Hieroglyphic Stairway

Location: 10L-26-1

Dates: 26 Nov 710 CE (First Phase), 5 May 755 CE (Second Phase)

Kings: 13, 15, 1-12, 14

Left - Stela M in front of the Hieroglyphic Stairway; Right - Stairway Detail
Top Right Photo - Hans B. N. Hieroglyphic Stairway of Copán, 2017, photograph, Wikimedia Commons. Other Photos Courtesy of Dr. Clark Erickson

This impressive stairway stands sixty-four to sixty-five risers high with at least six hundred twenty volcanic tuff blocks containing two thousand two hundred glyphs (Houston, Fash, and Stuart 2014; Martin and Grube 2008, 208). Each riser is eight meters wide and thirty centimeters high, yet each forms a complete statement from top to bottom (Houston, Fash, and Stuart 2014). With these glyphs forming sixty-nine continuous feet, Copan officially has the longest Maya hieroglyphic stairway (Martin and Grube 2008, 208). Six figures - five seated and one standing - watch those who climb the stairway (Houston, Fash, and Stuart 2014). At the base, Stela M faces in the same direction (Martin and Grube 2008, 207).

While hieroglyphic steps would also be found in the Ante structure, the Rosalila Temple, Structure 10-11, Xukpi, and in front of Stela 63, the Hieroglyphic Stairway is the only one of its kind to be found outside of a structure rather than inside (Fash 2004, 261).

Reconstruction and translation of the text had earlier proved difficult due to deterioration and the sheer volume of text. At least part of the stairway had been filled with weaker dirt, resulting in its partial collapse over time (Fash 1991, 150). While debris tended to keep the lower portion preserved, the upper portion would be disrupted by earthquakes, storms, vegetation, and other natural phenomena (Houston, Fash, and Stuart 2014; Fash et al 1992, 106). Due to these factors, the Stairway would not be able to be restored entirely.

In 1986, the Hieroglyphic Stairway Project began to excavate the exterior of Structure 10L-26 as well as its substructures as well as to more thoroughly document the Stairway (Fash 1991, 143). As of 2011, 71 percent of the glyphs have been translated (Fash 2011, 103). Starting in 2007, the Peabody Museum’s Corpus of Maya Hieroglyphic Inscriptions program began their efforts to create three dimensional models of various Maya monuments and structures. By 2013, they had completed the digitization of Copan’s Hieroglyphic Stairway (Fash and Tokovinine).

First Phase:

The first phase of the Hieroglyphic Stairway was erected by thirteenth king Waxaklajuun Ubaah K’awiil and dedicated in 26 November 710 CE (Houston, Fash, and Stuart 2014). The first stairway was built into the outer stairway of the Esmeralda Structure. The thirteenth king had built this structure on top of Chorcha, the tomb of K’ahk’ Uti Witz’ K’awiil (Martin and Grube 2008, 204). The stairway commemorates his dead predecessor with the text “patawa[ni] yehbil u muhkil”, or “‘it is formed, the stairway of the [Lord of Copan]’s burial’” (Houston, Fash, and Stuart 2014). While Yax K’uk’ Mo’ is mentioned, particularly in succession statements, the twelfth ruler is far more prominent in this construction effort, in a sense giving a new focus to the structure (Fash 2011, 104). This portion of the stairway also forms a king list by introducing relevant dates - including accession and death dates - that would be continued in the second half (Fash 2011, 103).

In comparison to the second half, the glyphs in the first half are more consistent and nuanced with more detail and sharper borders, which suggests a stronger Copan, more time and energy able to be devoted to detail, and greater effort into controlling production. Fittingly, this portion is believed to have taken at most fifteen years to allow for such care and detail (Houston, Fash, and Stuart 2014). This half of the stairway is a true triumph combining the celebration of a king who reigned for over sixty years with the justification of his successor through this ambitious structure (Fash 2011, 104).

Second Phase:

The Second Phase of the Stairway was erected by fifteenth king K’ahk’ Yipyaj Chan K’awiil and dedicated in 5 May 755 CE. Given that the fifteenth ruler had acceded the throne in 749, this project would likely have taken only six years to complete (Houston, Fash, and Stuart 2014). He had built 10L-26 over the Esmeralda Structure, moving and expanding the stairway in the process (Martin and Grube 2008, 207). In doing so, he had doubled the length and added in life-sized statues of kings, including thirteenth ruler Waxaklajuun Ubaah K’awiil and potentially K’ahk’ Uti Witz’ K’awiil (Martin and Grube 2008. 207; Fash 1991, 145-146). Statues of kings also appear lying down, some with beards or torches in their forehead, symbolizing wisdom and apotheosis (Baudez 1994, 230-231).

