MAYA WARRIOR QUEENS OF THE YUCATÁN

Rendering of Queen Lady K'abel in ceremonial headdress on 9-foot Stela 34, Cleveland Museum of Art

PART 1

    

Maya warrior queens. Yes, they existed.

Maya queens rose to power, according to a Discovery article, after a seismic geopolitical shift occurred in the Maya world around 623 AD when power repositioned into the vast forests of the Yucatán's central lowlands.

How did the archeological world first discover that Maya women rulers also played a part in deciding their city-state's future? For three months in 2004, archeologist Kathryn Reese-Taylor (Associate Professor of Archeology, University of Calgary), along with an international research team, studied Naachtun in Northern Guatemala, one of the most remote sites of the Maya world. At the height of the Maya civilization, this city sat between the Maya's two superpowers—Tikal and Calakmul.

Reese-Taylor's team mapped Naachtun's architecture and recorded ancient texts inscribed on altars and stela (large limestone blocks positioned prominently in front of pyramids). Stela 18 depicts a fierce Naachtun queen with a battle shield strapped to her arm, standing on the back of an enemy captive, a lord of Calakmul.

This was the aha moment, thanks to Reese-Taylor's digging, for the archeological conversation that would now include women warriors, a concept that a decade earlier would have been dismissed. Until then, Maya royal women were pawns in marriage and/or consorts, mothers of kings. Nada mas. But her team's discovery changed all that, anchoring a position in archeology that accepted both women and men as powerful rulers in the Maya world.

Maya artists usually portrayed their kings trampling over cowering prisoners, but from Reese-Taylor's finds in Naachtun, the stela in question depicts both king and queen as conquerors. She continued to search for more documentation as proof, combing through hundreds of published inscriptions and royal portraits in university libraries in both the US and Canadian archives.

Lady K'Abel, first female supreme warrior, on stela in El Peru-Waka, Guatemala, 692 AD

BY THE CLOTHES THEY WEAR

Through collaboration with archeologist Peter Mathews (University of Calgary), whose research specialized in the site at Naachtun and decoded subtleties of ancient Maya costumes, Reese-Taylor learned women warriors wore full loose calf-length skirts and men's clothing was tighter, more form fitting. She used that as a benchmark, uncovering clothing differences in images of queens from several Maya cities beyond Naachtun. Her discoveries gave way to fact: the lowland Maya had many warrior queens, specifically in four Maya city-states: Coba, Naranjo, Calakmul and Naachtun.

With Reese-Taylor's on-site excavations sifting through more and more hieroglyphs, she determined that the northern Maya dynasties prized their female ancestors. A northern royal family known as the Kaan, or Snake Dynasty, moved into mid-Peninsula Yucatán rain forests in the early 600s, claiming the throne from mighty Calakmul and rising to great power and influence. After 623 AD, Kaan princesses married into many local ruling houses in the lowlands, carrying these new ideas with them.

There was a "real expansion of the role women played in politics," said Reese-Taylor. "As I began researching, I noticed the existing literature suggested there were only a few isolated examples of these warrior queens in Maya society."

Kathryn Reese-Taylor at Naachtun, from Discovery

"I started to realize that was bogus," Reese-Taylor continued. "There were, in fact, many examples of noble warrior women. Woman's role was not in the background. It was up front and center." 

MANY WARRIOR QUEENS

This series will dive into the positions of four major Maya warrior queens. The first royal queen to hold a title was Lady Yohl Ik'nal, first woman recorded as ruler in the Maya kingdom and one of the few women who held this office. Her role was unusual because she held power for 21 years, from December 583 AD to November 604 AD and was known as a queen regnant, or official ruler of the city-state Baak/Baakal where Palenque was located as a city within it. This much is known because she had the title Divine Lord of Palenque and its first woman ruler. Along with this distinction she was known to have supervised an "accession" for Lord K'an Tok. Historians believe this took place between 587 AD and 604 AD, her year of death.

Archeologist Merle Green Roberston thought her tomb was at Palenque in Temple XX. It's believed the queen was memorably known and referred to because of Pakal's famous sarcophagus, discovered by archeologist Alberto Ruz in the 1950s, untouched. Maya artists depict prominent family members on tombs, and Lady Yohl Ik'nal was drawn twice, on the west side and east side, standing reborn by a zapote tree and also coming out of an avocado tree, reborn.

Merle Green Roberton's reconstruction painting of Pakal crypt in Temple of Inscriptions

PALENQUE'S ROLE IN MAYA WOMEN RULERS

She was related to K'uk' Balam who began his rule at Palenque in 431 AD and came to found a line of rulers, even though his reign lasted only until his death in 435 AD, a mere four years.

Lady Yohl Ik'nal's name from the sarcophagus of Pakal'

In Maya culture, women normally held temporary power through sons if they were too young to rule. The fact that Lady Yohl Ik'nal held power for more than two decades is impressive. She remained in power longer than her contemporaries in the region, withstanding two major attacks early on in her reign, the first in 599 AD from powerful Calakmul. In spite of this defeat and another invasion at an unknown later date from Bonampak, she retained her position and was treated with veneration throughout her reign.

