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FULL PHONETIC COMPLEMENTATION, SEMANTIC CLASSIFIERS, AND SEMANTICDETERMINATIVES IN ANCIENT MAYAN HIEROGLYPHIC WRITING

Published online by Cambridge University Press:  20 November 2008

David F. Mora-Marín*
Affiliation:
University of North Carolina, 325 Dey Hall CB #3155, Linguistics Department, Chapel Hill, NC 27599, USA
*
E-mail correspondence to:davidmm@unc.edu
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Abstract

This paper discusses a little understood spelling practice of Mayan hieroglyphicwriting, the use of full phonetic complementation of logograms, and someimplications derived from this practice, particularly when compared with similarpractices in other logosyllabic scripts from around the world (e.g., Egyptianand Luvian), which suggest that such practice existed in association withsemantic classifiers. Also, a preliminary distinction between two types ofsemantograms is made: semantic classifiers and semantic determinatives. Previousdiscussions of both types of signs are reviewed, and it is proposed that the twoare more widespread and important in Mayan writing than previously thought. Theimplications of these results are clear: Mayanists, particularly epigraphers,need to pay more attention to this distinction in their decipherment efforts, aswell as in any future philological and paleographic endeavors. The paperconcludes with a proposal for the interrelationship between the stylisticevolution of graphemes and the development of semantic classifiers anddeterminatives.

Information

Type
Research Article
Copyright
Copyright © Cambridge University Press 2008
Figure 0

Figure 1. Cross-script comparative examples. (a) Egyptian spelling: jtMAN for jt ‘father’; (b) Egyptian spelling: jtMAN for jt ‘father’; (c) Egyptian spelling: ’m-tWOMAN for ‘m.t ‘wife’; (d) Egyptian spelling: nb-tWOMAN for nb.t ‘lady, mistress’; (e) Egyptian spelling: w-nEVIL.BIRD ‘mistake’; (f) Egyptian spelling: w-nLOCK.OF.HAIR ‘bald’; (g) Egyptian spelling: w-nCITY ‘Hermopolis’; (h) Egyptian spelling: w-nSUN.RAYS ‘light’; (i) Chinese: hsiangMAN ‘image’; (j) Chinese: hsiang ‘elephant’; (k) Sumerian logogram, KU ‘to eat’, formed as semantic compound by juxtaposition of two signs with their own logographic values—HEAD and BREAD; (l) Egyptian partial logophonetic spelling of ‘star’ as s-b-SBZ; (m) Egyptian full logophonetic spelling of ‘star’ as s-b-Z-SBZ.

Figure 1

Figure 2. (a) Example of preposed phonetic complementation: (wa-)WAY; (b) example of postposed phonetic complementation: WAY(-ya). Drawings by the author after Houston and Stuart 1989:3, Figure 1; (c) example of logogram with preposed and postposed phonetic complements on Palenque Temple XIV Tablet: (ma-)MAN(-na). Drawing by the author after drawing by Linda Schele (www.famsi.org); (d) Example of logogram with postposed phonetic complements: ’EM(I)-’e-mi. Dresden Codex 20b. After Kingsborough version (www.famsi.org/mayawriting/codices); (e) example of logogram with preposed phonetic complements: (wa-ya-)WAY; (f) example of logogram with postposed phonetic complements: WAY(-wa-ya). Drawings by the author after Houston and Stuart 1989:3, Figure 1; (g) example of logogram with postposed phonetic complements: MAN(-ma-na), Yaxchilan. Drawing by the author after drawing by Linda Schele (no. 6201, www.famsi.org); (h) example of K'UHUL-’IX(-’i-xi) K'AN-to-ko. Bonampak Sculptured Stone 4:G2-H2. Drawing by the author after detail from a drawing by Ian Graham in Wagner 2003:2; (i) spelling of ’u-’UNIW-ni-wa for uniw ‘14th month name’ on Dos Pilas Stela 8. Drawing by the author; (j) spelling K'INICH-[JANAB']PAKAL-pa-ka-la on the West Tablet of the Temple of Inscriptions at Palenque. Detail of a drawing by Linda Schele.

Figure 2

Table 1. Comparison of glyphic and linguistic classifiers by Hopkins and Josserand (1999:4)

Figure 3

Figure 3. (a) Example of circular element; (b) another example of circular element; (c) use of circular element inside T710 CHOK ‘to throw down’; (d) use of circular element on part corresponding to thigh on sign that depicts a torso and bent leg in seated posture (T644 CHUM ‘seated’). Drawings from Bricker 1986:Figures 163, 187; (e) double-notched element; (f) use on B'ALAM ‘jaguar’; (g) use on main sign (depicting a rat) of ch'o-ko ‘rat’ spelling (separate, logographic reading of RAT.HEAD sign as CH'OK has not been demonstrated). Drawings from Hopkins and Josserand 1999:Figure 12.

Figure 4

Figure 4. (a) Detail from Tonina stucco wall: K'AN-na-b'a ?CH'OHOK xa-MAN-na. Drawing by Linda Schele (no. 6505, www.famsi.org); (b) detail from polychrome vase K2023: K'AN-na B'AH. Drawing by the author based on details of photographs in Kerr (2007); (c) Tonina stucco wall glyphic caption K'AN-na-b’a?CH’OHOK xa-MAN-na. Detail of drawing by Linda Schele (no. 6505, www.famsi.org); (d) detail from K2796: CHAK-ch'o-ko ‘Great Youth’; (e) detail from K530: CHAK-?CH'OK ‘Great Youth’. Drawing by the author based on details of photographs in Kerr (2007).

