Cobá Part 5- Ball Court 2 in Grupo D

 

Classic-era statue of a Maya ball player. The player is crouched on one knee, ready to use his upper arm or shoulder to receive the ball and propel it back down the field. The sculptor managed to convey the player's sense of tension as he poised for action. However, the sculptor exaggerated--probably for effect--the protective gear around his mid-section. There is no way a ball player dressed like this could have maintained the necessary speed and agility the game required. 

Part 3 of this series covered Grupo Cobá's Ball Court 1 and explained how the game was played and its deep social, political, and religious meanings. In this posting I will focus on Ball Court 2 in Grupo D, the largest and most important court at Cobá. In addition to its size, Ball Court 2 is important because of who built it and when. It is also significant for the large hieroglyph panel set into the court's sloping wall. This panel contains information about several key rulers in Cobá's Early Classic history.

Overview

Site map of Cobá showing the location of Ball Court 2.  Grupo D is located between Grupo Cobá on the west and Grupo Nohoch Mul on the east. Sacbe #4, one of Cobá's internal "white roads", runs between these two groups of structures. Ball Court 2 is located near the eastern end of Sacbe #4, where it is marked Juego de Pelota ("Ball Game"). Ball Court 1, also labeled as Juego de Pelota is located in Grupo Cobá, near the western end of Sacbe #4. To find the Cobá archeological zone in Yucatan, see Part 1 of this series.

The playing field

View of the Ball Court, looking east. Its structure is similar to Ball Court 1, with a relatively narrow alley running between two sloping walls. Each wall is topped by a stone ring about half-way down the court. Tourists in the alley provide a sense of scale. I haven't been able to determine the dimensions of this court, except that it is larger than Ball Court 1. On the top of each side of the court are are multiple rooms with rectangular columns. These were the  viewing areas set aside for the elite spectators of Cobá and those of the visiting team. These viewing areas were ancient versions of the "skyboxes" in modern stadiums.

Ball Court 2 was built by Ix Ch'ak Cheen, one of several powerful women who ruled Cobá during the Classic era. She was the first of Cobá's rulers to be awarded the title of kaloomte' ("Supreme Warrior" or "King of Kings"). This meant that her rule extended beyond Cobá to a broader realm of towns and cities. The achievement of this title was a statement that Cobá had emerged as a major player in the ancient Maya world. Recently, a large panel was discovered in another part of Cobá. Its glyphs indicate that Ix Ch'ak Cheen was connected to Ut Chanal of Dzibanche's Kaaan Dynasty, a major Maya power. 

Field marker in the alley between the sloping walls. This one can be found in the middle of the western end of the alley (see previous photo, lower right). Inside the circle is a figure that has been variously described as a decapitated man, a jaguar, or a squirrel. The function of the marker in the game is unclear. 

A weather-worn stone skull is situated in the center of the alley. In the photo showing the playing field, this marker is half-way down the alley, just to the left of the man wearing blue shorts. This marker, like the one in the previous photo, is probably a reference to sacrifice. In the Maya myth about the Hero Twins, their father Hun Hunahpu (the Maiz God) was decapitated after losing a ball game with the Lords of the Underworld (Xibalba). The Hero Twins' myth dates all the way back to Pre-Classic times (400 BC-100 AD), as much as a thousand years before this court was built.

Plaques on Ball Court's sloping walls

Two panels are set into the sloping wall on the court's south side. On the left is a small, heavily-worn panel containing what may be the image of a captive. On the right, under the stone ring, is a much larger panel containing more than 70 glyphs. These inscriptions provide historical information about early rulers, as well as the city's original ancient name. 

Note the stone ring at the top of the wall. Imagine the difficulty in propelling a rubber ball through such a small opening. Since the use of hands or feet by players was prohibited, passing a ball through the ring would have been a rare event. Consequently, the players would have scored in other ways, such as preventing the opposing team from returning the ball down the court.

The glyphs on the panel contain information about the city and its early rulers. Unlike other sites that we have visited in Mexico, Cobá's original name is known. The ancient name Ko-b'a-a appears at least three times on this panel. Archeologists disputed among themselves about whether Ko-b'a-a referred to a toponym (place name) or a supernatural being. However, epigraphers (people who study ancient glyphs) recently determined that this was the city's original name because it was used in the context of the arrival of the ruling dynasty to Cobá.

