Review: <i>A Maya Universe in Stone</i>, edited by Stephen Houston

A Maya Universe in Stone focuses on Laxtunich Lintel 1, an ancient relief sculpture. Such intensive examinations of singular works remain rare publications related to the Americas, yet objects as complex this lintel, with layered iconographic and hieroglyphic content a rich social life, warrant thorough exposition. The authors convincingly argue that sculpture three additional lintel reliefs were originally part two buildings at single site Guatemalan side Usumacinta River, they produced over brief span, perhaps less than decade, late-eighth century, carved by sculptor, Mayuy, who signed them. rich, close analysis Mayuy’s sculptures is organized into four chapters, each crafted different but overlapping groups scholars approaching carvings from perspective.Chapter “Orphaned Carvings” book’s editor, Stephen Houston, frames project’s objectives before providing consideration life history sculptures—from quarrying stone through carving consecration ongoing engagement thereafter ultimate abandon. More attention then granted modern circulation objects, since international private collections fourth currently resides Kimbell Art Museum. Although monumental have circulated internationally for well 1960s 1980s witnessed dramatic increase their illicit clandestine extraction. specific locations where encountered are typically unknown, intentionally obscured process trafficking. Houston uses term orphan characterize such lacking precise provenience. Importantly, he acknowledges entanglements archaeological excavation scholarly research antiquities market, including cachet, thus increased market value, accrued attention, unintended consequences equipping crews very skills required looting, priming them activity wake conclusion. volume’s position vis-à-vis particular notion orphan, applied subject sculpture, made explicit: deeper knowledge about “intrinsic good” can, potentially, facilitate restitution nation-states within whose borders found.In second chapter, “Lamb’s Journey ‘Lost City,’” Andrew Scherer, Charles Golden, mine archives Dana Ginger Lamb, self-fashioned explorers mid-twentieth century serendipitously documented, albeit imprecisely, lintels situ fifties. chapter seeks discover sculptures’ original provenience, rendering orphans no longer, also aiding our understanding deeply situated geopolitical space. Lambs’ 1951 Quest Lost City, which illustrated situ, favored romanticized, imaginative travel narrative documentary precision: it does not specify location find site, call Laxtunich. chapter’s leverage archival ephemera, extensive on-the-ground region, familiarity local political present admittedly circumstantial convincing case known today El Túnel. As acknowledge, possible or all another nearby location. What certain Guatemala, therefore has legitimate claim national patrimony.The closes incomplete notes subsequent looting panels sixties consequent ownership. Here throughout book, information current ownership omitted, likely condition access sculptures.Houston, Scherer Karl Taube’s third “A Sculptor Work,” resituates looted monuments primary frames: (1) context, (2) oeuvre them, (3) plausible articulation paired buildings. core considers collectively pairs buildings, commissioned sequent, subsidiary lords under direction same regional king, Cheleew Chan K’inich Yaxchilan, whom Mayuy worked. leverages monument’s texts, iconography, composition, use color, details technique support work’s space, time, network actors, artists patrons.Chapter 4, “Seasonal Gods Cosmic Rulers,” David Stuart, Taube, intently 1’s sophisticated layering themes symbolism. Two standing figures flank lower half scene, straining hold aloft horizontal element upon men sit. Atlantean named simultaneously vassals supernatural old gods separate earth sky. explicit textual reference implies others behind, square arrangement aligning both cardinal directionality quartered stations solar year. seated above portray lord, Aj Yax Bul K’uk’, his overlord Cheleew. They assume identities costume: deity associated night maize. band sit once sky, throne, appears, self-referentiality employed several instances. accompanying texts tell rituals vernal equinox, moment transition dominion segments year, elides diurnal cycle day-night pairing. But depicts creation act being raised place. center signature appearing eyes front-facing visage if looks out directly engage viewer. artist’s clever positioning signature, whereby situates himself hierarchy remainder composition without contesting importance patrons, among most intriguing aspects sculpture.A exemplary contribution growing trend focusing narrowly conceived artistic subjects, whether architectural programs, productions workshops, individual artists. Given state studies quality complexity art, myriad concentrated attention. These resourcefully assemble highly diverse lines evidence interrogate explain while contributing meaningfully broader topics field numerous ways, elaborating landscape Yaxchilan kingdom exploring long given relationships between equinox agricultural cycles. meanings implications require culturally analyses, may render publication challenging fully appreciate those familiar writing, history, iconography. and, extension, study, deserve reader’s effort; effort rewarded revelation genius.