Sacred Enclosure of Abaton in the Ancient World

In ancient times, the name given to holy places, sacred district or underground, usually Greek temple buildings, or a sacred grove, accessible only to priests and so restricted to common people. Sometimes, it was accessible to the faithful who have submitted to ritual cleansing. In Greek, the definition described ‘untrodden place’, as only priests were allowed to set foot in most of them.

The term stands either for an inaccessible religious building, such as a monastery or part of a sacred building and its enclosure. In ancient Greece, abaton was also meant as a bedroom for patients expecting miraculous healing while sleeping and it was usually built as a long stoa.

Among others, abaton is mostly used in reference to an enclosure or a temple of Asclepius, in Epidaurus (sixth century BC.-fourth century AD., Peloponnese, Greece), a temple on the island of Bigeh, in the Nile river situated in historic Nubia, where ancient Egyptians venerated the burial of Osiris (The Middle Kingdom, 2055–1650 BC.), and finally a monument on the island of Rhodes, erected by Artemisia the Second of Caria to celebrate her conquest of the island (the fourth century BC.).

Featured image: View of the Island of Philae with Isis Temple and Trajan’s Kiosk, in the Nile, Nubia. Island of Bigeh and its ruins in foreground. 1838 painting by David Roberts. Painting by David Roberts (1838). Public domain. Image cropped. Photo and caption source: “Bigeh” (2021). In: Wikipedia. The Free Encyclopedia.

BIBLIOGRAPHY:

“Bigeh” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3kjpuYy>. [Accessed 21st August, 2021].

“Abaton (disambiguation)” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3D4SWdg>. [Accessed 21st August, 2021].

“Epidaurus” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3sD1VgI>. [Accessed 21st August, 2021].

“Artemisia II of Caria” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/2XL5Htj>. [Accessed 21st August, 2021].

“Abaton” (2018). In: Wikipedia. Wolna Encyklopedia. Available at <https://bit.ly/3B08ehr>. [Accessed 21st August, 2021].

“Abaton” (2021). In: Powered by Oxford Lexicon. Available at <https://bit.ly/3D3rnkt>. [Accessed 21st August, 2021].

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 1. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.

Vaulting of the Interior of the Building

A technique of vaulting includes building a structure made either of wood, natural or artificial stone, brick or concrete, glass or metal, with a curvilinear cross-section, used to cover a specific space of a building. The vaulting technique was already widely used in ancient Rome but greatly developed in medieval architecture of Gothic cathedrals in Europe. The principle of structural vaults is to induce internal compressive stresses that maintain the entire vault, the loads of which are transferred to the supports. The stone vaults are made of wedge-shaped voussoirs. In such a structural technique, the weight and spreading force of the vaulting are taken over by such supports, as walls and pillars.

Among the structural vaults, there are a variety of their types: barrel or tunnel vault, groined and ribbed vaults, cambered and domical vaults, cloistered, cove and trough vaults, along with ornamental vaulting, according to a layout of the ribs, divining it into sections, including star-vaulting, net-vaulting, fan-vaulting, cell-vaulting, and flying ribs.

Featured image: Rib vault of church Sint-Niklaaskerk in Ghent, Belgium. Photo by PetrusSilesius (2005). CC BY-SA 2.0 de. Photo and caption source: “Vault (architecture)” (2021). In: Wikipedia. The Free Encyclopedia.

BIBLIOGRAPHY:

“Vault (architecture)” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3vZiFjg>. [Accessed 7th June, 2021].

Koch W. (2009) Style w architekturze. Arcydzieła budownictwa europejskiego od antyku po czasy współczesne. [Baustilkunde], pp. 478-480, 499. Baraniewski W., Kunkel R., Omilanowska M., Sito J., Zięba A., Żak K. trans. Warszawa: Świat Książki.

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 380. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.

The Megalithic Structure of Trilithon in the Worldwide Architecture

The definition of trilithon or trilith is derived from the Greek words, which stand for “‘having three stones’ (τρι-/tri- ‘three’ + λίθος/lithos ‘stone’)” (“Trilithon” 2021). The word trilithon was primarily applied by an English antiquarian, physician and Anglican clergyman, William Stukeley (1687-1765), who had “a significant influence on the later development of archaeology. [He] pioneered the scholarly investigation of the prehistoric monuments of Stonehenge and Avebury in Wiltshire [and] published over twenty books on archaeology and other subjects during his lifetime” (“William Stukeley” 2021).

Haʻamonga ʻa Maui in the Kingdom of Tonga, a Polynesian country and archipelago including 169 islands. An appearance of such structures as trilithons in the furthest corners of the word means that the architectural solution was applied worldwide. Photo by Sarah Kelemen (2009). CC BY 2.0. Photo source: “Trilithon” (2021). In: Wikipedia. The Free Encyclopedia.

Precisely, trilithon is a megalithic structure consisting of three boulders: two vertical and the third arranged horizontally. In such constructions, the two large vertical stones, called posts, constitute the only support for the third stone, which is set horizontally across the top, referred to as a lintel.

The definition of trilithon “is commonly used in the context of megalithic monuments”. Trilithons were built in the Neolithic and Bronze Age, possibly as religious objects or astronomical observatories. “The most famous trilithons are those of Stonehenge in England, those found in the Megalithic temples of Malta […] and the Osireion in Egypt. […] The term also describes the groups of three stones in the Hunebed tombs of the Netherlands and the three massive stones forming part of the wall of the [so-called] Roman Temple of Jupiter at Baalbek, Lebanon. Far from Europe and the Middle East, another famous trilithon is the Haʻamonga ʻa Maui in Tonga, Polynesia” (“Trilithon” 2021).

Typical and most famous examples of trilithons at Stonehenge, England. Photo by Daveahern (2005). “Stonehenge Closeup”. Public domain. Photo source: Wikimedia Commons.

Featured image: Although the three successive megalithic blocks are positioned here horizontally, they are also known as a trilithon. They are the main feature of the Temple of Jupiter Baal (“Heliopolitan Zeus”) in Baalbek, Lebanon. Photo by Brattarb – Own work (2009). CC BY-SA 3.0. Photo source: “Trilithon” (2021). In: Wikipedia. The Free Encyclopedia.

BIBLIOGRAPHY:

“Trylit” (2013). In: Wikipedia. Wolna Encyklopedia. Available at <https://bit.ly/3fuUCTn>. [Accessed 27th May, 2021].

“Trilithon” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3vxh6Jd>. [Accessed 27th May, 2021].

“William Stukeley” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3yOIm7W>. [Accessed 29th May, 2021].

Daveahern (2005). “Stonehenge Closeup”. In Wikimedia Commons. Available at <https://bit.ly/3yVuUiX>. [Accessed 29th May, 2021].

Echinus in the Classical Greek Orders

Latin: ‘bowl’.

The prominent rounded moulding below the abacus of a Greek Doric or Tuscan capital. The echinus is one of grooves of the the ‘necking’, which is the upper continuation of the shaft of the column; as such the echinus lies atop the necking and usually has a shape similar to a flat pillow or a circular block that bulges outwards towards the top to support the abacus.

