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Mesoamerican turtle

19th Oct 2022

Mesoamerican turtle

Mexicolore contributor Lisardo Pérez Lugones

We’re most grateful to Lisardo Pérez Lugones for contributing this article on the Mesoamerican turtle. He is a doctoral student in History and Archaeology at the Complutense University of Madrid. An honorary collaborator in the Department of History of America, Medieval and Historiographical Sciences, he has participated twice in the prestigious international program “Google Summer of Code”, developing a prototype for visual recognition of Aztec glyphs through Machine Learning. He has edited books on writing in Mesoamerica and has published papers about iconography and Nahuatl writing in anthroponyms. He has also participated in international courses and conferences, including “Sign and Symbol in Comparative Perspective” at the University of Warsaw, discussing the process of visual coding for human languages and its manifestations throughout history.

Turtles (Testudines) are the oldest existing group of Sauropsid reptiles. Originally from the Triassic period, they belong to the Archelosauria clade, directly related to crocodiles, birds and dinosaurs. They move very slowly and they can live very long - two characteristics that have defined their symbolism in different cultures. Although they are not considered amphibians, their evolution allowed them to adapt themselves to terrestrial and aquatic life, with existing species living in three ecosystems: terrestrial, lacustrine-fluvial and marine. They are characterised by a skeleton formed by a bony shell welded to the spine, which is made of very hard keratin plates and provides them with an excellent defensive system against predators.

Their neck is retractable, allowing them to hide their head, tail and limbs inside their shell. When threatened, they attack by quickly stretching out their neck and biting with prolonged pressure. They don’t have teeth, but instead a sharp beak and a strong jaw capable of attacking their prey. In relation to its size, the turtle’s bite is moderately powerful (1000 PSI), especially compared to that of some carnivorous species, and several times more powerful than a human’s bite (150 PSI).
Their reproduction is ovoviviparous. The female digs a hole to spawn and bury a high number of fertilized eggs. After fully developing in a short time, the eggs hatch and the baby turtles emerge from the ground en masse. Some of these characteristics will appear in Mesoamerican representations of the turtle.

In Mesoamerica there was a great diversity of turtle species. Many of these species were an additional food source to fish, with a great economic and social value. For example, in the area of the Isthmus of Tehuantepec, the Olmecs of San Lorenzo used to fish several fish and lake turtles to use them as a continuous seasonal source of proteins during river floods. Among the Maya of the Yucatecan eastern coast, sea turtles were a valuable trade resource, providing other populations in the interior of the peninsula with these products. Their precious shells were used to make objects such as the ayotapalcatl (ayotl “turtle” + tapalcatl “shell”, in the Nahuatl language), a drum made only from the turtle shell (pic 3).

This drum was played during ceremonies to summon rain, with the hands or by using a deer horn, probably with the purpose of reproducing the sound of a storm, along with a gourd rattle (ayacachtli). Its artistic representation already appears in the Middle Preclassic (pic 4), together with other zoomorphic objects.
Also, the symbolism could be different according to the context, changing according to the time period. The most known symbolism, through the Maya and other peoples of the Mexican southeast, is that of the creation of the world, where the earth is represented as a turtle floating in the waters of creation, with a kapok tree (several species of Malvaceae belonging to the genus Ceiba) growing at its centre: the great cosmic tree that connects the three cosmogonic planes - celestial, earth and underworld.

This cosmic world is sustained by four elderly characters - the Mayan bearers of the sky or bacaboob (singular: bacab) - with zoomorphic attributes. Each bacab is located in a corner, associated with a specific direction and colour. One of these bearers carries a turtle shell on his back (pic 5, left) - associated with the tortoise, the southern direction and the colour yellow - with the same attributes as God N, an elderly toothless deity also represented as a scribe or scribal teacher, or covered with a turtle shell (pic 5, right). He is also associated with earth, thunder, rain, music, and directional mountains, alluding to the four directions of the world.

