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Bacab

The Bacabs are four ancient Maya deities who serve as cosmic supports, each stationed at one of the cardinal directions to uphold the multilayered sky with their upraised arms.^[1] Often depicted as aged figures, they embody aspects of the earth's interior, its water deposits, and the stability of the cosmos, functioning as manifestations of a single quadripartite deity.^[2] In Maya mythology, the Bacabs are believed to be brothers, likely the offspring of Itzamná, the supreme creator god, and Ixchel, the goddess of weaving, medicine, and childbirth.^[1] These deities play a central role in Maya cosmology and ritual practices, particularly in relation to timekeeping and healing. Each Bacab presides over one year in a recurring four-year cycle tied to the Maya calendar, influencing agricultural cycles and New Year ceremonies known as the Wayeb.^[3] They are invoked in incantations to combat diseases, as seen in colonial-era Maya texts where the Bacabs are called upon to exorcise evil spirits causing ailments like fevers, seizures, and skin conditions.^[2] Associated with the tzolk'in day signs such as Ak'bal, Lamat, Ben, and Etz'nab, the Bacabs link directional symbolism to the broader structure of Maya sacred geography and creation myths.^[3] Their iconography appears in Classic and Postclassic Maya art, including architecture and codices, underscoring their enduring significance in maintaining cosmic order.^[1]

Overview and Cosmology

Definition and Primary Roles

In Yucatec Maya cosmology, the Bacabs are defined as a quartet of male deities responsible for upholding the corners of the sky, thereby preventing its collapse onto the earth. These figures, often portrayed as aged or elderly men, embody the foundational stabilizers of the cosmos, ensuring the structural integrity of the universe against chaotic forces. Their role as sky-bearers is central to the Maya worldview, where they function as atlantean supports, lifting the heavens with outstretched arms to maintain separation from the terrestrial realm.^[4]^[5]^[6] As cosmic stabilizers, the Bacabs are intrinsically linked to the world tree, or Yax Che, which serves as the central axis connecting the quadripartite divisions of the universe and anchoring the directional framework. Each Bacab corresponds to one of the four cardinal directions—east (red), north (white), west (black), and south (yellow)—reinforcing their position at the world's edges. This alignment underscores their duty to preserve equilibrium across the layered cosmos, where the sky above, earth below, and underworld beneath must remain distinct yet interdependent.^[4]^[5]^[6] The Bacabs share close connections with the Pawahtuns, who are depicted as dwarf-like skybearers and represent an aged or variant manifestation of the same deities, often carrying snail or turtle shells symbolizing earth and water. In broader Mesoamerican traditions, they align with thunder and earth gods, such as those associated with rain and fertility, reflecting shared motifs of sustenance and renewal across regional pantheons. Through these roles, the Bacabs actively sustain the delicate balance between the sky's expansive domain, the earth's nurturing surface, and the underworld's shadowy depths, averting cosmic disorder and enabling the continuity of existence.^[4]^[5]

Directional Associations and Names

In Maya cosmology, the four Bacabs are distinctly associated with the cardinal directions, each bearing a specific color and serving as the patron of one of the four year bearers in the ritual calendar. These assignments reflect the structured worldview of the Yucatec Maya, where directions symbolize cosmic order and seasonal cycles. The eastern Bacab, known as Hobnil, is linked to the color red and the Kan year bearer, embodying vitality and the onset of growth. The northern Bacab, identified as Cantzicnal, corresponds to white and the Muluc year bearer, representing purity and renewal. The western Bacab, called Saccimi, aligns with black and the Ix year bearer, signifying introspection and transformation. Finally, the southern Bacab, named Hosanek, is associated with yellow and the Cauac year bearer, evoking maturity and culmination.^[5]

Direction	Bacab Name(s)	Color	Year Bearer
East	Hobnil	Red	Kan
North	Cantzicnal	White	Muluc
West	Saccimi	Black	Ix
South	Hosanek	Yellow	Cauac

These directional ties underscore the Bacabs' role in upholding the sky at the world's corners, integrating spatial, chromatic, and calendrical elements into a unified system. Naming conventions exhibit variations across colonial-era manuscripts, particularly in the Chilam Balam books of Chumayel and Tizimin, where epithets like Ah Can Tzic Nal or Kanal Bacab appear interchangeably, reflecting regional or scribal differences in Yucatec orthography and interpretation. Such inconsistencies highlight the fluid transmission of indigenous knowledge under Spanish influence, yet the core directional framework remains consistent in postclassic sources.^[7]