“The echinus appears flat and splayed in early examples, deeper and with greater curve in later, more refined examples, and smaller and straight-sided in Hellenistc examples” (“Ancient Greek architecture” 2021). In the Doric order, the echinus is convex or a circular cushion-like stone. It features an ovolo moulding (a quarter-round convex), having an outline with several radii, whereas in the Ionic order, echinus is called cymatium; it has a a shape of circular moulding, decorated with an egg-and-dart motif, forming part of an capital between the volutes and under the balteus.

The term is also used to refer to the lower part of the head in Ionic order. More loosely, the echinus is any moulding of this type.

Featured image: Close-up on a capital of the Erechteum on the Acropolis of Athens, Greece. Corner Ionic capital with a diagonal volute or spirals, similar to those of the nautilus shell or ram’s horn, also showing details of the curved echinus, decorated with a stylized egg-and-dart ornament. Photo by © Guillaume Piolle (2008). CC BY-SA 3.0. Photo and caption source: “Ancient Greek architecture” (2021). In: Wikipedia. The Free Encyclopedia.

BIBLIOGRAPHY:

“Ancient Greek architecture” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3yMBCpQ>. [Accessed 4th September, 2021].

“Classical order” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3jQc6fv>. [Accessed 4th September, 2021].

“Echinus” (2021). In: Wikipedia. Wolna Encyklopedia. Available at <https://bit.ly/2WTCPhP>. [Accessed 4th September, 2021].

“Echinus. Definition&Meaning” (2021). In: Dictionary.com. Available at <https://bit.ly/3jM5Oxo>. [Accessed 4th September, 2021].

Lucie-Smith, E. (2003) The Thames & Hudson Dictionary of Art Terms. London: Thames & Hudson World of Art, pp. 79, 159.

Nymphaeum and its Forms in Ancient Greek Landscape

Greek: nymphaion; Latin: nimphaeum.

In ancient Greece, the term Nympaheum (plural: Nymphaea or Nymphaeums) initially described natural cavities, grottoes or groves with natural springs where nymphs and water deities were believed to have resided and as such they were worshiped. “Subsequently, artificial grottoes took the place of natural ones”; these were special well structures or pavilions, located at the water springs.

Nymphaeum of Monte Smith (2020) with all artificial caves and stairs carved in the rock of the Acropolis of Rhodes, leading directly to the temples on the summit. Photo source: “Nymphaeum of Monte Smith (picture 40936781)” “Nymphaeum auf dem Monte Smith”. In: mapio.net.

Featured image: Waterhouse Hylas and the Nymphs, Manchester Art Gallery 1896.15. By John William Waterhouse – Manchester Art Gallery (1896). Public domain. Photo and caption source: “Nymph” (2021). In: Wikipedia. The Free Encyclopedia.

BIBLIOGRAPHY:

“Nymph” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3b7Tz9r>. [Accessed on 6th May, 2021].

“Nymphaeum” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3vYRogH>. [Accessed on 6th May, 2021].

Photo: “Nymphaeum of Monte Smith (picture 40936781)” (2020). In: mapio.net. Available at <https://bit.ly/2CqbU3a>. [Accessed on 6th May, 2021].

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 279. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.

Limestone Flakes of the ‘Ostraca’

Greek: ostraca (plural) – oyster shells, ostracon (singular).

Ostracon is usually understood as a potsherd (“a piece of pottery, usually broken off from a vase or other earthenware vessel” (“Ostracon” 2021) or a flat stone piece (normally a flake of limestone), which was mainly used by artists from ancient Egypt and Greece for their freehand sketches and written notes.

“Generally discarded material, ostraca were cheap, readily available and therefore frequently used for writings of an ephemeral nature such as messages, prescriptions, receipts, students’ exercises and notes” (“Ostracon” 2021). Very exceptional are “the so-called figural ostracons [featuring] drawings, often sketches by artists or architects. The artists sketched their ideas on them with great freedom, avoiding the limitations of official art, thanks to which their sketches were more spontaneous, not devoid of the sense of accurate observation and a clear satirical message. One of the most beautiful and known examples of an ostracon paintings is a representation of an Egyptian dancer performing a somersault (Deir el-Medina, the New Kingdom, between sixteenth and the eleventh centuries BC.; see: Egyptian Dancer from Turin and Her Acrobatic Somersault).

Ostrakon of Cimon, an Athenian statesman, telling his name (as “Kimon [son] of Miltiades”); 486 or 461 BC., Ancient Agora Museum in Athens. Photo by Marsyas (2005). CC BY-SA 2.5. Photo and caption source: “Ostracon” (2021). In: Wikipedia. The Free Encyclopedia.

Featured image: A possibly satirical ostracon depicting a scrawny cat giving a bolt of cloth and a trussed up goose as an offering to a seated mouse, likely representing either a noblemen or a noblewoman with bared breasts. Either a satire on upper-class life, or perhaps a scene from a fable. New Kingdom, either nineteenth or twentieth dynasties, circa 1295-1070 BC., from Thebes. Photo by Keith Schengili-Roberts (2007). CC BY 2.5. Photo modified. Photo and caption source: “Ostrakon” (2020). In: Wikipedia. Wolna Encyklopedia.

BIBLIOGRAPHY:

“Ostracon” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3iizilv>. [Accessed 2nd August, 2021].

“Ostrakon” (2020). In: Wikipedia. Wolna Encyklopedia. Available at <https://bit.ly/3rP7fNZ>. [Accessed 2nd August, 2021].

Lucie-Smith, E. (2003) The Thames & Hudson Dictionary of Art Terms. London: Thames & Hudson World of Art, p. 158.

Story of The Rock-Cut Tombs of Ancient Telmessus

Lycian Turkey is just one of numerous parts of the world, where monumental tombs were carved out of the rock to satisfy religious needs of contemporaries, who by all means wished their dead kings, rulers and relatives to find the right way to the afterlife. As it seems, the more large and intricate a tomb was, the more privileged the dead was and the more direct and straight was their journey to the next world.

Worldwide phenomenon

The idea of making rock-cut tombs is a very ancient one (Ching et al. 2010:173). The oldest known examples come from Egyptian Thebes as they date back to the sixteenth or fifteenth century BC. (the Middle Kingdom) (Ibid.:173). There are also Hittite rock-hewn sanctuaries, which were made in 1250 BC. (Ibid.:173). Examples of such sepulchral architecture can be also found in Italy and they belong to the so called Etruscan culture (from the eight to the third centuries BC.) (Ibid.:173). A huge necropolis of rock-cut tombs is also present near the town of Paphos, in Cyprus, where several tombs are designed in the form of an impluvium (Ibid.:173). The roc-cut tombs in Lycia on the southern coast of Turkey date back to the end of the fifth century BC. (Ibid.:173).

Nowadays, some of the tombs are largely damaged. In the time of their construction, there was a financial fine for any violation of the tombs. Copyright©Archaeotravel.

The custom of cutting the tombs out of the rock was brought further eastwards by Darius the First (522-486 BC.), whose own tomb was carved out of the cliffs (Ching et al. 2010:173:173). It is actually one of the four rock-cut tombs of Achaemenid kings at the site of Naqsh-e Rustam, near Persepolis, in modern-day Iran (“Tomb of Darius the Great” 2020). “They are all at a considerable height above the ground” (Ibid.), as much as the tombs in Lycia. One of the most impressive site with rock-hewn tombs of strikingly similar character are located in the lost city of the Nabateans, which is Petra, in Jordan (Ching et al. 2010:173; see: Markoe ed. 2003). They are said to have been built between 300 BC. and 200 AD. (Ching et al. 2010:173).  