Figure 5

Figure 5. (a) T528 as KAWAK/CHAHUK inside day-sign cartouche and pedestal; (b) T528 as logographic TUN ‘stone’ or syllabographic ku when outside cartouche and pedestal; (c) day-sign cartouche; (d) day-sign pedestal. Drawings by the author after Zender 1999:Figure 14. Examples of generic male head sign with semantic or phonetic determinatives: (e) royal headband semantic determinative: HEADBAND’AJAW; (f) T117 wi as phonetic determinative or complement: wi-WINIK; (g) ke as semantic and phonetic determinative: ke-KELEM. Drawings by the author after Zender 1999:Figure 16; (h) T220-KELEM-ma on Xcalumkin Panel 6; (i) ke-le-ma on. Drawings by the author after Zender 1999:Figure 16; [j] ke-le-ma spelling on unprovenienced pottery vessel.

Figure 6

Figure 6. (a) T710 as syllabogram ye: Back view of hand; (b) T710 as syllabogram ye: Front view of hand; (c) T710 as logogram SPHERULESCHOK: Back view of hand; (d) T710 as logogram SPHERULESCHOK: Front view of hand; (e) pictorial representation of “throwing” or “scattering” act from Aguateca Stela 1 showing SPHERULES icon. All drawings by the author after unpublished drawings by Ian Graham.

Figure 7

Figure 7. T740 in its two functions. (a) FOAMT740 in spelling of FOAMSIJYAJ-ya-ja; (b) T740 in spelling of hu-na ‘paper (headband)’. Drawings by Linda Schele. Example of T528 by itself and with semantic determinatives. (c) T128 as logogram TI’; (d) T128[501] ’UK' ‘to drink’; (e) T128[506] WE’ ‘to eat’; (f) T128[582] NUN (unclear meaning). Drawings by the author after Zender 1999:Figure 20.

Figure 8

Figure 8. Uses of cartouches outside day0sign context. (a) Typical spelling of title b'a-ka-b'a; (b) rare spelling of title b'a-ka-DAYb'a with cartouched T501 sign; (c) spelling of title HIX-WITZ ’a-’AJAW-wa; (d) spelling of same title as DAYHIX-wi-tzi ’AJAW. Drawings by the author after Zender 1999:Figure 8; (e) Glyph D2 on Bonampak Panel. Drawing by the author after Schele 1982:130; (f) Palenque Tablet of the Cross Incensario. Drawing by the author after Schele and Mathews 1979:281.

Figure 9

Figure 9. (a) Glyph A5 on Dumbarton Oaks quartzite pectoral. Drawing by the author; (b) Classic-period SIT/SEATED glyph. Drawing from Bricker 1986:Figure 187; (c) Glyph A3 on Dumbarton Oaks quartzite pectoral; (d) Glyph 2 on unprovenienced clamshell jade effigy pectoral (K763); (e) Glyph A1 on the Dumbarton Oaks quartzite pectoral; (f) Glyph B1 on a jade plaque from Costa Rica; (g) Glyph C2 on Pearlman conch shell text; (h) Glyph A5 on diorite axe from Hatzcap Ceel; (i) Glyph B1b on slate mirror-back disk from Jade Museum in Costa Rica; (j) Glyph A3b on tubular jade bead from the Sacred Cenote at Chichen Itza; (k) Glyph A1b on Brooklyn Museum of art pectoral jadeite mask; (l) Glyph D5 on the Dumbarton Oaks quartzite pectoral. All drawings by the author.

Figure 10

Figure 10. (a) Glyph B1a on Dumbarton Oaks quartzite pectoral; (b) glyph on Pomona Flare; (c) glyph on carved stone bowl; (d) glyph on Brooklyn Museum of Art pectoral jadeite mask; (e) glyph on steatite were-jaguar figurine; (f) glyph on steatite were-jaguar figurine; (g) glyph ch'o-ko with II-shaped element; (h) spelling CHAK-ka-B'ALAM on slate mirror-back disk from Jade Museum in Costa Rica; (i) B'ALAM ‘jaguar’ glyph on Early Classic jade pendant from Costa Rica; (j) Glyph A2 on Dumbarton Oaks jade celt fragment; (k) Glyph A2 on Early Classic jade pendant from Costa Rica; (l) Glyph A8 on Early Classic jade pendant from Costa Rica; (m) Glyph A6 on Early Classic jade pendant from Costa Rica. All drawings by the author.

Figure 11

Figure 11. Signs for TSUTS ‘to finish’ and yu. (a–b) Early Classic forms with U-shaped elements; (c–d) later forms with O-shaped elements. Drawings from Lacadena 1996:210–211.

Figure 12

Figure 12. Variation between U- and O-shaped elements in pictorial art (iconography) and the glyphic system. (a–b) Glyph for K'INICH ‘Sun God’ on the Pomona jade earflare. Drawings by the author; (c–d) examples of T62 yu. Drawings from Lacadena 1996:210–211; (e–f) glyphs from the Pearlman Conch Shell showing U-shaped elements. Drawings by the author.

Figure 13

Figure 13. Origin of II-shaped element (ANIMAL classifier). (a–c) Glyphs on the steatite were-jaguar figurine; (d) glyph on were-jaguar figurine showing presumed variant of U-shaped element; (e) glyph on were-jaguar figurine highlighting similarity with the presumed variant in the preceding figure; (f) double-notched element (ANIMAL classifier) of Late Classic texts; (g) iconic use of U-shaped element showing it inside a cartouche without touching the cartouche's border. Drawing of detail from Pomona Flare by the author; (h) iconic use of U-shaped element showing it inside a cartouche touching the cartouche's border. Drawing of detail from Pomona Flare by author.