The glyphs on the panel also mention Junnpiktook, the founder of Cobá's Dynasty in 494 AD. The glyphs contain at least three dates. The first, 505 AD, is the date Juunpiktook dedicated Ball Court 1. The second, 573 AD, is the date when an unnamed successor dedicated Ball Court 2. The successor's name, Ix Ch'ak Cheen, was recently found on a different panel near the Ixmoja pyramid. She dedicated the Ball Court shortly before her death. The third date, 574 AD, refers to her successor, Kak' Ti' Balam. His wife was Ix Che'enal, a Kaan Dynasty princess, who was briefly kaloomte' before abdicating in favor of her husband. 

Plaque of a captive on the slope of the north wall. The captive is seen in profile, kneeling with his arms raised and bound at the wrist. Although in better condition than the captive image on the south wall, this panel is also badly worn from centuries of exposure. Human sacrifice was sometimes a part of the rituals associated with this deeply symbolic game. Those sacrificed were generally war captives but sometimes included players. Whether they were the losers or the winners of the game is a matter of dispute among archeologists. Although hard to believe from a modern perspective, human sacrifice was sometimes considered an honor in the ancient Maya world.

Dzibanche also displayed images of captives on its monuments. These were statements of power and military prowess. Their inclusion on Cobá's panels and stelae demonstrates the strong cultural influence of the Kaan Dynasty. That dynasty, first based in Dzibanche and later at Calakmul, was one of the two great powers during the Classic era. Its great rival was Tikal, in northern Guatemala. During their centuries-long struggle for dominance, both cities assembled broad coalitions of client states and allies. Cobá was allied to the Kaan Dynasty through political marriages like the one between Kak' Ti' Balam and Ix Che'enal. 

West end of Ball Court 2

Southwest corner of the ball court. The overall structure has four levels and includes two small stairways, one at this end and one at the east end. The stairway on this end has a large tree growing out of its steps. The six initial steps rise to a small platform. From the platform, more steps lead up to the top-level rooms lined with the rectangular columns. The staircases on the south half of the Ball Court are much smaller and less impressive than those on the northern half. This leads me to believe that this half was intended for the visiting team.

West end of the northern half of the court. There is a room with two columns on this end, possibly for the use of the officiating priests or for storage of game equipment. A semi-circular structure is attached to the wall in the right foreground. It has no apparent entrance, so its purpose is unclear. The sloping north wall of the court is visible above. The angle of a ball court's slope affected the speed of the ball when it bounced off. The sharper the angle, the greater the speed. In this case the angle is fairly gentle. At Chichen Itza, the Ball Court walls are vertical.

The north side of the Ball Court has a broad staircase. The existence of this grand staircase suggests that it was intended for large processions by Cobá's ruling elite. No such staircase exists on the southern half of the Ball Court, which again suggests that the southern half was intended for the visiting team's elite spectators. Similar to Ball Court 1, this grand staircase has thirteen steps, possibly related to the thirteen levels of heaven. Everything related to a ball court, and to the game itself, carried deep religious meaning.

East end of Ball Court 2

The east end of the Ball Court. The woman standing at the entrance of the alley provides a sense of scale. To the right is the northern side of the court, while the southern side can be seen in the distance. The large rectangular columns lining the top of the southern side supported a roof to protect the spectators from the sun or rain. The end of the southern structure contains a narrow set of steps that winds up to the top.

View of the eastern end of the southern half of the court. The steps leading up turn several times before they reach the top. There is only room for a single file of people to climb up the steps. This precluded any opportunity for the elite spectators on this side to mount a grand procession. Perhaps the design was intended as a bit of psychological warfare? The sloping wall of the court's northern half, also topped with columns, can be seen at the right side of the photo. While the  encroaching jungle seems to hem in the structures above, this area would have been clear of vegetation in ancient times.

A partially-excavated structure stands near the eastern end of the Ball Court's alley.. There is a broad, four-step staircase along the southern side. I have found only one mention of this structure in the literature, but no explanation of its purpose. Since it stands so close to the court, it is likely to have some relation to the game. Perhaps it was for the performance of rituals associated with the game. It also might have provided a slightly-elevated viewing area for lesser mortals who weren't allowed on the top levels of the court.

This completes Part 5 of my Cobá series. I hope you have enjoyed it. If so, please leave any thoughts or questions in the Comments section below or email me directly. If you leave a question, please remember to include your email address so that I can respond in a timely manner.

Hasta luego, Jim

Cobá Part 4: The Temple of Frescos and the altars and stelae of Grupo D

 

Templo de los Frescos is the centerpiece of the Paintings Group within Grupo D. The pyramid on which the Temple of the Frescos sits is called D-1. The temple's name comes from murals on the lintel above its main door and on the walls inside. The D-1 pyramid is the largest and most important structure within the Paintings Group. A broad staircase leads up from the plaza to the temple. In the plaza in front of the pyramid is a double row of columns and 13 altars. The palapa that shields the temple protects the murals. To protect the pyramid itself, tourists are prohibited from climbing the staircase.