Common but outstanding

Although rock-cut tombs were often made in imitation of traditional buildings, their construction techniques are very different (Ching et al. 2010:173).

The “Harpy Tomb” of Kybernis, a solid sandstone pillar with the sarcophagus of Kybernis on top (c. 480 BC). One of the best preserved examples of a typical Lycian pillar-tomb. Photo by Panegyrics of Granovetter (2010). CC BY 2.0. Photo and caption source: Photo source: “Lycia” (2021). In: Wikipedia. The Free Encyclopedia.

Masons building such sepulchral monuments must have started from the top of cliffs and continue downwards so that the discarded stones did fall down to destroy the new building elements (Ching et al. 2010:173). Working from the top down required a different type of planning and engineering (Ibid.:173). It is also significant to remember that such a technique was used not only for sepulchral architecture but also for temples (Ibid.:173). Buddhist chaityas or viharas in China and India, and Hindu caves (Ellora, Ajanta) probably go back to the third century BC. and were continued throughout the first millennium AD. (Ibid.:173). The same technique was equally applied for rock-carved churches in Cappadocia, Turkey (around 900 AD.), and in Lalibela, Ethiopia (around 1200 AD.) (Ibid.:173). What is unique is the fact that the same technique was also used in secular architecture, namely, in the case of urban buildings, like houses, carved out in solid rock at a mysterious ancient site of Tiermes, located on the edge of the Duero valley in modern-day Spain (Ibid.:173). The dating of the fortress, as it is referred to, is questionable (Kosmiczne opowieści 2017). Nevertheless, it is believed to have been carved either at the Celtiberian or Roman times, probably between the first century BC. and the first century AD. (Ibid.).

Tombs commemorating ancestors

Veneration, or even, worship for ancestors, was undoubtedly universal in the ancient world (Bean 1989:31).

One of the most impressive temple-tombs in Fethiye sepulchral complex. Copyright©Archaeotravel.

All peoples inhabiting Anatolia before the Greek colonization built beautiful, monumental tombs in commemoration of their ancestors; the Lycians developed this art to perfection, which was undoubtedly easy for them thanks to the soft sandstones found in their land (Miszczak 2009). Although early Lycian buildings were mostly overbuilt, as elsewhere in Asia Minor, first by Hellenistic and then Roman constructions, Lycia remains one of the best places in Anatolia, where the native culture of the region is still visible and can be admired at each step (Bean 1989:30). Although various foreign influences are visible in the Lycian monuments, they have yet retained its unique character (Bean 1989:20; Miszczak 2009).

Transporter of the souls

Many examples of the sepulchral art shows a high quality of still well-preserved mason work and are covered in tell-tale sculptures adorning the tombs (Bean 1989:30; Miszczak 2009). Reliefs depict, among others, mythological scenes, funeral feasts, battles and animals (Miszczak 2009).

Persian influence on the tombs is evident in the way scenes of feasts, battles and hunts are depicted, for example in the tombs of Xanthos, while he Greek influence is most clearly manifested in mythological scenes, for example, in the original Lycian representations of lions, the favourite royal symbol in this land (Ibid.). On the other side, the distinctive feature that distinguishes the Lycian tombs from the classical Greece and Rome is their location (Ibid.). While in the Greek and Roman cultures, the burial places of the dead were customarily located outside residential areas, often along the roads leading to cities, the Lycians made the tombs an integral part of the urban landscape, which is evidence of their relationship with contemporary cultures of the East (Ibid.). A good example is Patara, where monumental tombs are proudly presented along the port (Ibid.).

House-tombs in Fethiye. As their name indicate, they were built in a way imitating the wooden architecture of Lycia. Copyright©Archaeotravel.

Accordingly, the Lycians interacted with the ghosts of their past by inviting them to their everyday life (Miszczak 2009). The Lycians seem to have believed that the souls of their dead relatives were transported from their tombs to the afterlife by winged mermaid-like creatures, represented as hybrid birds, so they often placed tombs along the coast or on top of steep cliffs to facilitate the task to the flying creatures (Ibid.). Round altars decorated with inscriptions or ornaments were often placed near the tombs (Ibid.). They were used to make offerings to the deceased (Ibid.). The offerings to the ancestors varied greatly, as can be seen from the finds from the tombs (Ibid.). Often these were terracotta statues and jewellery (Ibid.). After the Greek custom, the Lycian also put a coin in the mouths of the deceased, as a fee for Charon – the carrier (Ibid.). Sometimes it is even possible to determine the social status and profession of the dead, by means of a character of objects buried along them (Ibid.).

Cult of the dead and its legal protection

Owing to the rich legends and history of these lands, the landscape of all of Lycia is decorated with fascinating monuments of the past; the Lycian tombs scattered around the region mostly date back to the times before Alexander the Great (before 334-333 BC.) (Bean 1989:30; Miszczak 2009). Rock-hewn tombs and those of masonry are typical of the whole Asia Minor but they do not appear in such an abundance as in Lycia (Bean 1989:31). According to the latest research, there have remained one thousand eighty-five tombs carved in the rock in the land of Lycia, and partially also at its western border with Caria (Miszczak 2009).

Owing to the rich legends and history of these lands, the landscape of all of Lycia is decorated with fascinating monuments of the past; the Lycian tombs scattered around the region mostly date back to the times before Alexander the Great. Copyright©Archaeotravel.

An opportunity to see them all in our times should be at least partially ascribed to the fact that already in the times of ancient Lycians, the tombs had been carefully preserved from any damage of profanation, sometimes by a special committee, called the mindis (Bean 1989:31). Also epitaphs inscribed on Lycian tombs often end with a warning of uttering a curse or imposing  financial fine for any violation of the tombs (Ibid.:31). Later, the responsibility for the protection of the Lycian tombs was taken over by the city (Ibid.:31). Such efforts visibly show how important for the ancient was the cult of the dead and the places of their final rest (Ibid.:31).

The tombs of Lycia

The tombs of Lycia are usually divided into four separate categories, according to their distinctive features, namely pillar-tombs, temple-tombs, house-tombs and sarcophagi (Bean 1989:30).

The Lycians seem to have believed that the souls of their dead relatives were transported from their tombs to the afterlife by winged mermaid-like creatures, represented as hybrid birds, so they often placed tombs along the coast or on top of steep cliffs to facilitate the task to the flying creatures. Copyright©Archaeotravel.

Most typical of Lycia are the pillar-tombs, which are also believed the earliest preserved of all (Ibid.:30). They mostly appear in the western part of the region and feature a huge rectangular pillar situated on the stone base, whereas at the top of it, there is a grave-chamber, additionally crowned with a massive cap-stone (Ibid.:30). Their sculptured surfaces are limited to the top sides of the grave-chamber, if such carved decoration appears at all (Ibid.:30-31). Temple-tombs present on their front temple facades in miniature, which is the Hellenistic influence having appeared since the fourth century BC. and therefore they are not exactly in Lycian artistic character, though they definitely used to express Lycian beliefs of the afterlife, as much as the previous category of the tombs (Bean 1989:30; Ching et al. 2010:173).