Mythological Narratives

Yucatec Creation Myths

In Yucatec Maya cosmology, the Bacabs are depicted as four brothers born to the creator god Itzamna and likely the goddess Ix Chel, who together form the divine couple responsible for initiating the creative process.^[8] These siblings—often identified by their directional associations, such as east (Hobnil), north (Cantzicnal), west (Saccimi), and south (Hosanek), though names vary across sources—emerged as essential figures in the establishment of cosmic order, specifically tasked with upholding the multilayered sky to ensure stability after the initial acts of creation.^[9] Their birth underscores the familial structure of the divine pantheon, where Itzamna, as the supreme inventor of writing, fire, and calendrics, and Ix Chel, patroness of midwifery and medicine, engendered guardians to sustain the newly formed universe.^[10] Central to their role in creation myths is the Bacabs' participation in separating the sky from the earth, a pivotal event that prevented the primordial chaos from recurring. According to colonial accounts, the four brothers were positioned at the world's corners by the creator, raising their arms to bear the celestial vault and thus defining the horizontal and vertical axes of existence. This act not only stabilized the cosmos but also linked the Bacabs to the quadripartite division of space, mirroring the Maya's perception of a balanced, directional universe. Their supportive posture symbolizes the ongoing maintenance of creation, ensuring the sky does not descend upon the earth as it had in prior eras. Yucatec narratives draw parallels to broader Mesoamerican traditions, such as those in the K'iche' Popol Vuh, where quadripartite partitioning serves as a metaphor for creation and the imposition of order on the formless void.^[11] This shared motif highlights a conceptual continuity across Maya groups, emphasizing quadripartite symmetry as a foundational principle of world-building. The Books of Chilam Balam, colonial-era Yucatec texts preserving pre-Hispanic elements, further elaborate on the Bacabs as survivors of a cataclysmic destruction in a previous world age, specifically a deluge that ended the prior cycle of existence. Having endured this flood, the four brothers were repositioned at the creation of the current world to hoist the sky anew, embodying resilience and the cyclical renewal inherent in Maya cosmology. These accounts portray the Bacabs not merely as static supports but as active participants in the transition between world eras, their survival ensuring the continuity of cosmic structure.^[9]

Katun Prophecies and Deluge Stories

In the prophetic texts of the 16th-century Chilam Balam manuscripts, the Bacabs embody the recurring theme of cosmic destruction and renewal, serving as divine agents who both initiate and survive cataclysmic events. These narratives, preserved in Yucatec Maya script, portray the four Bacabs—associated with the cardinal directions—as central figures in the cyclical upheavals that mark the end of previous world eras and the advent of new ones. Their roles extend beyond mere sustenance of the sky to active participation in prophetic fulfillments, particularly tied to the katun cycle, a 20-year period in the Maya Long Count calendar used for divination and historical forecasting. The Katun 11 Ahau prophecy, detailed in the Book of Chilam Balam of Chumayel, highlights the Bacabs' descent to earth as harbingers of profound upheaval, culminating in a great deluge that reshapes the world. According to this account, translated by Ralph L. Roys, the era begins with the blinding of the thirteen gods (Oxlahun-ti-ku) by the antagonist Ah Mucen Cab, signaling the collapse of cosmic order; the four Bacabs then emerge, setting up the four directional trees that symbolize the destruction of the world, after which "the sky would fall, it would fall down upon the earth." This event is interpreted as a prophetic warning of invasion, famine, and flooding, mirroring the arrival of Spanish colonizers in the 16th century while evoking ancient precedents of renewal through water. The deluge in this prophecy not only drowns the old order but also paves the way for the Bacabs to reestablish stability, underscoring their dual role as destroyers and preservers.^[12] Beyond this specific katun, the Bacabs appear as resilient survivors in narratives of the world's prior destructions, connecting to Maya cosmological views of five successive eras ending in catastrophe. In these accounts from the Chilam Balam texts, the Bacabs endure the four previous worlds' demises—destroyed respectively by jaguars devouring humanity, fierce winds scattering the earth, a fiery rain consuming all, and a devastating flood—emerging to support the current creation on their shoulders. Roys notes that the manuscripts describe the Bacabs as having "escaped when the world was destroyed by the deluge," positioning them as the progenitors who repopulate the renewed earth with a new humanity, often through the planting of sacred trees at the world's corners. This motif reinforces the prophetic emphasis on endurance amid cycles of annihilation, with the Bacabs' survival ensuring the continuity of life across eras.^[3] Interpretations from these manuscripts, such as those in the Chumayel and Tizimin variants, frame the Bacabs' involvement as a cautionary framework for future katuns, where similar deluges threaten if divine balance is disrupted. The prophecies warn of an impending "great deluge again which will be the end of the world," directly invoking the Bacabs' historical role in past floods to predict renewal under a new cosmic order, potentially aligned with Christian eschatology in colonial-era redactions. This blending of indigenous and imposed elements highlights the Bacabs' enduring symbolic power in Yucatec prophecy, linking ancient cosmology to anticipated transformations.^[12]