In this posting, I will show more of the pyramid and its temple, as well as the other structures in the Painting Group. I will also show Structure D-6, a possible residential building. It stands to the right (north) of D-1. Other structures in the Paintings Group include D-4 and D-5, to which stelae 26 and 28 are attached. In addition to the photos, I'll describe some of the history of the Paintings Group and the discoveries archeologists have made here. For directions to the Cobá Archeological Zone, see Part 1 of this series.

Overview

Site map showing Grupo D and some of its structures. Grupo D stands at the intersection between the three other groups at Cobá. These include Grupo Cobá (seen in Parts 1-3), Grupo Nohoch Mul to the north, and Grupo Macanxoc, to the east. Although each group is located at some distance from the others, all are connected by sacbeob (plural of sacbe, meaning "white road"). These are the stucco-covered limestone roads for which Cobá is famous. Some of the sacbeob extend to sites far outside the city. For example, Sacbe 1 (see above) extends 100km (62mi), almost to Chichen Itza. 

The 50+ sacbeob that the city's rulers built gave Cobá a considerable economic advantage over ancient rivals like Oxkintok and Edzna. The city is also notable for its several lakes, including Lago Cobá and Lago Macanxoc. Due to its proximity to these lakes, Cobá did not suffer the water shortages experienced by many other ancient cities in northern Yucatan. Another important advantage was the short distance between Cobá and the Caribbean ports of Tulum, Xcaret, and Muyil. They provided access to seaborne trade routes along the Caribbean coast all the way down to Honduras and possibly to South America.

One way of getting around at Cobá. In addition to walking, visitors can rent individual bicycles or hire one of these tricycles, with a guy who will do all the pedaling. The distances between the Grupos can run to hundreds of yards and the hot-season weather can be uncomfortable for walkers. The tricycles are also a benefit to those with disabilities. The tricycles shown above are following Sacbe 4, a broad, smooth walkway. In places the stucco paving can still be seen, although it was laid down more than 1,500 years ago.

Archeologists believe that celestial sightings were used to align some of the longer sacbeob, particularly those which begin near the Ixmoja pyramid in Grupp Nohoch Mul. One of these is Sacbe 6, which aligns with the rise of Sirius. It was the brightest star in the sky in the period between 500-1000 AD, when the sacbeob were built. After doing their sightings, the Maya engineers set up a line of poles to ensure the straightness of the path. Then, using corvée (conscripted) labor or slaves, a wide swath was cut through the jungle. The sacbeob  were then built in sections. Maya living near each section would be assigned to maintain it.

While walking along the sacbe, we passed this unidentified stela. The upright monument had no discernible images or glyphs. It may be that these wore off over the centuries. However, it is known that some stelae were erected with no carvings on their limestone surfaces. Although the purpose of this stela is unclear, it is known that the Maya engineers set up stelae along the sacbeob as road markers, similar to those that have been found along ancient Roman roads.

To build one of these white roads, retaining walls were first erected along either side, using large stones. Then, more large stones were placed at the bottom and covered over by layers of increasingly smaller stones up to a gravel layer at the top. The gravel was then covered by a layer of sascab, a naturally occurring powdered limestone. Finally, the road was finished with limestone stucco, giving the surface its brilliant white color. The Maya engineers built ramps to overcome obstacles and there were culverts in some places to allow water to flow under a sacbe. The road's surface sloped down to either side so rainwater could run off. 

Site map of some key structures in the Paintings Group. At the top is the D-1 pyramid with its Temple of the Frescos. The drawing shows that the temple has an entrance on its front (west) side, divided by a column. There are also entrances on the north and south sides. At the base of the pyramid's staircase is Structure D-2. Stretching out in front of D-2 on the left (north) side is a long, double row of circular columns that once supported a perishable roof. To the right (south) of the columns is a collection of 13 individual altars. Structure D-6 is not shown on this site map but it is located to the right (south) of the pyramid.

Structure D-5 is at the bottom of the site map. It consists of a rectangular temple on its left (north) end, with a long narrow structure extending to the right (south). The D-5 temple has a broad staircase on its west (bottom) side, which leads up to a line of square columns along the top. There is also a set of columns along the temple's north side. The long narrow extension has three-step staircases along each side. About half way along the upper (east) side of this structure in an inset, containing Stela 28. The small structure between the D-1 pyramid and the D-5 monument is Structure D4, to which Stela 26 is attached.