Temple-tombs are also typical of Caria (Caunus) and other parts of Anatolia (Bean 1989:30; see Bean, v.3 1989:139-151). However, those from Lycia slightly vary from the former; the façade of a temple is adorned with two columns in antis (two columns between antae) which are usually in Ionic order (Bean 1989:30). Such a façade also has an epistyle and a pediment (frontispiece) (Ibid.:30). A grave-chamber, which is a plain room with stone benches for the corpses, can be reached through the door from the porch (Ibid.:30). Similar interiors are characteristic of the third category, though its exteriors differ (Ibid.:30). House-tombs, as their name indicate, were built in a way imitating the wooden architecture of Lycia, namely one, two or three-storeys wooden houses, including the projecting square or round beam-ends above the door opening, which later developed into a dentil frieze (Bean 1989:30; Ching et al. 2010:173).

Numerous examples of different tomb types are encrusted together in the cliff-face in Fethiye; two of them belong to the category of temple-tombs, whereas the lowest ones are of house-type. The rest of the tombs resemble pigeon-holes. Copyright©Archaeotravel.

Sometimes, their façades feature a pediment that can be in the form of a pointed arch, similar to the one in the Gothic style (Bean 1989:30). The walls of this type of Lycian tombs usually are carved in relief, which also appear in the pediment, and occasionally on the adjacent rocks (Ibid.:30-31). When it comes to the last category, it was very common in the contemporary world, however, the early Lycian sarcophagi vary from typical forms of generally known tombs (Ibid.:30). Firstly, the Lycian version is much higher and is composed of the three successive parts: a base, which played the role of hyposorion (a second grave-chamber for the owner’s dependants), an actual grave-chamber, and a crested, ‘Gothic’-like massive lid, which are both frequently in reliefs (Ibid.:30-31). In the Roman times, the Lycian sarcophagi diminished in size and intricacy, and the corner of their lids, yet still with the crest, became rounded (Ibid.:31). Apart from those four major categories of the Lycian tombs, there also exist their different variations (Ibid.:31).

Telmessus or Fethiye?

The finest specimens of the Lycian tombs are at the ancient site of Telmessus or Telmessos, located by the Aegean Sea, in Lycia (Bean 1989:40). The city’s name was only changed in the eighth century to Anastasioupolis, in order to commemorate Anastasios the Second, the Byzantine Emperor, who ruled from 713 to 715 (Bean 1989:39; “Telmessos” 2021).

View of Fethiye Marina. The modern city of Fethiye was once known as Makre or Makri, which in Greek means ‘long one’, referring to the name of the island at the entrance to the harbour. Copyright©Archaeotravel.

That name, however, had been forgotten till the tenth century, when the city was commonly known as Makre or Makri, which in Greek means ‘long one’, referring to the name of the island at the entrance to the harbour (Bean 1989:39; “Telmessos” 2021). Finally, in the twentieth century, the city was renamed as Fethiye and it is called so in present (Bean 1989:39; “Telmessos” 2021). The town and its district, incorporating a long beach, Çaliş Plaji (Beach), with an extensive promenade along the coast, on which a row of hotels are based, remain today one of the most prominent tourist destinations in the Turkish Riviera (“Fethiye” 2021). Fethiye is slipped away in the south corner of the gulf, and although it is quite hot in summer there, a fresh breeze coming from the sea makes the heat tolerable (Bean 1989:38), which is contrary to Alanya in the Mediterranean region, where the humidity reaches in summer 100%, and at around 40 degrees one feels boiling hot.

During our three-week stay in Fethiye, I visited the city a few times to enjoy its ancient remains and silent atmosphere of its streets. At that time I was spending my holidays with my little sister, Agnieszka, and my aunt’s large family (see: Island of the Sun in Favour of Gods). As my uncle is a university lecturer of Fine Arts and a real devotee of antique art, he seizes any occasion to sightsee, even though his family prefers to spend their time in a slightly different manner. Once we all headed off to Fethiye for the best döner kebab in the area. Afterwards, we decided to wander around the town in search of its ancient remains, which are scattered within its modern boundaries.

Little known site with monumental architecture

Unfortunately, very little is known about the origins of the ancient site of Fethiye (Bean 1989:38). Although its monuments feature Lycian inscriptions, it does not appear as Lycian at first in history (Ibid.:38). After some records, in the fourth century BC., the Lycian dynast, Pericles, fought against the Telmessians and besieged their city (Ibid.:38). Since then, Telmessus had become a part of Lycia, as it is attested by a contemporary historian, known as Scylax (Ibid.:38).

Historic map of Fethiye by Piri Reis (c. 1465 – 1553). Transferred from en.wikipedia to Commons by Hayk using CommonsHelper (2006). Public domain. Photo cropped. Photo and caption source: “Fethiye” (2021). In: Wikipedia. The Free Encyclopedia.

Naturally, it had also been a member of the Lycian League till the time Lycia stayed under the Roman Empire (Ibid.:38). The Telmessians held then a peaceful agreement with Alexander the Great (334-333 BC.), and at the time of by Ptolemy the Third, in 240 BC., the city was offered to Ptolemy, son of Lysimachus (Ibid.:38-39). After the battle of Magnesia, in 189 BC., it was handed over by the Romans to Eumenes of Pergamum and it stayed within the Pergamene kingdom till its end, in 133 BC. (Ibid.:39). Consequently, it was then included to the Roman province of Asia (Ibid.:39). Yet in the first century BC. the city possibly did not belong to Lycia anymore (Ibid.:38).

Treasure is either underground or high-up

First, we decided to take a closer look of the famous Lycian rock-hewn tombs; so far we had just had an occasion to catch a tantalising glimpse of their façades and mysterious openings in the hillsides, from the distance, while we were travelling by bus through the region. The major group of the tombs of Telmessus are located on the east, just outside the modern town (Bean 1989:40). Numerous examples of different types are encrusted together in the cliff-face; two of them belong to the category of temple-tombs, whereas the lowest ones are of house-type, in two or three storeys, and are much smaller than those of the previous group (Ibid.:40). The rest of the tombs resemble pigeon-holes (Ibid.:40). They are all cut in the rock, encrusting the hillside, which looks out on to the east and west (Ibid.:40). Some of them may be reached by a stone staircase or by the strength of one’s own muscles, while climbing up the hill (Ibid.:40). Nevertheless, others are more or less inaccessible without special equipment (Ibid.:40).

Who was Amyntas?

The most impressive of all the tombs of Telmessus is situated to the right of the major group and can be easily reached by visitors (Bean 1989:40).

An inscription from the fourth century BC. on the left-hand pilaster of the tomb, reveals the name of “Amyntou tou Ermagiou”, which stands for Amyntas son of Hermapias Although, such a name is unknown in history, it could have been a person of importance due to the size and masonic mastery of his tomb. Copyright©Archaeotravel.

Obviously, I was to climb the hill to see the details of the ancient grave. Together with my uncle, we quickly left behind other members of our family, who were walking lazily up towards the monument. From the foot of the hill, we were led up there by a modern stepped zig-zag path, which directs straight to the most famous and magnificent of all the tombs (Ibid.:40). It clearly manifests its temple façade, which is already very easily seen for those who look at it from below the hill (Ibid.:40). Nevertheless, only at closer look, this temple-tomb fully demonstrates its monumental size (Ibid.:40). At the foot of the tomb, there are yet four steps to reach the porch in the Ionic order, characterized by two columns in antis (Ibid.:40), of which the left-hand is broken at its base. Each pilaster features a row of three rosettes at their top (Ibid.:40). They are surmounted by a pediment (fronton) with three acroteria, mounted at its apex and its two corners; unfortunately, two of them bear the traces of large damage (Ibid.:40). Below the pediment, there is a dentil frieze, also known as a teethed cornice, which in this category of the tombs exchanged the wooden ornamental elements carrying the roofs in Lycian houses (Bean 1989:30, 40; Dosseman 2019).