Ritual and Cultural Practices

Divination and Curing Rituals

In the Ritual of the Bacabs, a colonial-era Yucatec Maya manuscript compiled in the late 18th century but preserving pre-Columbian incantations, the four Bacabs—directional deities known as Chac (red, east), Sac (white, north), Ek (black, west), and Kan (yellow, south)—play a central role in curing rituals aimed at expelling illnesses caused by malevolent forces. These deities, often equated with the Pauahtuns, are invoked through repetitive chants to banish afflictions such as seizures (tancas), asthma, intestinal worms, and poisoning from tarantulas or wasps, with the shaman acting as an intermediary to "hurl" the sickness beyond the sky or into the sea.^[2]^[13] For instance, in treatments for Kan Pet Kin seizures, prayers direct the Bacabs to seize and remove the offending spirits, as in the invocation: "Hurl ye beyond the eastern sky, to the entrance of the home of Chac Pauahtun," symbolizing expulsion to the realm of the red eastern Bacab.^[13] Divination techniques within these rituals consult the Bacabs by aligning omens with the 260-day ritual calendar's day signs and their associated colors, determining the origin and nature of illnesses for targeted cures. Day signs such as Hun Can Ahau or Can Ahau, tied to the year-bearers (Kan, Muluc, Ix, Cauac), guide the selection of invocations, with colors like red for eastern threats or black for western ones indicating the directional source of harm; this method allows healers to diagnose and counter spiritual intrusions efficiently.^[2]^[13] The manuscript describes over 40 such incantations where Bacabs are called upon, often in sets of four to represent cosmic balance, ensuring the ritual's efficacy across the world's quarters.^[13] Specific prayers address each Bacab for protection against evil winds (ik') and spirits, framing the deities as guardians who "shut the mouth" of threats like Ah Oc Tancas (traveler seizures) or Ix Tan Yobal Nicte (night-blooming spirits). One example implores: "I shut your mouth, seizure... I who am your mother, I who am your father," invoking the Bacabs to bind and dispel these entities, sometimes incorporating symbolic actions like using heated stones or colored bows to seal off underworld paths from Metnal.^[2]^[13] These protections extend to broader ailments, such as embolism or breathing obstructions, where the Bacabs are petitioned to moisten and purify the afflicted, as in: "Thrice you are moistened, you Bacab in the center of the sky."^[13] The practices documented in the Ritual of the Bacabs demonstrate historical continuity from pre-Columbian Maya cosmology into the colonial period, adapting indigenous directional invocations amid Spanish influences like appended Christian phrases ("Jesus Mary, Amen"), yet retaining core elements of Bacab-centered healing and foresight.^[2]^[13] This manuscript, translated and analyzed by Ralph L. Roys, underscores the Bacabs' enduring function as cosmic stabilizers in personal spiritual interventions, distinct from communal rites.^[2]