Templo de los Frescos

Structure D-6, with the Temple of the Frescos (D-1) in the background. D-6 is a multi-room structure with four rectangular columns on its north end and two more in the middle. Three steps on its west side lead up to what may have been a long patio. I could find very little information about this building or its purpose. However, my best guess is that it served either a residential or an administrative function, or possibly both. Its proximity to the religious/ceremonial structures of the Paintings Group suggests that it might have been used by the priests associated with the temples, altars, and other monuments of the group. 

The structures of the Paintings Group were built during the Post-Classic period (900-1450 AD). After the end of the Classic era, Cobá lost its political and military supremacy in northern Yucatan and its population began a precipitous decline. Also lost was access to important trade routes to the south and east. Cobá became increasingly dependent on trade coming through the Peninsula's Caribbean ports and was, in turn, heavily influenced by their architectural styles. 

As a result of this changed focus, new construction at Cobá was no longer built in the Petén style of southern Yucatan and northern Guatemala. The D-1 pyramid, and particularly its Temple of the Frescos, closely resemble the Post-Classic structures found in Tulum and other Caribbean port cities. The only Classic era structures in this part of Cobá are Stelae 26, 27, and 28. These were originally located elsewhere in the city, but were moved during the Post-Classic era to the Paintings Group where they were re-erected. 

The D-1 pyramid is topped by the Temple of the Frescos. The pyramid is square and has six levels with rounded corners. It's height is 8m (26ft) and each side of the base on each is about 80m (262ft). A broad, four-stage staircase leads up the west side to the platform on which the temple stands. There are two small altars in front of the temple. On one of these, a fragmented censer (incense burner) was found. Under the floor of the temple, archeologists discovered an intact anthropomorphic red censer dating to the Post-Classic period. The red censer represented the Diving God and contained jade and shell beads. 

The temple has a single rectangular room with a doorway facing west, divided by a single column. Above the door is a lintel that contains painted murals. The temple's north and south sides have single, undivided doorways. The interior has a small altar adjoining the back wall. The walls were covered by four layers of stucco, colored yellow, blue, red, and black. The outer-most layer was red, with black lines. The design of this temple resembles those found at Tulum. 

Structure D-2, also called the Oratorio. D-2 sits at the base of the pyramid's staircase and has one entrance door. It was once covered by a vaulted roof. Inside, stone benches line the back and side walls. Stela 27 was found inside the Oratorio in a fragmented state, but with the image of a high-status individual still visible. This figure stands on the back of a single, non-Maya captive. Glyphs on the stela show a partially legible date from the Late Classic era, sometime between the 7th and 9th centuries. When D-2 was built in the Post-Classic period, Stela 27 was moved here from its original location. 

Also inside D-2, near Stela 27, is a small circular altar. Next to the altar is a phallus and sphere, both carved from stone. The sphere probably represents the gonads of the phallus. Together, they are thought to represent fertility. Dark stains on the walls of the Oratorio are the result of smoke from innumerable burnt offerings. When D-2 was excavated, the walls were covered with layers of stucco decorated with complex murals similar to those found at the Caribbean ports. One mural depicted Ek Chuah, the deity of Maya merchants. In order to protect and preserve the murals, they have been removed to a museum.

Ruined structures directly in front of the Temple of the Frescos. This shot was taken from the small platform on which D-2 stands. On the left are some of the thirteen altars that stretch out toward the west. Thirteen was an important number in the ancient Maya world. It relates to the thirteen levels of heaven, each associated with a different god. To the right is a row of circular columns that once supported a roof made of perishable materials. In the distance, you can see the palapa that protects Stela 26, which is attached to Structure D-4. 

One of the altars was found to contain the lower part of a stucco figure seated on a stool. This figure was similar to another found at Tulum. Its destroyed condition is thought to be the work of 16th century Franciscan friars, who were seeking to overthrow what they considered "devil worship". Not far away, archeologists also found a Post-Classic tripod cup containing jade beads and a small copper bell. Just west of the altars, they uncovered a crypt containing the partial remains of an adolescent and two skulls.

View from the west end of the columns. This structure has similar columns to those found on buildings at the ruins of Tulum. Archeologists believe this building functioned as a kind of dormitory for young men who were being instructed in the religious and social practices of Cobá's Post-Classical society. These included calendric arts, methods of divination and prophesies, cures for diseases. Other subjects included as reading, writing, drawing, and hieroglyphics.The priests who instructed them may have lived in Structure D-6. 