Turtles can also be linked with “caves” or “islands”, intended as a place of origin, birth or provenance not only of pluvial deities, but also of certain lineages or ethnic groups. Being associated with water and with their rise to the surface from the inside, turtles can be represented as a means of maritime transport used by ancestors trying to reach the coast (pic 6, left). In other contexts, caves were also used as places to worship ancestors, as portals to propitiate visions, make contact with divinities, or to summon rain for agriculture. Turtles - their shells or the colours and textures with which they are recognised - can also be part of the representation of these “sacred entrances” or “tunnels” of transition (pic 6, centre) associated with the earth. Additionally, Mixtec priests used the turtle shell as a breastplate when they dressed as a yahui (a type of flying sorcerer or shaman). They entered caves where they were transformed or they transited to another plane through a stone element (pic 6, right).

Also, with reference to time and to the calendar cycle, the elder God N was standing on a turtle, passing a self-sacrificial rope through his body (see pic 5, right). The year bearers also pierced and bled their genitals with these long ropes, offering their blood during the Wayebꞌ period of 5 days, during which life is regenerated at the beginning of the new year and rains return. The association between the turtle and the penis arises from the analogy between the animal’s retractable head and the gland. For this reason, the turtle is considered an animal related to masculinity and fertility, appearing together with phallic sculptures and rituals in caves or in iconography related to water.

The turtle was also represented in aquatic contexts in codices, ceramics and murals, as an important economic and prestigious element. In Cacaxtla (Tlaxcala region, epiclassic period 700-900 A.D.), the turtle appears among aquatic animals in the representations of young warriors or divinities carrying a heavy cacaxtle (a basket of carrying rods) during the pilgrimage rituals to the coast in the days before the New Year (pic 7), or as zoomorphic beings in combination with the jaguar (pic 8) to which the turtle is opposed at a defensive/offensive, dry/wet, youth/old-age level. In Mayan art the leaves of water lilies were drawn with the same motif used for the turtle shell due to their “green” and “floating” condition, like turtles (pic 9).

In relation to plants, the symbolic link between corn and turtles is widely known. In Mayan ceramics turtles are flanked by the Popol Vuh hero twins Hunahpu and Xbalanque, who may also have jaguar-spotted skin. The maize hero or the personification of the Maize God, who carries baskets full of maize, emerges from a cracked turtle shell (pic 10). For this reason, the “earth turtle” is often found in iconography linked to the agrarian cycle renewal and to the resurrection of the young Maize God. During the new harvest, the maize sprout must “hatch” from inside the hard skin of the kernel (pericarp) and “break” to the surface of the earth to become humans’ sustenance, just as baby turtles hatch from eggs and reach the earth’s surface.

Even today, the ear of maize is clipped and husked with awls at waist level, symbolizing the puncture of the penis as previously explained. Also, when the maize kernel is transformed into food, it must be cooked with water and lime at first (the nixtamalization process), softening it so that it can be ground with the metate. The process of grinding cooked maize is still called in Mexican Spanish “quebrar” (break) the maize.

Regarding its glyphic use, Mayan writing used two turtle signs as logograms (word-sign): MAHK “shell” and “cover” (pic 11, left) and AHK “turtle” (pic 11, right). Nahuatl writing also used the AYOTL “turtle” logogram. During the early colonial decades, the Huexotzincas of the Puebla-Tlaxcala region transformed the turtle logogram into YAOTL “enemy”, “opposite enemy”, “combat”, using various motifs such as those shown before (pic 12). The reason for this change was to avoid the polysemy of the indigenous shields - chimalli - using the turtle (or its shell) by phonetic approximation and due to its shape similarity with an “adarga”, a leather shield of Hispanic-Moorish origins used in Spanish colonisation.

Some chroniclers - such as Bartolomé de las Casas, Fernández de Oviedo or Inca Garcilaso - contributed to this parallelism with their writings, as there were turtles in America “as big as an adarga”. A mixed adarga-chimalli shield in the form of a turtle shell was manufactured circa 1572, with representations of the new yaotl “opposite enemy” to be fought by the indigenous Christians of New Spain: the Moors (pic 13).