Fethiye Rock graves Amyntas tomb. Photo by Dosseman (2019). CC BY-SA 4.0. Photo and caption source: “Tomb of Amyntas” (2021). In: Wikipedia. The Free Encyclopedia.

These were in turn also imitated in stone by the Lycian house-tombs (Bean 1989:30; Dosseman 2019). An inscription from the fourth century BC. on the left-hand pilaster, reveals the name of “Amyntou tou Ermagiou”, which stands for Amyntas son of Hermapias (Bean 1989:40; Dosseman 2019). Although, such a name is unknown in history, it could have been a person of importance due to the size and masonic mastery of his tomb (Ibid.:40).

Robbers and vandals have already done their job

From the space of the porch (the narthex), I could see in detail the massive double doors to the grave chamber, which in Greek architecture, were hidden from the outside view by a portico; the door of the tomb is believed to be the most ancient and best preserved in Greek art, which greatly influenced this type of the Lycian tombs (Bean 1989:40; Dosseman 2019).

Amyntas Tomb among Fethiye rock – cut tombs. Photo by Dosseman (2019). CC BY-SA 4.0. Photo and caption source: “Tomb of Amyntas” (2021). In: Wikipedia. The Free Encyclopedia.

My uncle had already stayed in front of it, analyzing its particular components. The imitated doorway opening of the grave-chamber is squared and framed by mouldings; additionally, above it, there is a protruding moulded cornice supported on console brackets in the form of volutes. The stone surface of the door is divided into four panels, which are additionally covered in decorations imitating iron studs (Bean 1989:40). It was possible to enter the chamber through the bottom right panel, initially sealed with a sliding stone slab (Ibid.:40). It the recent past, it has been damaged by grave robbers who broke into the chamber; as a result, the entrance now remains open (Ibid.:40). When we both came through the broken panel, we found ourselves inside a single chamber with a flat ceiling and three separate benches hewn in the rock along the sides of the walls, where the dead used to be deposited (Ibid.:40). Some modern ‘vandals’ had decided the grave chamber would have been the best place to confess their love, as the walls have been covered in graffiti inscriptions in black and red paint (Dosseman 2019).

When we finally decided to come back, we realised we were alone in front of the tomb, and our family had been lost somewhere on the way up. After a while, we clearly discerned colourful figures on descend the hill; they were sitting down or impatiently looking in our direction. Deeply engaged in studying the tomb, we only now understood they had never climbed up the hill with us.

Sarcophagus outside the city centre

Apart from the visited site, there are many more tombs of different types within and around Fethiye (Bean 1989:40). Possibly, the best preserved and the most excellent in all Lycia is the tomb of sarcophagus category, which now stands beside the municipal building of the town (Ibid.:40). Like the Tomb of Amyntas, the sarcophagus dates back to the fourth century BC. (“Telmessos” 2021).  Its façade imitates two-storey wooden building with protruding house-beams (Bean 1989:40). However, the most interesting is its ‘Gothic’ arched lid that, along with the surmounting crest, is richly covered in reliefs, representing warriors (Ibid.:40-41). The ends of the lid, likewise the ends of the main chamber, are divided into four squared panels (Ibid.:40-41).

My sister and cousins resting at the stones of the Theater, in the shadow of massive blocks of stairs and surrounded by dispersed remains of decorated architectural elements. Copyright©Archaeotravel.

Telmessos Theater

Our sightseeing of Fethiye finished just behind the city harbour, where there are remains of one of the two theaters of Telmessus that remind today a trace of the Roman times of Lycia (Bean 1989:41; TripHobo 2021). The so-called Telmessos Theatre is actually dated back to the Late Hellenistic, which is supported by the sign on the site, and it was reused by the Romans who added the stage in the second century BC. (Fethiye 2021). What has been preserved are seating stairs and reddish walls surrounding a huge space of the amphitheater, which was once designed for six thousand spectators on twenty-eight rows. (TripHobo 2021; Fethiye 2021). We were resting there for a while, in the shadow of massive blocks of stairs and surrounded by dispersed remains of decorated architectural elements.

The remains of one of the two theaters of Telmessus that remind today a trace of the Roman times of Lycia. What has been preserved are seating stairs and reddish walls surrounding a huge space of the amphitheater, which was once designed for six thousand spectators on twenty-eight rows. Copyright©Archaeotravel.

In the late afternoon, full of excitement after experiencing the Lycian past, I finally left the hot city of Fethiye, and with the rest of the tired group we went back to the sandy shores, washed by the refreshing sea waves.

Featured image: The most impressive of all the tombs of Telmessus is situated to the right of the major group and can be easily reached by visitors. Copyright©Archaeotravel.

By Joanna
Faculties of English Philology, History of Art and Archaeology.
University of Silesia in Katowice, Poland;
Cardinal Stefan Wyszyński University in Warsaw, Poland;
University College Dublin, Ireland.

BIBLIOGRAPHY:

“Fethiye” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3bHABY4>. [Accessed on 13th March, 2021].

“Lycia” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3dQEJEV>. [Accessed on 10th April, 2021].

“Telmessos” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3cqsqOZ>. [Accessed on 13th March, 2021].

“Tomb of Amyntas” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3lbH68H>. [Accessed on 13th March, 2021].

“Tomb of Darius the Great” (2020). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/38rzGJ6>. [Accessed on 10th March, 2021].

Bean G. E. (1989). Lycian Turkey. An Archaeological Guide, Vol. 4. London: John Murray Publishers.

Bean G. E. (1989). Turkey Beyond the Meander. An Archaeological Guide, Vol. 3. London: John Murray Publishers.

Ching F. D.K., Jarzombek M. M., Prakash V. (2010). A Global History of Architecture. USA: Wiley Publishing. The Second Edition.

Dosseman (2019). In: “Tomb of Amyntas” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3wL1Au2>. [Accessed on 13th March, 2021].

Kosmiczne opowieści (2017). ”Zagadka Tiermes – starożytna budowla która pozostaje tajemnicą”. In: Kosmiczne opowieści Youtube Channel. Available at <https://bit.ly/3ccRpoQ>. [Accessed on 10th March, 2021].

Markoe G. ed. (2003). Petra Rediscovered. London: Thames & Hudson Ltd.

Miszczak I. (2009). ”Dzieje Licyjczyków”. In: Miszczak I., Miszczak J. Turcja w sandałach. Available at <https://bit.ly/3kVybIh>. [Accessed on 8th March, 2021].

TripHobo (2021). “Roman Theatre, Fethiye”. In: TripHobo. Available at <https://bit.ly/3eCrzgO>. [Accessed on 13th March, 2021].

Stepped Pyramids in Architecture of Ancient Civilizations

A pyramid with several distinct levels, narrowing upwards and so forming successive rectangular platforms, steps or ramps of diminishing size and with sloping, or battered, with its sides placed on top of one another.