The priesthood to which the young men aspired was called ah kin mai ("he of the sun"). The chief priest was called ahau can mai and he examined and appointed new priests. His name referred to a sacred snake associated with Kukulkan, the "Feathered Serpent God", known elsewhere as Quetzalcoatl. Veneration of Kulkulkan in Yucatan began in the Late Classic era and his importance grew dramatically during the Post-Classic.

The altars to the right of the columned structure vary in their sizes and shapes. Given that there are thirteen of them, it is possible that each was used for rituals and sacrifices devoted to one of the gods that inhabited each of heaven's thirteen levels. Those gods included: 

1) Itzamna, the Supreme Ruler of the Cosmos 

2) Ix Chel, the Moon Goddess and Itzamna's wife

3) Kinich Ahau, the Sun God

4) Chaac, the Rain God

5) Yumil Kaxob, the God of Plants and son of Chaac

6) Yum Cimil, the God of Death

7) Yum Kaax, the God of the Forests

8) Hun Hunahpu, the God of Maiz (corn) and father of the Hero Twins

9) Huracan, the God of Storms and Chaos

10) Ix Tab, the Goddess of Suicide

11) Acan, the God of Intoxication

12) Ek Chua, the God of Merchants

13) Kukulcan, the Feathered Serpent and God of Knowledge

 

Structure D-5 and Stela 28

South end of Structure D-5. Most of this structure consists of a low, narrow, three-level platform, laid out on a north to south axis. In the upper right is the palapa that shields Stela 28 from the elements. Beyond the stela is the temple that forms the north end of D-5. This long platform may once have been used by the ah kin mai to conduct ritual processions that originated at the temple.

The ah kin mai were supported by Cobá's nobles, whom they served as advisors and whose sons they educated. From the nobles, the priests received payment in the form of red shells and green stone beads, cotton cloth, cacao, poultry, maiz and other necessities of life. The heavily tattooed ah kin mai wore their hair unkempt and smeared with sacrificial blood. Their long, white, sleeveless robes were made of bark cloth. In addition to this they wore feathered cloaks and shirts ornamented with snail-shells.

Stela 28 stands in a niche on the east side of the D-5 platform. This stela is another that was erected in the Classic period, but moved here sometime during the Post-Classic. Stela 28 is about 2m (6.5ft) tall and 0.75m (2.5ft) wide. The limestone is worn, but it contains the important Maya Long Count date of 9.10.0.0. This Maya calendar date designated the completion of the 10th katun of 9th baktun cycle. To the Maya, the end of a cycle was a significant event. 

These ancient people were expert mathematicians and astronomers. They had long observed the many cycles in the world around them, including seasons, animal and plant life-cycles, and the movement of the celestial bodies. Their "Long Count" calendar was based on a series of cycles. The longest was the baktun (144,000 days), followed by the katun (7,200 days). The tun cycle was 360 days and the uinal was 20. Individual days were called k'in. The stela's date of 9.10.0.0.0 corresponds to January 24, 633 AD, which marked the completion of the 10th katun of the 9th baktun cycle. 

The surface of Stela 28 is fairly worn, but an image can stil be discerned. The long cylindrical object the figure holds across his chest indicates that he is probably a ruler. My photo only shows him down to the knees, so there may or may not be bound captives kneeling next to his feet or under them. However, nearly all the stelae that I have photographed at Cobá have displayed captives in such positions. 

The presence of the captives on Cobá's stelae shows the strong link between the city and the Petén region of southern Yucatan and northern Guatemala. Much of this region was dominated by the Kaan ("Snake") Dynasty, often referred to as the Kaanul. They had an early and long-standing relationship with the ruling dynasty of Cobá. During the Classic era, the Kaanul established a wide network of client states and allies, including Cobá. When Juunpiktook founded Cobá's Classical-era dynasty in 494 AD, he did so with the assistance of the Kaanul.

The D-5 platform ends at a three-level temple. The stumps of four columns stand along the south wall of the temple. The outer two are rectangular, while the inner two are circular. The room once had a roof of perishable materials. It is unlikely that D-5 had a residential function. The entire structure appears to be ceremonial in nature, with a temple on one end and a raised walkway for processions extending to the south. The Post-Classic inhabitants of Cobá sanctified their D-5 monument by incorporating the Classic-era Stela 28 into its structure.

The Paintings Group structures were constructed hundreds of years after the Classic era ended. By that time, the inscriptions were probably incomprehensible to Cobá's population. The Long Count calendar had gone out of use centuries before. The hieroglyphs, if legible at all, would have been as unreadable as ancient Greek would be to most modern people. So, why did the residents of Post-Classical Cobá go to all the trouble of preserving the stelae? During a period of decline and decay, the ancient images and mysterious hieroglyphs on the stelae probably helped connect the Post-Classic people to the greatness of a mystical past. 