BIBLIOGRAFY -
• BRAAKHUIS, H. E. M. (2014) “Challenging the lightnings: San Bartolo’s West Wall Mural and the Maize Hero Myth”, Wayeb Notes 46. PDF available at: http://www.wayeb.org/notes/wayeb_notes0046.pdf
• CIVALLERO, Edgardo (2021), Turtle shells in traditional Latin American music, Wayrachaki editora, Bogotá
• COE, Michael D. (1981), “Gift of the River: Ecology of the San Lorenzo Olmec”, in Elizabeth P. Benson (ed.) The Olmec & Their Neighbors: Essays in Memory of Matthew W. Stirling, Dumbarton Oaks, Washington D.C.: 15-20
• GUEVARA CHUMACERO, Miguel et al. (2017), “La tortuga en Tabasco: comida, identidad y representación”, Estudios de Cultura Maya, vol. XLIX: 97-122
• HARRISON-BUCK, Eleanor et al. (2018), “It’s the Journey not the Destination: Maya New Year’s Pilgrimage and Self-Sacrifice as Regenerative Power”, Journal of Social Archaeology, vol. 18, issue 3: 1-23
• HERMANN LEJARAZU, Manuel A. (2009), “La serpiente de fuego o yahui en la Mixteca prehispánica: iconografía y significado”, Anales del Museo de América, vol. XVII: 64-77
• LÓPEZ AUSTIN, A. (1997), “El árbol cósmico en la tradición mesoamericana”, Monografías del Real Jardín Botánico de Córdoba, nº 5: 85-98
• PÉREZ LUGONES, Lisardo (2021), “La transformación glífica de YAOTL en la Matrícula de Huexotzinco”, in J. J. Batalla Rosado, L. Pérez Lugones and M. A. Ruz Barrio (eds.) La expresión de la cultura indígena en los códices del centro de México, University of Warsaw, Warsaw: 507-567
• PÉREZ LUGONES, Lisardo (2022), “Un peculiar ejemplo de arte indígena novohispano: la adarga realizada por los amantecas para su rey Felipe II”, Itinerarios, vol. 52: 195-229. PDF available at: https://www.doi.org/10.7311/ITINERARIOS.35.2022.10
• RINCÓN MAUTNER, Carlos (2005), “Sacred Caves and Rituals from the North Mixteca of Oaxaca, Mexico: New Revelations”, in James E. Brady and Keith M. Prufer (eds.) In the Maw of the Earth Monster: Mesoamerican Ritual Cave Use, University of Texas Press, Austin: 117-152
• WING, Elizabeth S. (1981), “A Comparison of Olmec and Maya Foodways”, in Elizabeth P. Benson (ed.) The Olmec & Their Neighbors: Essays in Memory of Matthew W. Stirling, Dumbarton Oaks, Waschington D.C.: 21-28
• ZENDER, Marc (2005), “Teasing the Turtle from its Shell: AHK and MAHK in Maya Writing”, The PARI Journal, vol. 6, issue 3: 1-14. Available at: https://www.mesoweb.com/pari/publications/journal/603/Turtle.pdf

Picture sources/notes:-
• Pix 1 & 2: images from the Florentine Codex scanned from our own copy of the Club Internacional del Libro 3-volume facsimile edition, Madrid, 1994
• Pic 3: images supplied by the author
• Pic 4: as per caption
• Pic 5: (L) illustration after López Austin, 1997: fig. 9; (R) image supplied by the author from a facsimile reproduction (1991)
• Pic 6: (L) illustration after Braakhuis, 2014: fig. 5; (C) drawing by the author; (R) enhancement of the main figure. © The Trustees of the British Museum (CC BY-NC-SA 4.0)
• Pic 7: image from Wikipedia Commons (CC BY-NC-SA 4.0)
• Pic 8: as per caption
• Pic 9: (bottom) image from Wikipedia Commons (CC BY-NC-SA 4.0)
• Pix 10 & 11: as per caption
• Pic 12: images © Gallica-BnF, Paris (CC BY-NC-SA 4.0)
• Pic 13: image ca. 1572. Real Armería del Palacio Real de Madrid. Patrimonio Nacional (Pérez 2022, fig. 2).

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