Year Bearers and Agricultural Rites

In the Yucatec Maya calendrical system, the four Bacabs were closely associated with the Year Bearers—Kan, Muluc, Ix, and Cauac—which determined the character of each year within the 52-year Calendar Round cycle. Each Bacab presided over one of these days, influencing the year's omens and fortunes: Kan and Muluc were generally regarded as auspicious, while Ix and Cauac portended challenges. This quadripartite structure aligned the Bacabs with the directional cosmology, where Kan governed the east, Muluc the north, Ix the west, and Cauac the south, ensuring the cyclical renewal of time and cosmic order.^[13]^[14] Rituals invoking rain frequently centered on the Bacabs as intermediaries with the Chaac rain deities, involving offerings such as tobacco, cacao, and water to petition for precipitation essential to agriculture. In these ceremonies, practitioners would sprinkle water or present jugs symbolizing hail and green rains, addressing the Bacabs alongside figures like Yaxal Chac and Chac Pauahtun to avert drought and foster crop growth. Such invocations underscored the Bacabs' role as sky-bearers who channeled the Chaacs' power, with chants from texts like the Ritual of the Bacabs emphasizing their authority over seasonal waters.^[13]^[3] Agricultural ceremonies honored the Bacabs through rituals aimed at protecting crops and blessing harvests, often incorporating plant offerings like ceiba trees, castor-oil plants, and resins planted or burned at sacred sites. These rites integrated the Bacabs' directional attributes to symbolize fertility across the landscape, with bloodletting and incense used to bind the earth and sky in harmony for bountiful yields. In broader world renewal practices, such ceremonies reinforced the Bacabs' oversight of agrarian cycles, linking them to the Chaacs for sustained productivity.^[13]^[14] During New Year rites marking the transition at 0 Pop, each Bacab presided over a directional altar constructed as an acantun—a stone pillar or hut—at the cardinal points, where offerings of cords, flints, and layered symbols were presented to inaugurate the year. These altars, adorned with color-coded elements like red for the east and white for the north, facilitated blood sacrifices and chants to the Bacabs, ensuring the year's stability and warding off chaos during the perilous Wayeb days. The rituals culminated in the kindling of new fire after the 52-year cycle, affirming the Bacabs' perpetual support of the cosmos.^[13]^[3]

Regional Variations

Yucatec-Specific Traditions

In Yucatec Maya society, the Bacabs have been integrated into community festivals since colonial times, reflecting their enduring role as directional guardians. During the colonial period, communities invoked the four Bacabs—Kanal, Chacal, Zacal, and Ekel—during seasonal transitions, often associating them with trees and colors symbolizing the cosmos to ensure stability and prosperity.^[7] In modern Yucatan, these practices persist in village gatherings, such as during the Tzec month festivals where bee-keepers honor the Bacabs as patrons of apiculture through communal offerings, blending pre-Hispanic reverence with everyday agrarian life.^[7] The Bacabs are consistently portrayed as male siblings in Yucatec traditions, embodying fraternal unity in upholding the sky, which contrasts with female directional goddesses like Ix Chel, who represent complementary forces of creation and fertility across the cardinal points.^[7] This gendered duality underscores a balanced cosmology where the male Bacabs provide structural support, while female deities govern life's generative aspects. The influence of the Bacabs extends to place names and local folklore in Yucatec villages, embedding their directional symbolism into the landscape and oral narratives. In folklore, they appear as resilient brothers who survived the primordial flood, inspiring tales of cosmic endurance passed down in rural communities.^[7] Their persistence in contemporary Maya Catholicism demonstrates profound syncretism, where the Bacabs' four corners and colors are invoked alongside Christian invocations during village ceremonies, merging indigenous directional lore with Catholic rituals for protection and renewal.^[7] This fusion, evident since the 19th century, allows the Bacabs to coexist with saints as unseen pillars of faith in daily Yucatec life.

Gulf Coast Interpretations

In Gulf Coast Maya traditions, particularly among the Huastec, Bacab-like figures are conceptualized as "Grandfather" earth-carriers who support the world from below, diverging from the sky-bearing roles emphasized in Yucatec cosmology. These entities, often referred to as the four Great Thunder Gods or Mams (grandfathers), are depicted as aged beings bearing the earth on their backs, with one principal figure, Muxi' (the Old Thunder God), initiating the rainy season by announcing its arrival from an ocean-side dwelling. This portrayal underscores their chthonic and aquatic associations, positioning them as foundational supports for terrestrial stability and agricultural renewal rather than celestial architects.^[15] A key aspect of these interpretations involves the figures' origins as drowned ancestors emerging from a primordial flood, symbolizing rebirth and fertility tied to thunderous storms. In Huastec narratives, the Maize Hero—closely allied with these grandfathers—drowns in waters, drifts to shore, and transforms into a maize field, linking thunder to generative forces. This motif of submersion and resurgence highlights an underworld provenance, where the hero retrieves ancestral bones from Tlalocan, a watery realm of the dead, before reconstituting life on earth. Such conceptions emphasize cyclical renewal through cataclysmic waters, contrasting with more directional, sky-oriented functions elsewhere.^[15] Variations across Huastec and Chontal traditions reinforce the image of four old men as world-bearers, often manifesting as thunder deities who collectively uphold the earth against chaos. This regional emphasis on subterranean and aquatic origins—over celestial elevation—reflects a cosmology attuned to Gulf Coast ecology, where thunder and deluge drive fertility from below. Shared links to broader thunder god archetypes appear in these portrayals, underscoring their role in storm invocation for bountiful harvests.^[15]