View of the temple that forms the north end of D-5. Unlike many of the Post-Classic structures that incorporated Classic-era stelae, D-5 is a substantial building, impressive in its own right. The west side of the temple has a broad staircase that leads up to the top. Eight large rectangular columns line the front of the temple's top level, which has several rooms. The columns once supported a roof of perishable materials. While the interior of the structure is made of rough stones, the staircase and outer walls were made with carefully cut stones. 

Structure D-4 & Stela 26

Structure D-4 and Stela 26. These are located about 50m (164ft) west of the Temple of the Frescos. D-4 is a three level structure with what appears to be an altar on the top. Rituals here would have been conducted by the ah kin mai. The stela is surrounded on three sides by a low U-shaped structure and faces south on the open fourth side. The surface of the stela contains the image of a standing ruler with captives at his feet. Like other stelae in the area, Stela 26 is yet another Classic-era monument that was moved here during the Post-Classic period. In front of the stela is a small oval-shaped stone that was probably an altar.

The ah kin mai were a powerful and conservative part of Maya society who participated in all the important ceremonies. These included rituals associated with puberty, weddings, farming and hunting, sacrifices, burials, and warfare. Another important religious group were the chilamob (plural of chilam), who interpreted messages from the gods. The chilamob received their prophesies in the inner sanctums of temples and then interpreted them to the priests. The most famous of these, Chilam Balam, is said to have predicted the Conquest, prior to the arrival of the Spanish.

Structure D-4 from the rear, showing its three-level construction. An ah kin mai may have stood on the second level and offered sacrifices on the top of the structure. These might have included burnt offerings or blood acquired through auto-sacrifice. This procedure involved piercing one's own tongue, ear, or genitals with a sharp spine from the tip of a henequen leaf or the tail of a manta ray. Blood was considered the essence of life and thus a suitable gift for the gods. In addition, the pain from the act could sometimes result in visions from which prophesies could be made.

This completes Part 4 of my Cobá series. I hope you have enjoyed it. If so, please leave any thoughts or questions in the Comments section below or email me directly. If you leave a question, please include your email address so that I can respond in a timely manner.

Hasta luego, Jim

Cobá Part 3: Ball Court 1 at Grupo Cobá

Using his hip, a Maya ball player propels a hard rubber ball toward a stone ring. He wears a loincloth and a leather protector called a yoke around his mid-section. The leather yoke is necessary to protect him from the heavy rubber ball. Serious injury or even death could result if it struck the player in his stomach area. He also wears a leather helmet, for the same reason. The hips, upper legs, shoulders, and elbows were the primary parts of the body used in play, because the use of hands or feet was forbidden by the rules.

Cobá has two courts. Grupo Cobá, also called Group B, contains Ball Court 1. The court is located just north of the Acropolis, which is the first group of structures you encounter after entering the Cobá Archeological Zone. (See Part 1 for directions to Cobá). In this posting, I'll show you the two parallel structures which form Ball Court 1. I'll also show the two stelae (upright stone monuments) adjacent to it. Along with the photos, I'll tell you about the ball game itself and its relationship with the Maya view of the Cosmos.

Overview

Ball Court 1 is formed by two parallel structures labeled 17a and 17b. They are located a short distance north of Patio A and La Iglesia pyramid (see Part 2). A narrow alley runs between the ball court's parallel structures, forming the ground-level part of the playing area. Also part of the area of play are the sloping interior walls of 17a and 17b. Mounted high on the middle of each wall is a stone ring, similar to the one in the photo of the ball player. On the west side of Structure 17b, Stelae 9 and 10 stand side-by-side within a "U" shaped enclosure.

Elite spectators would stand on the top of the parallel structures to view the game as it was played below. They ascended to those positions by way of several staircases. The ones on the north and east sides of 17a  are impressive, while the ones on 17b are less so. In fact, 17a is the more complex structure in several ways. This leads me to believe that 17a was intended for use by the "home team" and its spectators, while 17b was for the visiting team.

The human figures on the two stone panels found at Ball Court #1 may be ball players. These panels are not Stelae 9 and 10, which will be shown at the end of this post. The panels above are quite weather-worn, so the figures and hieroglyphs carved into the limestone are difficult to discern. Some sources suggest that these figures may be prisoners captured during warfare. However, I doubt this. War captives are nearly always portrayed as small figures with bound hands, and in kneeling or subservient positions. The tall figures on these two panels stand erect, suggesting that they were people of importance deserving respect.