Stepped pyramids have their shape similar to a geometric pyramid. In architecture of ancient Egypt, such pyramids are officially perceived as the intervening stage between a mastaba and a true pyramid. As such, the Djoser Pyramid in Saqqara was created as a series of decreasing, overlapping mastabs. Such structures are equally characteristic of the pre-Columbian art in Central America. They also appear in a more slender shape as vimanas in India and tower temples (prasats) in Southeast Asia. In Mesopotamia, a slightly modified form of a stepped pyramid is known as a ziggurat. Less known are stepped pyramids of volcanic rock on the islands of Tenerife (Canary Islands in Spain) and of Mauritius. Some examples also appear in China.

Stepped pyramids are usually massive and are built using layers of various kinds of stone of different size, including huge megalithic blocks, or bricks. Such structures are architectural landmarks in various ancient cultures and locations around the world. They had been built throughout history, from deep ancient times till the time of Spanish Conquest in Mezoamerica.

Featured image: The Pyramid of Djoser at Saqqara, in Egypt. One of the most famous stepped pyramids, perceived as an initial attempt of creating a pyramidal structure out of several mastabas, diminishing in size. It is believed to have been built in around 2650 B.C. by the mysterious architect, Imhotep. Afterwards, ancient Egyptians are accredited with constructing real pyramids, such as three famous pyramids on the Giza Plateau. Photo by Buyoof (2008). CC BY-SA 3.0. Photo modified. Photo source: “Piramida schodkowa” (2021). In: Wikipedia. Wolna Encyklopedia.

BIBLIOGRAPHY:

“Piramida schodkowa” (2021). In: Wikipedia. Wolna Encyklopedia. Available at <https://bit.ly/3zs5by9>. [Accessed on 29th August, 2021].

Lapkura (2021). “Sathmahal Prasada”. In: Lapkura.com. Available at <https://bit.ly/2UEc40l>. [Accessed on 29th August, 2021].

Lucie-Smith, E. (2003) The Thames & Hudson Dictionary of Art Terms. London: Thames & Hudson World of Art, pp. 204, 236.

Yucatan ‘Mountains Filled with Water’ in the Maya’s Underground

We landed at the Cancún airport a day ago and I felt as if I had been in Mexico for at least a week. In one day, loads of impressions, images, stories, information and guesses summoned up in my head. That would be enough for a whole month; my continuously analyzing mind was just making a trip through the Yucatan and its pre-Columbian Mayan and Toltec cities. Unfortunately, my time in Mexico was limited and so was my stay at archaeological sites.

Something good for everyone

‘One day is far not enough for Chichén Itzá’, I said with well heard regret in my voice. I was sorry to get out of there, as soon as I finally started understanding the city plan and entering its mysterious nooks and crannies more confidently.

The Ik Kil cenote, close to Chichén Itzá, México. Photo by Luis Miguel Bugallo Sánchez (2010). CC BY-SA 3.0. Photo source: “Cenote” (Polish) (2020). In: Wikipedia. The Free Encyclopedia.

‘We only have two weeks to stay in Mexico’ said my friend. ‘Then we have to go back to Poland, and what is worse, to winter!’ Then, she added: ‘Besides, you have promised not to explore ‘your’ rocks all the time long. You know, I can’t get along here alone. I don’t speak the language.’

Yes, I knew that and I promised … I also understood that my friend flew here mainly to the warm sea of ​​the Gulf of Mexico to take a break from work and February frosts. She loved swimming and diving. Me too … But for me, taking holidays meant breaking through a stone forest of abandoned ruins, stumbling over stones sticking out of the ground and climbing the narrow steps of pyramidal structures. Well, there must be something good for everyone…

Longing for archaeology

If only I had not needed to work full-time during my studies in a boring office, I would have spent a few months excavating, preferably deep in the jungles of the Chiapas region. On the other hand, I read in one of Daniken’s books (1991:189) that it is not easy at all to start archaeological excavations in Mexico, even if there are sufficient funds. According to the author, digs would be willingly continued by archaeologists in Chichén Itzá, in Palenque, or in other Mayan city-states, but such efforts often fail due to the resistance of local Indians, who thus defend their still holy ancient centres (Von Daniken 1991:189). And when the excavation eventually takes place, only Indians work there (ibid.:189). Anyway, at that time, I was only on vacation in Mexico, which I could only afford because of my ‘boring job’.

After a while of lingering around, I reluctantly left the incredible archaeological site and followed another tourist attraction that my companion was waiting impatiently for.

Strange and amazing Yucatan

As a Polish traveller, Elżbieta Dzikowska (2013:201) writes, the Yucatan Peninsula is a strange place, where about eight thousand rivers flow underground. How is it possible? The Yucatan bed is made of limestone rocks through which rainwater is filtered (Tuszyńska 2007:50). Rocky ground absorbs water that collects and flows underground (Ibid.:50). Such underground rivers run through many picturesque caves (Dzikowska 2013:201). Many of them are formed exteriorly on the ground, like in the case of the Loltún Cave, of which one of larger chambers features natural openings, which appeared after the ceiling collapsed (Dzikowska 2013:201; Brady 2013:297). The Maya possibly believed that such openings in the ground unite the world above with the underworld (Brady 2013:297). The Loltún Cave is located today south of the city of Mérida and its name means ‘Stone Flower’ in the Mayan language (Tuszyńska 2007:36). The Mayans used it for about two thousand years (Ibid.:36).

Cenotes and caves

The waters of underground rivers also rise to the surface in the form of cenotes, deep and borderland wells (Dzikowska 2013:201).

Cenote at Bolonchén, Mexico, used as source of water. Lithography by Frederick Catherwood (1842). Published in “Views of Ancient Monuments in Central America, Chiapas and Yucatan” (1844). Via web copy at Cenote Xtacumbilxunan, at Bolonchen, Yucatan. Public domain. Photo source: “Cenote” (2020). In: Wikipedia. The Free Encyclopedia.

They are either open to the sky or occur inside deep caves and thus some of them can only be reached through underground corridors. (Tuszyńska 2007:50). Densely scattered around the northern part of the Yucatan karst area, cenotes were formed due to the collapse of the top layers of limestone bedrock that exposes groundwater (Grube et al. eds. 2013:429; “Cenote” 2020). A such, the cenote is a natural deep pit, or sinkhole, filled with groundwater (Grube et al. eds. 2013:429; “Cenote” 2020).

John Lloyd Stephens (1805 – 1852) and Frederick Catherwood (1799 – 1854) introduced the subject of caves and cenotes at the beginning of studies dedicated to the Mayan history, in the 1840s (Brady 2013:297). At that time, however, only practical functions of such formations were considered, and not their religious significance in the Maya cult, which turned out to be actually the case (Ibid.:297). Catherwood’s famous lithograph, showing the wooden stairs in the village of Bolonchén, in Yucatan, focused on illustrating the scale of difficulties related to the use of caves by the local population; a powerful constructed staircase leads down from the side entrance to a small lake in the middle of the cenote. In some cases, difficult access to these natural formations has kept the treasures of the Mayan caves as a secret for centuries (Ibid.:297).