The fifteenth ruler continues where Waxaklajuun Ubaah K’awiil left off, detailing the lives of the thirteenth and fourteenth kings. This of course would include the thirteenth ruler’s demise at the hands of Quirigua’s king K’ahk’ Tiliw Chan Yopaat on the “birth of new rains” at “Kok Witz”, or Turtle Hill (Houston, Fash, and Stuart 2014). Little detail of the death is given at Copan however, refering to a warrior’s death by “flint and shield” rather than by capture and decapitation (Martin and Grube 2008, 205). Notably, K’ahk’ Yipyaj Chan K’awiil also erected his Stela M at the base of the stairway, this time evoking ostentation reminiscent of his predecessor to justify his own reign (Martin and Grube 2008, 207).

While both phases were ambitious, K’ahk’ Yipyaj Chan K’awiil had to reinvigorate the city in addition to glorifying his predecessors and justifying his own reign. The inscription for the second half of the staircase is “patwani yehbil utuunil”, or “it is formed, the stairway of stone” before glyphs associated with sacrifice believed to be the name of this half of the stairway (Houston, Fash, and Stuart 2014). “Stone” usually referred to a monument or may refer to something or someone having the qualities of stone, so this inscription may refer to another monument or the intention for the stairway to have the same permanence and strength (Stone and Zender 2011, 169). In either case, this inscription and subsequent invocation of sacrifice does not celebrate an individual king as the former half did. This style also invokes the warlike nature found typically found in monumental imagery post Waxaklajuun Ubaah K’awiil.

Notably, each of the king statues on the stairway are dressed in Teotihuacan warrior garb, holding feathered shields in their left arm and either a scepter or weapon in their right (Martin and Grube 2008, 208; Baudez 1994, 197). Skulls also hang from their belts, perhaps suggesting a trophies similar to instances in sixteenth king Yax Pasaj Chan Yopaat’s tomb (Baudez 1994, 197; Fash 1991, 170). Before the thirteenth king’s death Copan kings rarely portrayed themselves as warriors, typically focusing more on their spiritual connections. Faced with a crushing defeat, later kings would emphasize their military prowess in order to redeem their reputation and perhaps confirm their narrative about the thirteenth king’s honorable death in battle.

Likewise, references to Teotihuacan, which at this point had been defunct for some time, only became prevalent again toward the end of Copan’s Classic lineage (Fash 2004, 261). In addition to the Stairway’s statues, the associated temple features full-figured text in both Lowland Mayan glyphs and a pseudo-script appearing to be from Teotihuacan (Martin and Grube 2008, 208). This appeal would draw justification from the glory of the city, to which Yax K’uk’ Mo’ had connections.

The cache at the base continues these themes of war, sacrifice, and glory. The cache contained spondylus shell and two jade pieces from the third or fourth century speculated to be royal heirlooms (Fash 1991, 148). While the jade was a sign of royalty, spondylus shell was considered a luxury item and mark of wealth, marking the city’s ability to still procure such items (Stone and Zender 2015, 167). Likewise, three eccentric flints with “seven Classic Maya Heads in profile” each were also included in the cache(Fash 1991, 148). These flints display incredible skill, again highlighting the city’s ability.

In terms of sacrifice, stingray spines - tools for autosacrifice - were also discovered. These items were often used in rituals for ancestor worship and worship of Jaguar Tlaloc, a deity associated with warfare and sacrifice (Fash 1991, 148-149). Interestingly, the base of the cache’s stairway is shaped like a Jaguar Tlaloc head, adding to the connection. Continuing the theme of sacrifice, a spiny oyster shell - associated with inauguration - was also found in this cache (Fash 1991, 149). Though perhaps not as lavish as previous caches, the Hieroglyphic Stairway does contain items to continue its theme and reaffirms Copan’s wealth and ability to complete the dedication.

Yet, the construction of the stairway itself shows the cracks forming in Copan’s continued existence. Whereas the first portion was created in perhaps fifteen years, the second portion was likely created in six, less than half the time to create at least the same amount of material. Perhaps as a result, the quality is inconsistent. The top and bottom show stylized full-figured glyphs, but most of the other glyphs are rounder with lower relief and less nuance. Whereas the first portion shows greater control, the second portion appears rushed and like the “work of a journeyman” (Houston, Fash, and Stuart 2014). Furthermore, as previously mentioned, the blocks themselves were cemented with some of the weakest material found in the Principal Group, suggesting a lack of resources, time, or even morale from the workers constructing the stairway (Fash 1991, 150).

The Hieroglyphic Stairway at Copan is indeed one of the world’s most impressive monuments. Its existence is listed as one of the criteria justifying Copan’s status as a UNESCO World Heritage Site (“Maya Site”). Furthermore, in one structure it summarizes perfectly Copan before and after the death of Waxaklajuun Ubaah K’awiil. While the second half shows the event’s strain on the city, it also displays the tenacity of its kings and its craftspeople.


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