INTER-SECTION Volume III - Page 28

| Nienke Verstraaten | is actually inhabiting the headdress. The vessel was facing away from the tomb, towards the east. inside the tomb, at the feet of the internment. This legged with its hands resting on its knees. However, the character is wearing the mask of Cocijo over its is accompanied by four smaller vessels representing the four acompañantes, which are often associated faces to the east, away from the internment. The last vessel to be discussed was positioned in one of tomb’s western wall niches. This particular vessel is stylistically quite different from the other two. Unlike the other two vessels, it is not a it is a cylindrical vessel, which is adorned with a vessels described above. It is the only vessel out of the three that is facing towards the internment, due to the fact that it was positioned behind the skeletal remains in the far west tomb wall. Discussion believed to represent ancestral spirits who impersonate the deity through the wearing of a mask (Marcus 1983; Sellen 2007). This allows them to temporarily attain the deity’s identity and powers. The different positioning of the masks, over the face or in the headdress could related to the different ways in which Cocijo’s presence is invoked. Relating this back to the vessels in tomb 104, several inferences can be made. If we consider that wearing a mask over the face is the ‘true’ form of impersonation, then the two vessels inside the tomb context are both true impersonations of Cocijo. By wearing the deity’s mask over their faces, they effectively solidify him in the physical realm, on in the niche outside is wearing the mask of Cocijo in its headdress instead of over its face. In this case the mask may signify the presence of Cocijo in is more suggestive of the deity watching over the individual rather than of an ancestor impersonating the Cocijo deity. Marcus (1983) takes notice of this difference as well and states that it “(…) might represent contemporary royalty honouring both their ancestors and the supernatural by wearing their likeness in the headdress” (Marcus 1983, 148). Tomb contexts at Monte Albán were often revisited by the descendants of the deceased for ritual purposes (Middleton et al. 1988). Perhaps the vessel’s position at the entrance of the tomb was to inform visitors of two things: 1) that Cocijo is represented by the ancestor who is interred in the tomb, and 2) that Cocijo’s presence, or spirit, watches over the tomb, the ancestral remains interred within it and the living who visit. Thus, the vessels are not only a portrayal of the ancestral impersonation of Cocijo but also serve to tie the spiritual power of Cocijo to the context in which they are situated. Considering the fact that all three vessels are oriented west � east, a hypothesis related to the Zapotec worldview can be formulated. The western direction is related to the realm of the dying sun, a place of darkness, sadness and secrecy. The eastern direction, on the other hand, is related to light, truth and the sun’s rays. In other words it relates to the realm of the living sun. Therefore, when combining the meaning of the world directions with the which are in and of themselves an embodiment of fertility