Grupo Cobá's Ball Court #1

Looking north along the playing field. The ball court's narrow alleyway and sloping walls form the playing area. Structure 17a is on the left and 17b is to the right. The walls don't extend all the way to the ground, but stop at narrow shelves. Then, there is  a short vertical drop to the ground. Mid-way down the field, at the top of the walls, you can see stone rings on either side of the court. The length of Ball Court #1 is 70m (230ft) and the alley's width is approximately 3m (10ft). The sloping walls are about 6m (20t) high, not including the structures on top. 

Ball Courts in Mesoamerica were built in a variety of sizes and designs. The smallest I have encountered is at the Zapotec city of Monte Alban, in Oaxaca. It is only about 15m (50ft) long, with an alley 2m (6.6ft) wide, with sloping walls that are around 1.5m (5ft) tall. The largest is at Chichen Itza, in north-central Yucatan. That huge court is 146.3m (480ft) long. Its alley is 36.6m (120ft) wide, with vertical walls that rise to 8m (26ft). Most cities in ancient Mesoamerica had ball courts. Some, like Cobá, had two or more. The city of Cantona, located in the state of Puebla, has the most. It contains twenty-seven courts! 

Stone ring on the west side (17b) of the court. The ball game is quite ancient. The earliest known courts date back to the Pre-Classic period. The oldest court yet discovered dates to at least 1400 BC and the oldest rubber ball to 1600 BC. The game may have been created by the Olmecs, known as the "Mother of Cultures". Whether or not they originated the ball game, it likely spread throughout Mesoamerica by way of their trade networks. However, the use of stone rings in ball courts was a much later innovation. They began to appear after 900 AD in the Post-Classic era.

Ball court rings come in various styles and sizes. The one above has a fairly large hole, about the size of a small beach ball. I have seen other rings that would only accommodate a ball about the size of one used today in soccer. While this ring is undecorated around its rim, others I have seen contain elablorate carvings of animals or abstract designs. 

Passing the ball through a ring was difficult and therefore probably rare. Doing so may have signaled an automatic win. The usual way of winning was to score points by moving the ball to the opponent's end zone or preventing him from returning the ball. Penalties were incurred by touching the ball with the hands or feet or letting it bounce more than once on the floor of the alley. 

Structure 17b, the Ball Court's west side

The north end of Structure 17b. A five-step staircase on the north end of 17b leads up to a platform, but not to the top of the structure. The purpose of this short staircase is not clear. It is possible that another flight of stairs once provided access from the platform to the top. However, due to the deteriorated condition of this end of 17b, it is not possible to say. However, the south end of 17b does have a narrow staircase that leads from the ground level up to the top. In the distance, beyond the five-step staircase, you can see part of the sloping wall of Structure 17a.

The south end of 17b, with its narrow staircase. On the right, the east wall of the playing area (17a) and its stone ring can be seen. On the left (west) side of 17b, you can see the thatched roof of the palapa which shelters Stelae 9 and 10. Although the playing field areas of the two parallel structures are identical, the overall size of 17b is slightly smaller and the spectator area on its top is less elaborate than the one on 17a. The reason for this is not clear. Perhaps 17b was intended for the use of the visiting team and its elite spectators, while the larger and more elaborate 17a was constructed for the home team. 

Structure 17a, the Ball Court's east side

View of the southeast corner of 17a. Carole is on the left, inspecting the south side of the structure. The sloping wall of 17b can been seen in the distance beyond her. The ledge above Carole contains several rectangular columns which once supported a roof. The purpose of this room is unknown, but it may have been used by players to store their clothes and possessions during the game. On the right (east side), a broad staircase can be seen. It leads up to 17a's colonnaded top. The three steps in the foreground lead down into Patio F.  (See site map above)

The east-side staircase of 17a. As I noted previously, these stairs allowed Cobá's elite to ascend to a position where they could view the game as it was played below. The rectangular columns lining the top level once supported a roof to shelter spectators from the sun or rain. While these stairs allowed access to the top, they also face into Plaza F, so they could have functioned at other times as stadium seats for viewing important ceremonies conducted in the plaza. This staircase has thirteen steps, an important number in the Maya world.

Most pre-hispanic people, including the Maya, believed that there were thirteen levels in heaven and nine levels in the underworld (Xibalba). In between these top and bottom dimensions was the earth, seen as a caiman or turtle floating in a primordial sea. Each of the levels of the upper and lower worlds was ruled by a particular god. The deity who lived at the thirteenth (top) level was Itzamna, the supreme creator god. 

