Ceremonial bars — also known as serpent bars — are a common symbol in the Maya world and often depicted being wielded by rulers on stelae.  They are typically employed when stelae were constructed to depict a period ending event.  The bar typically ends in two open serpent mouths, from which gods emerge; the serpent was the means of conveying a hallucinatory vision (the body of the serpent even paralleled the wisps of rising smoke from which burned blood offerings were delivered).

The bar is symbolic of the ruler’s role as intermediary both between the world of the living and the dead (in the underworld) and the world of the living and the gods (in the heavens). In Maya cosmology, this intermediary role is typically filled by the “world tree”, or axis mundi; the tree – with its roots extended to the underworld and its uppermost branches high in the sky – bridges the the same gap among the earth, underworld, and heavens.  Viewed from this perspective, when holding the serpent bar, the ruler effectively assumes the role of world tree, with the bar representing its branches.

How to recognize a ceremonial bar in artistic depictions:

• Usually being held by a ruler;
• Usually held parallel to ground, perpendicular to body;
• The serpent heads on either end of the bar open to reveal to reveal the faces of figures.

To make picking out the ceremonial bars easier, we have applied color highlights to the bars in the images below.

Approach Guides just released its first guide to the Americas: Maya Art & Architecture: A travelers’ detailed guide to Mexico, Guatemala, and Honduras.  This Approach Guide affords an expansive view of art and architecture of the Maya world – covering five sites in Mexico (plus four Mexican sites that influenced the Maya), three in Guatemala, and one in Honduras.

Stela A, Ceremonial Bar and projecting faces from the serpent heads highlighted (red and blue, respectively), Copan. Image taken in Copan Museum.

Stela D, North Face, with highlights added to ceremonial bar (red) and ruling sceptre (blue). Image taken on location.

Deep relief of Stela B (731 CE), Copan

Copan, in western Honduras on the border of Guatemala, is one of the premier Mayan sites; the ruined city (a thriving center from 426-822 CE) hosts more hieroglyphic inscriptions and sculpted monuments than any other Maya site.

The carved stelae are certainly one of the highlights. Stelae are single stone (green volcanic tuff at Copan) blocks. At Mayan sites, they were generally carved to celebrate “period endings”, which occurred upon completion of 360-day cycles; these cycles emphasized the cyclicality of life and the ruler’s role in the process of creation and destruction.

From stucco to stelae

Copan’s first stelae appear under Ruler 11 (563-628), who initiated the change from modeled stucco decoration (adhered to the walls of architecture) to free-standing stone stelae; stelae construction gained momentum under Ruler 12 (628-695).

The move from stucco to stelae accompanied the rise of the “cult of the ruler.”  Whereas architectural stucco decoration depicting deities was ideal for a environment under which the architecture or environment was sacred (e.g., the sacred pyramid with the ruler as role player), it was insufficient for an environment in which the ruler himself was the central, sacred element (see below for a discussion of the functional purposes of stelae as reinforcement of the cult of the ruler).

From a practical standpoint, stelae were a very good solution for the realizing the ruler cult.  Since they were separate from the architecture itself, they could be moved around and survive ongoing and changing construction periods.  Further, their inherent mobility allowed them to be placed front-and-center for the people to see, rather than relegated to the walls of architecture.  Since art was chosen based on its ability to legitimize the ruler’s power base, this made stelae ideal solutions.

That said, deforestation was also certainly a contributor to this stucco to stone transformation (trees were needed as fuel to burn the limestone and create the lime needed for making stucco).

Stelae as tools of political propaganda

Under this new cult of the ruler, stelae were used as tools of political propaganda, designed to glorify an individual ruler and substantiate his legitimate role as protector of the people.

• Ruler as warrior. Rulers were often depicted wearing warrior clothing, carrying warrior weapons, or subjugating hostile peoples.
• Ruler as legitimate. Rulers were often connected stelae to the prior ruler, external (foreign sources of power), or the founding member of a dynastic line.
• Ruler as divine intervener. Stelae were sponsored by the ruler and carved to depict his role as a divine intervener on behalf of his people. The vertical stelae linked the celestial (the residence of gods responsible for life and sustenance) and underworld (the residence of ancestors) to the world of the living – rulers were depicted at the center of the stelae, bridging the gap between these two worlds.

Low relief of Stela P (623 CE), Copan

The sculptural style: A visible evolution

Copan is known for the high-relief, naturalistic representations of its rulers sculpted on its many stelae. The stelae created during the reign of Rulers 11 and 12, while they still exhibit a degree of three-dimensionality, are relatively flat and two dimensional, compared to those created under Ruler 13 (695-738); this difference is clear in two exhibits (the first from Ruler 13 and the second from Ruler 11). Ruler 13’s stelae are nearly sculpted in the round, with tremendous depth and naturalism. These stelae represent the high-point of Mayan sculptural art.

Where to stay

Hacienda San Lucas. With just eight rooms, the Hacienda San Lucas is an excellent hotel, with an engaging owner, delicious homemade Maya and local Copan cuisine, friendly staff, and views overlooking the ruins. Highly recommended!