Iconography and Historical Representations

Pre-Columbian Depictions

In the Late Classic period (ca. 600–900 CE), the Bacabs were commonly depicted as God N, an aged thunder god with a wrinkled face, prominent nose, and netted headscarf, in codex-style vases and murals that emphasize their role as cosmic pillars. These representations, painted in fine black lines on a cream background, often portray God N in dynamic ritual scenes, such as on vase K1196 where he interacts with scribal figures, underscoring his association with creation and sustenance.^[16]^[17] Archaeological evidence from key Classic Maya sites reveals fourfold groupings of Bacabs supporting thrones or world trees, symbolizing the quadripartite structure of the cosmos. At Palenque, God N is referenced in inscriptions such as those on the Tablet of the 96 Glyphs in the Temple of the Cross, linking the deity to year-bearers and cosmic roles. At Chichen Itza, the Lower Temple of the Jaguars displays God N figures on entrance piers and columns, upholding jaguar thrones and reinforcing their sky-bearing function.^[16]^[18] Scenes involving Bacabs alongside the Maize God or Hero Twins frequently symbolize themes of renewal and cyclical rebirth. On Late Classic vases, such as those in the Justin Kerr collection, God N emerges from a turtle shell or conch, assisted by the Hero Twins, evoking the Maize God's resurrection and the earth's regenerative cycles. These motifs highlight the Bacabs' integral role in mythological narratives of cosmic and agricultural revitalization.^[19] The depictions of Bacabs evolved across the Classic period, from simpler forms in Early Classic art to more elaborate quadripartite directional sets by the Terminal Classic, as seen in more elaborate architectural and ceramic ensembles at sites like Chichen Itza. This progression reflects increasing complexity in Maya cosmological expressions, with Bacabs increasingly tied to directional roles in supporting the multilayered sky.^[16]^[20]

Symbolic Attributes and Evolutions

The Bacabs, as cosmic supporters in Maya iconography, are characterized by attributes that symbolize their roles in upholding the earth and facilitating vital natural processes. Turtle shells frequently adorn their forms, representing the foundational stability of the terrestrial realm and their function as bearers of the sky upon the world's surface.^[21] Conch shells, often worn as chest pieces or carried, evoke thunder and wind, connecting the Bacabs to the generative forces of storms and rainfall essential for agricultural renewal.^[21] Water lilies, protruding from their headdresses or bodies, signify fertility and the abundance of aquatic environments, underscoring the deities' ties to prosperity and cyclical regeneration.^[22] Over time, the iconographic representations associated with the Bacabs and God N evolved, incorporating zoomorphic elements such as reptilian or turtle traits from earlier periods, to more distinctly anthropomorphic elders in the Postclassic era, emphasizing their aged, world-sustaining wisdom.^[23] This transformation reflects broader changes in Maya artistic conventions, where early animal-hybrid forms gave way to humanized portrayals that highlighted directional and calendrical responsibilities.^[21] In Postclassic texts like the Dresden Codex, the Bacabs appear as elderly males, such as K’an Pawatun, with names incorporating colors and directions like Muluc (red, east), Ix (white, north), Cauac (black, west), and Kan (yellow, south), supporting the heavens with staffs and burdens, their hieroglyphic names incorporating colors and directional qualifiers to denote quadripartite cosmic order.^[24] These attributes and forms integrate the Bacabs into wider Maya motifs, particularly the axis mundi embodied by the ceiba tree at the universe's center, with the four deities positioned at the cardinal directions to form a stabilizing framework that links sky, earth, and underworld.^[25] This quadripartite arrangement, evident in both art and hieroglyphic inscriptions, positions the Bacabs as complementary pillars to the central world tree, ensuring the coherence of the layered cosmos.^[23]

References

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The Mayas believed the four gods, the Bacabs, held up the sky. The Bacabs were also invoked to heal disease. Ritual of the Bacabs: A Book of Maya ...Missing: mythology | Show results with:mythology
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Jan 8, 2021 · 1) God N Trains Scribes (Vessel 56), Classic, Maya, Ceramic, H 9.7 cm; D 10.2 cm. Justin Kerr, [K 1196], Justin Kerr Maya Vase Archive, ...<|control11|><|separator|>
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The Maya perceived cosmic order through a quadripartite division, a layered cosmos, and a horizontal division into four quarters and a center.