Structure 17a's northeast corner. On the left (east) side is the broad staircase. The corner of 17a contains a small, colonnaded room with three pillars, accessed by a four-step staircase. This may have been used by an officiating priest. On the right is the mouth of a tunnel that runs beneath the staircase that is located on the north side of 17a.

In addition to the connection between 17a's east-side stairs and the levels of heaven, the ball game reflected other aspects of the Maya Cosmos. In 1550, a book called the Popul Vuh ("Community Book") was written by a Spanish priest. He based it on Maya oral traditions. There have long been doubts about its accuracy in recounting the centuries-old myths. However, in the late 20th century, excavations at the Pre-Classic city of El Mirador proved that the Popul Vuh faithfully represents those myths. One of the most important was about the Hero Twins and their famous ball game with the Lords of the Underworld.

The staircase on the north end of 17a reaches the top of the structure. This staircase is an example of how 17a is the more impressive half of the ball court. Along with the one on the east side, these stairs provided ways for large processions of Cobá's elite to mount the eastern half of the structure.  By contrast, 17b has one narrow set of stairs to the top on its south end. The staircase on its north end is much smaller than either of those on 17a. It also doesn't appear to reach the top level. 

In the Popul Vuh's story about the Hero Twins, their father was the Maiz (corn) God, known as Hun Hunahpu. He and his brother were great ball players and were summoned by the Lords of the Underworld to play a game. Hun Hunahpu and his brother were defeated and sacrificed by the Lords. Later, the twin sons of the Maiz God also became ball players. Like their father and uncle, the Hero Twins were summoned to play against the Underworld Lords. Using their ball game expertise, along with trickery, the twins defeated and sacrificed the Lords. They then resurrected the Maiz God, who became humanity's benefactor. 

The western end of the tunnel that runs completely under the north staircase of 17a. Tunnels like this served several purposes. Structurally, the corbel-vaulted tunnel provided support for the masonry above. In addition, the spaces could be used for elite gatherings, religious rituals, or storage. Finally, passageways such as this often symbolized transitions, such as the passage from death, through the underworld, to rebirth. 

The geographical orientation of Cobá's ball court also suggests a relationship with the Cosmos. The Maya believed that the Four Cardinal Directions (north, south, east, and west) were sacred and represented the structure of the Cosmos. The most important direction was east, where the life-giving sun rose. It set in the west, which represented death and the underworld. The sun's zenith was in the heavens at mid-day, which represented north. Its nadir was midnight, represented by south (the underworld). At Cobá, the ball court's axis is a little east of north, suggesting both the sun's rise and its zenith.

Stelae 9 and 10

Stelae 9 & 10 stand side-by-side on west side of the 17b. Stela 9 is on the left. Only about half of the original stela remains. It was discovered in 1893 by Austrian archeologist Teobert Maler. On its right is Stela 10. The lower half of 10 was discovered by Maler at the same time that he found Stela 9. The upper half of Stela 10 was't found until more than a century later. The west side of Structure 17b can be seen in the background.

Drawing of Stela 9. The stela is very worn and the upper part is still missing. Only the outlines of the hieroglyphs can be seen, along with the image of a man from his waist down to his sandaled feet. The cylindrical object that he holds across his chest indicates that he was a ruler. This symbol of high office is carried in the identical manner by rulers who appear on stelae throughout Cobá. 

Suspended down from his neck, almost to his ankles, is a horizontal bar with three tubular beads coming out of its right end. There were once beads on the left end, but they are too worn to be seen. Rulers wore bars like this when they dressed for war and intended to take captives. An almost identical bar, in good condition, can be seen on the lower portion of Stela 11 in Part 2 of this series. It is not clear why there are no bound captives at the feet of this figure, unlike those on Stela 11 and on other images of rulers at Cobá.  (Photo from Peabody Museum, Harvard University)

Drawing of Stela 10's top and bottom pieces. The lower part of the stela was found by Teobert Maler in 1893, standing next to Stela 9. More than a century later, in 1996, the upper section was discovered, buried in nearby rubble. The figure on the stela is a young man in good physical condition.

Drooping down from the back of his head is a kind of a pigtail, similar to the one on the ball player in the first photo. Also like that player, he is naked from the waist up and wears no sandals on his bare feet. Around his waist is the outline of what may be a protective yoke. All these factors strongly suggest that he is a ball player. (Photo from Peabody Museum, Harvard University)

This completes Part 3 of my Cobá series. I hope you have enjoyed it. If so, please leave any thoughts or questions in the Comments section below, or email me directly. If you leave a question, please remember to include your email address so that I can respond in a timely fashion.

Hasta luego, Jim