Altépetl

The name cenote originated from the Mayan word tz’ono’ot, meaning a ‘depth’, ‘an abyss’, or ‘a cave with a water reservoir’ (Grube et al. eds. 2013:429; Tuszyńska 2007:50). In the pre-Columbian times, cenotes, had ‘a decisive influence on the choice of a Mayan city location, such as in the case of Chichén Itzá, Dzibilchaltún or Mayapán (Ibid.:429). In northern Yucatan, where there are no surface rivers or lakes, cenotes and underground water reservoirs hidden in the abyss of caves guaranteed access to fresh water for local residents (Grube et al. eds. 2013:429; Brady 2013:297). But practical functions of cenotes were not the main reason for establishing a city in their proximity; the water from cenotes and caves was primarily used for ritual purposes (Brady 2013:297). Ethnohistoric records of founding rituals from all over Mesoamerica, prove that when establishing settlements, ancient people looked for specific geographic features, although they did not often choose environmentally rich areas, if they did not have a specific landscape necessary by contemporary beliefs and religious traditions (Ibid.:297-298).

Glyphs representing Texcoco, Tenochtitlan, and Tlacopan, the three primary altépetl of the Aztec Empire. Codex Osuna Triple Alliance. Published in 2006. Public domain. Image source: “Altepetl” (2020). In: Wikipedia. The Free Encyclopedia.

According to researchers like Angel Julián García Zambrano, founding a city implied in many cultures imitating the creation of the world (Brady 2013:297-299). At the core of Mayan beliefs is a deity called the Lord of the Earth, whose name Tzuultaq’a translates as ‘hill-valley’, which may sound like a dichotomy at first (Ibid.:297-299). However, according to Mayan beliefs, the Lord of the Earth does not personify the opposite, but unites both dimensions into a single being (Ibid.:297-299). In many Mayan languages, cave means ‘stone house’ because it was believed that the Lord of the Earth lived with his entourage (animals and goods) in a cave located in a sacred mountain (Ibid.:297-299). That in turn, according to the same beliefs, was empty (Ibid.:297-299).

Drawing of the Maya hieroglyphic sign for ‘cenote.’ From Reading Maya Art: A Hieroglyphic Guide to Ancient Maya Painting. Drawing by Marc Zender. Drawing source: James Doyle (2018). “Into the Centipede’s Jaws: Sumptuous Offerings from the Sacred Cenote at Chichén Itzá”, Fig. 2. In: The Metropolitan Museum (The MET).

García Zambrano believes that another element constituting the whole of the mythical landscape was to be a source of fresh water, that is to say, the mountain should have a cave and springs at its core, and ideally it was to be surrounded by lower hills (Brady 2013:298). This form of such a landscape is best reflected in the hieroglyphs of geographical names in the Mayan inscriptions (Ibid.:298-299). According to it, the inhabitants of Mesoamerica have long considered the ideal landscape to be a holy mountain rising from the waters of the underground world (Ibid.:298-299). This imagery is also the basis of the Aztec concept of ‘city-state’ – altépetl, which literally translates as a ‘water mountain’ or ‘mountain filled with water’, and is well illustrated by a glyph showing a mountain with a cave at its foundation (Ibid.:298-299). If there was no natural cave formation on-site, it was replaced by an artificial one, usually placed beneath the foundations of pyramids (Ibid.:298299,302-303). Such openings, ritually dedicated to deities, became an important centers of established city-states (Ibid.:298299,302-303).

Recreation of the holy landscape

Assuming that the Mayan temple pyramids were referred to as witz – ‘hills’ or ‘mountains’, it can be concluded that they represented sacred mountains, and respectively the doors to the sanctuaries erected at the top were considered entrances to symbolic caves (Brady 2013:298).

Entrance to Dos Ojos Cenote, near Tulúm in Mexico. Photo by Dag Lindgren (2007). CC BY-SA 3.0. Image cropped. Photo source: “Sistema Dos Ojos“ (2020). In: Wikipedia. The Free Encyclopedia.

According to the researchers, it is clearly shown in the facades of these temples, which are to represent the open mouth of the Earth Monster – the symbol of the cave, and so the underworld (Ibid.:298; see Face of the Fifth Sun). Similarly to caves, mountains and pyramids were the basic elements of Mayan religious life, and it can be observed that they all were part of one supreme cult of the Earth (Ibid.:298) . A Mesoamerican archaeologist, ethnohistorian, epigrapher and a great expert in the Maya, Sir John Eric Sidney Thompson (1898 -1975) was first who thoroughly studied a relationship between those elements of the Maya cult (Ibid.:297). He assumed that along with the mountains and temples built on pyramids, one of the most important elements of Mayan religious life were actually caves and cenotes (Ibid.:297).

Geological cutaway of Cenote Ik Kil. Drawing by Editorcharly (2020). CC BY-SA 4.0. Drawing source: “Cenote” (2020). In: Wikipedia. The Free Encyclopedia.

Such natural formations were obviously considered as holy by the Maya; inside them life was born, and there were the legendary places of origin of tribes or dynasties (Tuszyńska 2007:37,49; Dzikowska 2013:201). Cenotes themselves, like deep caves, were treated as places of worship and pilgrimage (Tuszyńska 2007:37,49; Brady 2013:305; Dzikowska 2013:201). It was because Mesoamerica’s pre-Columbian pilgrimage sites were generally associated with deities of water and rain, and by all accounts, each Mayan deity lives in the underworld, where the rain is born (Brady 2013:305).

Destinations of Mayan pilgrimages

There are descriptions of ceremonies held in caves and by cenotes, related to both, the life-cycle and the calendar (Brady 2013:307). The most important Mayan ceremony connected to pilgrimage, is still celebrated throughout Mesoamerica (Ibid.:305). It takes place in early May, just before the rain season begins (Ibid.:305). Entire villages then go to local caves or cenotes to plead with the Lord of Earth, Ixchel or Chaak for rainfall and bountiful harvests (Brady 2013:305; Tuszyńska 2007:36,50). Cenotes themselves were closely related to the cult of fertility, and their crystal-clear water was used for ceremonial purifications preceding numerous rituals (Tuszyńska 2007:49). In the proximity of the natural wells, temples dedicated to rain and fertility deities were erected (Ibid.:49). One of the famous was the rain god, Chaak, is usually represented with features typical of water creatures, such as reptiles; it is hence covered with scales, has got a curved nose, two snakes protruding from the corners of its mouth and a large shell hanging from its pierced ear (Ibid.:49). Such rain deities are believed to have lived in cenotes and so offerings for them were thrown directly to the water of the wells (Ibid.:49-50). During the Mayan rule in the Yucatan, additional bloody rituals could be performed in emergency situations, such as drought or plague, which were understood as the discontent of the gods (Brady 2013:305).

Cenote Ik Kil; to get to a swimming platform with the wooden stairs, there is a carved stone stairway that leads down. Copyright©Archaeotravel.

As it is underlined above, the concept of good and evil does not create a strong dichotomy in Mesoamerican cosmology; the earth considered a source of rain, fertility and life itself, simultaneously is regarded as the main cause of disease (Brady 2013:307). All the illnesses have been believed to arise from winds emanating from caves and from cenote wells (Ibid.:307). And when someone falls ill, the ceremony of healing has been usually combined with the rituals celebrated in these natural formations (Ibid.:307).

Cenote Ik Kil;; luckily, when we got on-site, there were not so many people swimming in the cenote. one can either walk down in the water using the wooden stairs or jump down from the platform above (on the right up) and dive in. The water was really fresh, crystal-clear and chilly, which gave a cooling relief from Mexican sunshine. Copyright©Archaeotravel.

