70AMCS Bulletin 12 — Chapter 4first, these lines were assumed to be recent graffitibut it is difficult to be certain. Within the scratchedarea is a more deeply engraved image. This petroglyphconsists of a circle surrounded by a vulva-like wedge,two radiating lines, and four dots.Figure 4.5.19. Pak Ch’en Panel G-2 (drawing by D.Rissolo).Figure 4.5.20. Aktunkoot (after Martos López 1994b).Ceramics and ChronologyApproximately twenty percent of the cave’s surfacewas surveyed and collected. The judgmental samplingstrategy involved the division of lots based on the locationof pathways as well as areas beneath rock artpanels and surrounding the pool. As one would expectfrom a cave that is both accessible and currentlyin frequent use, no ancient whole vessels were recovered.It is conceivable that recent visitors to the cavehave removed even large and intrinsically attractivesherds, as only small sherds were observed during thesurvey. In total, 105 sherds were collected, of which35 were unidentifiable due to their small size and/oreroded condition (see table 4.5.1). When analyzed,there did not appear to be any meaningful differencesbetween lots in terms of sherd frequency, <strong>for</strong>m andtype. However, the greatest concentration was not associatedwith the rock art portion of the cave, but ratherfound at the base of steep flowstone slope just southeastof the entrance. Pottery was also recovered fromthe debris mounds that flank the pool—confirming themounds’ cultural origin. However, it is impossible todetermine whether or not the inclusion of the sherdsin these mounds is coeval with the period of thepottery’s manufacture or use, since sherds continue towash into the pool today (and the pool continues to bemaintained).The ceramic material ranges from the MiddlePreclassic to the Late Classic periods. The earliesttypes include Achiote Unslipped, Tancah Burdo, andSierra group ceramics. Incised bichromes, such asDzilam Verde and Carolina, were also present. EarlyClassic material included Saban Burdo and CetelacFiber-tempered. The only Late Classic type representedis Sibal Buff Polychrome. Vessel <strong>for</strong>m wasdifficult to discern due to the small size of the sherdsand their lack of diagnostic attributes. However, ollasappear to have been the most common <strong>for</strong>m, and mostof these were plain-ware water jars. Sierra Red cajeteswere also well represented, but only three tecomatesherds were identified.Though Pak Ch’en is surrounded by low residentialplat<strong>for</strong>ms, the only recorded settlement in the areais the little known site of Kantunilkin. In Sanders’survey of the region (1955) he describes the generalcharacteristics of the site and later reports on the resultsof his cursory ceramic analysis (1960:199–200).The material he recovered included examples of LatePreclassic to Early Classic pottery such as TancahBurdo, Chancenote Striated, and Sierra Red. Taubealso observed sherds from an Early Classic basal flangepolychrome vessel at the site (1995:52). Additionally,
AMCS Bulletin 12 — Chapter 4 71Table 4.5.1. Pak Ch’en ceramic collection.the use of the Megalithic style of architecture atKantunilkin, which is associated with the LatePreclassic to Early Classic periods, is considered byMathews (1998).As is often the case with rock art, many of theimages in Pak Ch’en are difficult to date and couldhave been engraved into the cave walls at nearly anytime in the past. However, the presence of the raingod figure in panel B and the depiction of God C inpanel G-1, suggests that at least a portion of the rockart was not executed be<strong>for</strong>e the Late Postclassic, orpossibly Colonial, period. Perhaps even the vulva motifsin panel B are coeval with the image they appear toframe. The late nature of the rock art is interestingsince no Postclassic material was recovered. Rather,the pottery attests to a strong early component in thecave’s use history. Perhaps the cave functioned as animportant and sacred water collection site during thePreclassic to Early Classic periods (hence the correspondingvessels). The codex-style imagery in the cavecould mark a Late Postclassic reoccupation in theregion, or be the result of occasional pilgrimage activities.Closing RemarksThe impressive corpus of rock art in Pak Ch’enprovides insights into the nature of cave use in theYalahau region as well as the idiosyncratic, multivariant,yet highly patterned nature of Maya cave artin general. It is important to note that many of theassociations drawn between images in Pak Ch’en, andtheir comparisons with images from other caves mightbe more imagined than real. This is especially likelywith the simple faces and geometric elements whosesimilarities might be more or less coincidental and notindicative of a specific set of ideas. Nevertheless, theirpositioning designates the path to the pool as a rituallyprescribed route.The majority of rock art in the Maya area (and thenorthern lowlands in particular) can be described asvernacular in nature (see Stone 1997). Of course, evidenceof elite activity has been reported in a numberof caves with rock art (Stone 1997; see also Stone1989b, 1995). Though not highly sophisticated, a portionof the imagery in Pak Ch’en exhibits qualities thatsuggest the work of artists who were at least somewhatliterate in the iconography of the elite. The associationsbetween the images, the constructed pathway,and the pool suggest that the cave was a spatially orderedand sacred watery place. The sexual nature ofcaves was a pervasive theme in the Maya area (seeBrady 1988) and the presence and arrangement ofnatural and cultural elements in Pak Ch’en allude tothese concepts of fertility. This topic will be exploredfurther in the final chapter of the dissertation.4.6: CAVE SJ-1 (UNNAMED)<strong>Cave</strong> SJ-1 is located approximately 3 km north ofthe community of San Juan de Dios and approximately4 km southwest of the community/site of San Cosme.The cave was initially visited by Karl Taube in 1984,and at his suggestion I inquired about the cave duringmy later work in San Juan de Dios. During my regionalreconnaissance 1995, I made a brief trip to thecave along with two local guides. I had only time toexplore the cave and make a few cursory notes. I attemptedto return in 1996, but was unable to secure aguide who was familiar with the cave’s exact location.The cave is roughly 15 m in diameter and is accessedthrough an extremely small hole in the ceiling.Beneath the entrance is a natural promontory or bedrockmound, which is encircled by a cleared pathwayleading down to a shallow pool. Ceramic sherds arescattered throughout the cave, but the heaviest concentrationlies near the entrance. In this area, Taubeobserved a conch fragment and a Late Classic polychromerim sherd (personal communication 2001).Also present is a low wall located at the top of themound. The pool, which measures approximately 5 m