and ancestral veneration, have their backs literally turned in the ‘direction of death’ while they face towards the ‘direction of life’. Furthermore Tomb 104 itself is oriented east � west, meaning that when one enters the tomb you face west, towards the realm of darkness and death. Conversely, when leaving the tomb one would face east, towards the realm of light and of life. The analysis of the model can be taken another step further when one considers the axis mundi. In order for an orientation a centre point is needed from which the orientations can be determined. This point can be considered the axis mundi of the orientation scheme and the in the context of this tomb. What becomes clear an embodiment of the Zapotec worldview model. In the positioning and orientation of the vessels, implicit meaning related to the world directions are evidenced. Concluding remarks The aim of this paper was to investigate the vessels in relation to the Zapotec worldview, their iconography, as well as position and orientation to represent the ancient Zapotec worldview in the p. 26 | VOL III | INTER-SECTION | 2017 | Nienke Verstraaten | is actually inhabiting the headdress. The vessel was facing away from the tomb, towards the east. inside the tomb, at the feet of the internment. This legged with its hands resting on its knees. However, the character is wearing the mask of Cocijo over its is accompanied by four smaller vessels representing the four acompañantes, which are often associated faces to the east, away from the internment. The last vessel to be discussed was positioned in one of tomb’s western wall niches. This particular vessel is stylistically quite different from the other two. Unlike the other two vessels, it is not a it is a cylindrical vessel, which is adorned with a vessels described above. It is the only vessel out of the three that is facing towards the internment, due to the fact that it was positioned behind the skeletal remains in the far west tomb wall. Discussion believed to represent ancestral spirits who impersonate the deity through the wearing of a mask (Marcus 1983; Sellen 2007). This allows them to temporarily attain the deity’s identity and powers. The different positioning of the masks, over the face or in the headdress could related to the different ways in which Cocijo’s presence is invoked. Relating this back to the vessels in tomb 104, several inferences can be made. If we consider that wearing a mask over the face is the ‘true’ form of impersonation, then the two vessels inside the tomb context are both true impersonations of Co ) ݕɥѡéٕͬȁѡȁ̰ѡ)ѥٕͽ䁡ѡͥɕ)ѡͥ́ݕɥѡͬ )́ɕ́ѕٕȁ́%ѡ͔́)ѡͬͥѡɕ͕ )́ɔ՝ѥٔѡ݅эٕȁѡ)٥ՅɅѡȁѡѽȁͽѥ)ѡ 丁5ɍ̤̀х́ѥ)ѡ́ɕ́ݕхѕ́ѡЁЃp)ɕɕ͕ЁѕɅɽ共䁡ɥѠ)ѡȁѽ́ѡɹɅݕɥ)؁Y=0%%$%9QHM Q%=8)ѡȁ́ѡɕϊt5ɍ̰̀(सQѕ́Ё5єݕɔѕ)ɕ٥ͥѕѡ͍́ѡ͕)ɥՅ͕̀5ѽЁसAɡ́ѡ)ٕ͕éͥѥЁѡɅѡѽ݅)Ѽɴ٥ͥѽ́ݼѡĤѡЁ )ɕɕ͕ѕѡѽȁݡ́ѕɕѡ)ѽȤѡЁ éɕ͕ȁɥа݅э)ٕȁѡѽѡɅɕ́ѕɕݥѡ)Ёѡ٥ݡ٥ͥиQ̰ѡٕ͕́ɔ)䁄Ʌ兰ѡɅͽѥ) Ёͼ͕ٔѼѥѡɥՅݕȁ) ѼѡѕЁݡѡ䁅ɔͥՅѕ) ͥɥѡЁѡЁѡɕٕ͕́ɔ)ɥѕݕЃаѡͥ́ɕѕѼѡ)iѕݽɱ٥܁ɵձѕQݕѕɸ)ɕѥ́ɕѕѼѡɕѡ她ո)ɭ̰͕́ͅɕ丁Qѕɸ)ɕѥѡѡȁ́ɕѕѼаѠ)ѡջéɅ̸%ѡȁݽɑ́Ёɕѕ́Ѽѡ)ɕѡ٥ոQɕɔݡ)ѡѡݽɱɕѥ́ݥѠѡ)ݡɔѡ͕ٕ́Ё)ѥ䁅ɅٕɅѥٔѡȁ)ѕɅɹѡaɕѥѣdݡѡ)ѽ݅ɑ́ѡaɕѥdѡɵɔ)QЁ͕́ɥѕЃݕа)ѡЁݡѕ́ѡѽԁݕаѽ݅ɑ)ѡɕɭ́Ѡ ٕ͕䰁ݡ)٥ѡѽݽձаѽ݅ɑ)ѡɕЁQͥ́ѡ)хѡȁѕѡȁݡ)ͥ́ѡ́չ%ɑȁȁɥхѥ)ɔЁ́ɽݡѡɥхѥ)ѕɵQ́Ёͥɕ)ѡ́չѡɥхѥ͍ѡ)ѡѕЁѡ́ѽ]Ё́)Ёѡiѕݽɱ٥܁)%ѡͥѥɥхѥѡٕ͕̰)ЁɕѕѼѡݽɱɕѥ́ɔ)٥) Ցɕɭ)Qѡ́ȁ݅́Ѽٕѥєѡ)ٕ͕́ɕѥѼѡiѕݽɱ٥ܰѡ)Ʌ䰁́ݕ́ͥѥɥхѥ)Ѽɕɕ͕ЁѡЁiѕݽɱ٥܁ѡ