The act of pilgrimage itself seems to have been very significant to the Maya; entrances to the deepest chambers of the caves being pilgrimage sites were modified in such a way to make an access to their interiors more difficult for common people (Brady 2013:305). It suggests that only chosen visitors could enter the deepest, most hidden, and so most secret and holiest areas of a given cave (Ibid.:305). Studies of such places in Mesoamerica also confirm that pilgrimage sites were located away from inhabited centers (Ibid.:307). Nevertheless, the presence of an important pilgrimage temple within the city borders has always been considered a sign of favour with supernatural powers and a reason for great pride, as it was in the case of the Cenote of Chichén Itzá (Ibid.:305).

Cenote Sagrado of Chichén Itzá

Similarly to caves, cenotes as sacred wells played very important role in the Mayan mythology and religion (Tuszyńska 2007:142). Cenote Sagrado (Sacred) located in the archaeological zone of Chichén Itzá was a particularly important site in the late Classic Period of Maya culture, that is to say, between the years of 600–900 AD. (Ibid.:142). At that time, the city of Chichén Itzá experienced a heyday, becoming the most powerful Mayan center in the Yucatan (Ibid.:142). And so the Cenote Sagrado did (Ibid.:142). First, it was a center of religious rituals, and in the post-classical period (850-fifteenth century AD.), it became in turn a famous destination of pilgrimage for the faithful from the areas of today’s Mexico and Guatemala, but also from lands as distant as Costa Rica and Panama or even the south-western areas of today’s United States (Ibid.:142).

The Sacred Cenote at Chichen Itza, Mexico. “Cenote de los Sacrificios” at Chichén Itzá, Yucatán Peninsula, Mexico. A karst lake, reflecting the karst’s water table. Photo by Ekehnel (Emil Kehnel) (2008). CC BY 3.0. Drawing source: “Cenote” (2020). In: Wikipedia. The Free Encyclopedia.

Diego de Landa (1524-1579), Spanish bishop of the Roman Catholic Archdiocese of Yucatán, mentioned the great importance of the holy well at Chichén Itzá (Tuszyńska 2007:142). He describes pilgrimages of the faithful with various offerings, still taking place in the sixteenth century (Brady 2013:305). The cenote has a diameter of 60 meters, its depth reaches 13.5 meters, and the water level is about 22 meters below the ground (Tuszyńska 2007:142). The cenote‘s round eye might have been reminiscent of a mirror, which the Mayans used for prophecy and foretelling the future (Ibid.:142).

Venturing out into the earth

At the beginning of the twentieth century, Edward Herbert Thompson (1857 – 1935) an American consul to Yucatan and archaeologist, verifying De Landa’s written records, excavated many artifacts from the bottom of the natural well; here and in other cenotes in Yucatan, there were numerous artifacts of gold, jade, obsidian, rock crystal, shells, flint, wood, clay, gold, hematite, animal bones and tombac, and even scraps of fabric (Tuszyńska 2007:142; Brady 2013:305-307). Among the artifacts found in the Cenote of Chichén Itzá, there are beautiful discs made of turquoise, pyrite, coral and shells (Tuszyńska 2007:142). Sacrificial objects, along with ceremonial instruments were also found in other hard-to-reach places underground as caves; they were, as in the case of votives in the Catholic Church, offered for various intentions or for gratitude (Tuszyńska 2007:142; Brady 2013:307). Such archaeological finds also testify to the religious determination of the Maya, who were able to venture out into the earth to sixteen kilometres deep, in the search of their gods, lighting their way just with torches (Brady 2013:307).

The Sacred Cenote at Chichen Itza with a temple dedicated to rain deities beside. Photo by Salhedine (2005). CC BY-SA 4.0. Photo source:“Sacred Cenote“ (2020). In: Wikipedia. The Free Encyclopedia.

On the whole. Edward Thompson’s archaeological work confirmed the importance of the sacred cenote at Chichén Itzá as a place of pilgrimage for many generations (Tuszyńska 2007:142; Brady 2013:305). These and other studies have equally proved that religion was one of the most important institutions in the ancient Mayan society, and it was strongly related to such natural formations as caves or cenotes (Brady 2013:278,305-307).

Modern tourist attractions

Filtered through the limestone deposits in cenotes, the water in such natural wells is still crystal-clear (Dzikowska 2013:201). This is why, these days private and public cenotes greatly attract swimming and snorkelling tourists, along with cavern and cave divers (“Cenote” 2020). Some areas with such natural wells are also considered as National Natural Parks (Ibid.). Nothing surprising. While exploring cenotes “[great] care should be taken to avoid spoiling [their] fragile ecosystem” (Ibid.). Top recommended cenotes for tourists include but not limited to Cenote San Lorenzo Oxman, La Noria, Dos Ojos Cenote (Sistema Dos Ojos), Cenote Multum Ha, Cenote Choo-Ha, Cenote Azul, the Seven Cenotes of San Gerónimo, Hacienda Mucuyché, Tulum’s ‘Car Wash’, Dos Ojos Cenote (Sistema Dos Ojos), and Cenote Chichi de los Lagos, Homun (private cenote) (BeFree and Travel 2017; Spechler 2020).

Featured image: One of numerous cenotes on Yucatan Peninsula. Photo by MarcTran (2019). Photo source: Free images at Pixabay.

By Joanna
Faculties of English Philology, History of Art and Archaeology.
University of Silesia in Katowice, Poland;
Cardinal Stefan Wyszyński University in Warsaw, Poland;
University College Dublin, Ireland.

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Votive offerings or Deposits in Ancient and Modern Societies

From Latin: ex voto – ‘by vow’

A religious object for a specific intention or as an expression of gratitude, or as a means of giving thanks for the fulfillment of a wish. They can include “one or more objects displayed or deposited, without the intention of recovery or use” (“Votive offering” 2021). Such votive objects or offerings are usually dedicated to gods (in polytheism) or to the God or saints (in Christianity) in a shrine, temple or a church, or others places of pilgrimage.

In pagan antiquity, a votive was often a symbolic offering, given to a deity or deities as a thanksgiving (agalma) or in order to ask for answering the faithfuls’ prayers. It was usually in the form of small terracotta or metal (bronze, lead) figures or body parts made of clay, and even vessels. The more rare form of votive offerings were statues or small buildings.

Christian religious offerings are symbolic items related to a specific intentions of the faithful or their gratitude for all that they have received from the God. Christian votive objects can take various forms, usually of devotional articles, such as lit candles and rosaries.

Featured image: Our Lady of San Juan de los Lagos votive; a Mexican votive painting of 1911; the man survived an attack by a bull. Photo by Andreas Praefcke (2008). Photo and caption source: “Votive offering” (2021). In: Wikipedia. The Free Encyclopedia.

BIBLIOGRAPHY:

“Votive offering” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/2V0oAHK>. [Accessed 28th August, 2021].

“Dar wotywny” (2021). In: Wikipedia. Wolna Encyklopedia. Available at <https://bit.ly/3DqhoWt>. [Accessed 28th August, 2021].

Lucie-Smith, E. (2003) The Thames & Hudson Dictionary of Art Terms. London: Thames & Hudson World of Art, p. 227.

Through the Unknown