MC.p54.r1.c.1 MC.p54.r1.c2
u:TZ’AK:ka:AJ <u.TZ’AK.ka>:AJ
· It seems to mean “it was added up” or “it was accumulated” (= a certain time period), and it preceded the actual DN giving that time period. See elsewhere for non-calendrical usage of this verb.
· The basic (and most common) variant is a single glyph consisting of abstract intertwined strands (does anyone know the meaning / iconographic origin?). However, the Classic Maya script was so flexible and creative that a series of “double glyphs” arose, to write the same word. These are all read as tz’ak irrespective of what elements are present. In the same way as PAS = KAB:K’IN:CHAN, or WINIKHAAB = <ka.TUUN.ka>.HAAB are not read as combinations / compounds with KAB etc or TUUN etc, but instead as the single word pas or winikhatab, so too are these multi-glyph combinations read as the single word tz’ak. Some epigraphers are not keen to break these logograms down into smaller components, but prefer just to view them as a single entity. The members of each pair reflect either polar opposites, or are semantically closely related.
· Variants:
o A. Light & Darkness.
o B. Sky & Earth.
o C. Blue-green & Yellow (= Primordial & Precious).
o D. Wind & Water.
o E. Cloud & Water.
o F. Star & Moon.
o G. Sun & Moon.
o H. Male & Female.
o I. Leaf & Food.
o J. Darkness & Penitence.
o K. Bloodletter & Blood.
o L. Claw and Tooth.
o M. Other.
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K&L.p40 TOK.p35.r2.c1 = BMM9,p21.r3.c2
TZ’AK = K’IN.AK’AB TZ’AK = K’IN.AK’AB TZ’AK = K’IN.AK’AB
TOK.p35.r4.c4 MC.p54.r2.c.1
AK’AB.K’IN u.<<K’IN.AK’AB>:AJ>
Skidmore-ULoENR.p24.fig1 (Grube) Stuart-TIfTXIX.p100.pdfp52.fig71b
NAR Altar 2 D6 PAL Bodega #208
u:TZ’AK:wi u.<TZ’AK:AJ>
· This is the juxtaposition of opposites: “light” and “dark”.
· Why the unusual ending on TZ’AK in NAR Altar 2 D6: u:TZ’AK:wi? u- usually goes with transitive verbs, but then with a -wa ending. The -wi is the marker for the anti-passive, in which case there is no u-. Dorota: no known explanation current – Dorota will try to find (known to be somewhere in the TOK lectures)
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TOK.p35.r2.c2 BMM9.p21.r3.c3 Stuart-TIfTXIX.p100.pdfp52.fig71c
CPN Temple XI East Door South Panel B4
TZ’AK = CHAN.K’AB TZ’AK = CHAN.KAB u.<TZ’AK:AJ>
· This is the juxtaposition of opposites: “sky” and “earth”.
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K&L.p40 TOK.p35.r3.c2 BMM9.p21.r3.c4 Greene (preliminary drawing, Mesoweb) Stuart-TIfTXIX.p100.pdfp52.fig71a
PAL Temple 19 West Plate D4 PAL Temple 19 West Plate D4
TZ’AK = YAX.K’AN TZ’AK = YAX.K’AN TZ’AK = YAX.K’AN u.<TZ’AK:AJ> u.<TZ’AK:AJ>
· This is the juxtaposition of two closely related concepts: “blue-green” and “yellow”.
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K&L.p40 TOK.p35.r2.c3 TOK.p35.r2.c4
PAL Tablet of 96 Glyphs G
TZ’AK = IK’.HA’ TZ’AK = IK’.HA’ TZ’AK = IK’.HA’
MC.p54.r2.c2 ~= K&L.p40 Stuart-TIfTXIX.p100.pdfp52.fig71d
CPN HS1 Step 53
u.<TZ’AK:AJ> u:TZ’AK:AJ
· This is the juxtaposition of two closely related concepts: “wind” and “water”.
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K&L.p40 TOK.p35.r3.c3 Stuart-TIfTXIX.p100.pdfp52.fig71e
CPN Temple XI East Door North Panel C1
TZ’AK TZ’AK u.<TZ’AK:AJ>
· This is the juxtaposition of two closely related concepts: “cloud” and “water”.
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K&L.p40 TOK.p35.r4.c1 Stuart-TIfTXIX.p100.pdfp52.fig71j (Schele)
PAL Tablet of the 96 Glyphs E7
TZ’AK TZ’AK u.<TZ’AK:AJ>
· This is the juxtaposition of two closely related concepts: “star” and “moon”.
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TOK.p35.r3.c1 Stuart-TIfTXIX.p100.pdfp52.fig71k
ZPT Altar 1 A1
TZ’AK u.<TZ’AK:AJ>
· This is the juxtaposition of opposites: “sun” and “moon”.
· K&L.p40 is probably PAL Tablet of 96 Glyphs E7, and TOK.p35.r4.c1 is probably based on it.
· TOK.p35.r4.c1 is an independent example.
· Note that there are two sub-variants here: EK’+ UH or K’IN + UH.
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K&L.p40 TOK.p35.r4.c3 Stuart-TIfTXIX.p100.pdfp52.fig71i
CPN Temple XI East Door South Panel A1
TZ’AK TZ’AK = “FEMALE”.”MALE” TZ’AK
· This is the juxtaposition of opposites: “female” and “male”.
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TOK.p35.r3.c4
TZ’AK
· This is the juxtaposition of two closely related concepts: “leaf” (for wrapping the tamale) and “food” (the tamale itself).
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TOK.p35.r4.c2
TZ’AK = AKAN.<another-god>
· This is the juxtaposition of two closely related concepts: “darkness” and “penitence”.
· TOK.p35.r4.c2:
o The left half could be either the head variant of AK’AB (which can have a % -sign) or AKAN.
o The right half could either be a head variant of CH’AB, or the logogram for a different god, i.e. this TZ’AK is two different gods combined; the infixed “la” is unusual as there is no known god with a “la” in the forehead.
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TOK.p35.r5.c1 Stuart-TIfTXIX.p100.pdfp52.fig71g
TNA M.20 D1
TZ’AK = KOKAN:CH’ICH’ <u.TZ’AK>:AJ
· This is the juxtaposition of two closely related concepts: “bloodletter” and “blood”.
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TOK.p35.r5.c2
TZ’AK = OX:ye
· This is the juxtaposition of two closely related concepts: “claw” and “tooth” – the things which make a wild animal dangerous?.
· TOK.p35.r5.c2 – Dorota: more likely to be OX (K&L.p12.) than ICH’AAK because it doesn’t have any claws at the end; note that “claw” and “tooth” fit together quite well as things used in eating meat (this interpretation confirmed by AT-E1168-lecture5.t0:55:42 – this reference is incorrect).
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Stuart-TIfTXIX.p100.pdfp52.fig71f Stuart-TIfTXIX.p100.pdfp52.fig71h
CPN HS1 Step 42 PAL Tablet of the 96 Glyphs D8
<?:OHL>.<HA’?:AJ> u.<TZ’AK:AJ>
· These are remaining miscellaneous examples which are difficult to classify.
· CPN HS1 Step 42: “food” and “water”?
· PAL Tablet of the 96 Glyphs D8: “two skulls”?