. -Toranas(Gates) are oriented to compass -cant center.double stairways and pathway around -no images of buddha -Chatras 3 disk at the top of mount -stupa to mediate to nirvanna or enlightment

Apollo with Centaur and Lapith Woman, from the West pediment of the Temple of Zeus at Olympia, Greece, 460 BCE (early classical)

-story of wedding -started when women was attacked -Apollo and lapith and centuar -used to be a remain to be a reminder of how to not misbehave -naturalistic -classical

Bodhisattva Kyan-yin of the South Seas, Dehua ware, Late Ming Dynasty, 17th century

-the statue has three aspects; one side faces inland and the other two face the South China Sea, to represent blessing and protection by Guanyin of China and the whole world. -One aspect depicts Guanyin cradling a sutra in the left hand and gesturing the Vitarka Mudra with the right, the second with her palms crossed, holding a string of prayer beads, and the third holding a lotus.

Adoration of the Bodhi Tree, E. gate, (Torana) of Great Stupa, Sanchi, India 1st c. BCE

-tree where buddha sit under to reach enlightment -flower deities bring garlen

Standing Buddha, from Gandhara (Pakistan) 2nd or 3rd c CE

-ushnisha (top knot)-enhance brain function -disk-enlightenment -urna (third eye)-enlightenment of sense and see more about the world -sunkati(robe)-still see body, -round abdomen-2nd path, no feasting or fasting -large ears-prince wearing earring -no fear gesture -40 BCE; Pakistan

Shield Jaguar and Lady Xoc, Relief from Lintel 24, Temple 23, Yaxchilan, ca. 725

Relief from Lintel 24, made of limestone -lady xoc, woman ruler -blood sacfice ceremony -headress with slant head -quetzal bird - pain and blood loss associated with conjuring up royal ancestors. required of her so that the Gods would continue to allow, well, everyone to live. -Lady Xoc kneels before her husband, King Shield Jaguar the Great who holds a burning torch, as she pulls as rope with thorns through a hole in her tongue. -Blood drips down onto paper in a basket on the ground. -The following lintel shows her burning the papers in order to conjure up a royal ancestor, who bears an uncanny resemblance to her husband.