Her name translates to Lady Heart of the Wind Place. Because her exact birth date is unknown, scholars believe she was either the daughter or sister of Palenque's Janaab Pakal, the previous ruler. As Maya rule usually descends through male lineage, historians have no doubt Palenque was going through a troubled time. There may have been unrecorded warfare that eliminated male candidates; this may have been the reason Lady Yohl Ik'nal ascended to the throne becoming queen. 

Pakal, greatest ruler of Palenque

PAKAL AND HIS LEGACY

Though much remains unclarified, it's believed that her descendant K'inich Janaab Pakal—either grandson or great-grandson—became the greatest and most venerated of all Maya rulers, ruling for 68 years. Pakal's tomb was discovered in 1952 in the Temple of Inscriptions at Palenque.

Temple of Inscriptions where Pakal's tomb was found

Though Lady Yohl Ik'nal was the first to be discovered of Maya warrior queens, she was not the last.

Stay tuned for Part 2: Lady K'Abel or Holy Snake Lady, from El Peru-Waka in Northern Guatemala.

If you enjoyed this blog, check out my memoir Where the Sky is Born: Living in the Land of the Maya. It's available on Amazon with tales about ex-pat life and living within 100 miles of four major pyramid sites. Subscribe to my bi-monthly blog posts above, or check out my website at www.jeaninekitchel.com. Books one and two in my Mexico cartel trilogy, Wheels Up—A Novel of Drugs, Cartels and Survival,  and Tulum Takedown are available also on Amazon.

THE MAYA TEMAZCAL—A SWEAT LODGE OR A SPIRITUAL RITUAL

 

Image from Matadorenetwork.com

Years ago I attended a temazcal ceremony in the pueblo Centro Vallarta off a jungle road not far from Puerto Morelos. The woman who would lead the ceremony was a respected guide and had been actively helping the Maya locals and specifically Maya women in numerous ways for years. When she asked if I’d like to attend, I was happy to accept.

One of many temezcal styles (photo Bajainsider.com)

ANCIENT STRUCTURES

Sweat lodges and saunas have been around for thousands of years and modern versions of these ancient structures vary with their place of origin. The temazcal comes from the native cultures of northern Mexico. The event I'd attend was to be an all women ceremony with ten in attendance. It took place next to a cenote—seemed like good Feng Shui—on one of her friend’s properties in Vallarta. A Maya local, he’d built the structure from long slender tree branches that he curved into an arch that became a dome, then covered with tightly woven palm fronds. The entrance was small, just below hip height, and the circular structure measured roughly 15 feet in width. Shapes and make-up of temazcals vary widely, ranging from natural structures like this one to stucco or cement block, even tile surfaces. 

On arrival that afternoon we swam in the cold waters of the sparkling cenote. It was a spring day and in southern Mexico that brings humidity and heat, especially inland. The water was refreshing and after our swim we sat on the side of the clear pool as we waited for the temazcal to begin.

Cenote (photo Natalie Obradovich)

When local women got together from our pueblo, it was usually a time of laughter, joking and fun, but we all sensed that our attendance here, at the temazcal, was a somber moment. We were undertaking an ancient ritual. For many of us it was our first experience attending a temazcal ceremony and the overall tone was thoughtful and reflective.

Goddess Ixchel (photo AlmaLDStours) 

Sandra's friend, Don Jose, had started the fire near the structure before we arrived, to heat the lava rocks for the temazcal. The entrance to the temazcal is traditionally low. That forces those participating to crawl in and out—a gesture of reverence as the ceremony represents rebirth in the womb of Mother Earth. A temazcal is considered a spiritual renewal, connected to the goddess Ixchel. Inside, at the dome's center, would be a ring of rocks inside which the heated lava rocks were placed. Don Jose kept the cloth flap over the entrance closed until we were ready to go inside. We’d each brought a towel or blanket to sit or lie on. Once inside, the hot, steamy atmosphere made me sweat. Temazcal in Nahuatal translates to house of heat. That was definitely accurate

PREPARING THE SPACE

Sandra had placed copal, or pom, a Maya incense, on the lava rocks before we went inside. Then she’d returned back to the group, asking us to gather in a circle around her. With arms wide, she beckoned to the four directions and four elements just outside the domed temazcal. She blew into a conch shell, one long continuous blast, before we all crawled into the temezcal’s dark interior where the smoky fragrance of copal filled the dome. Once inside we were asked to say silent prayers for guidance and divine blessings, a process to cleanse and fortify.

Lava rocks (Mexexperience.com)

She put volcanic rocks heated until glowing in the center of the ring. "These rocks are considered the grandmothers or abuelas," she explained, "so that our ancestors share the experience with us."

Fresh water in a bucket with fragrant herbs was brought to a boil, and then splashed on the rocks. The space filled with a musty perfumed odor. Everyone sat in silent contemplation and the process went on for a long while. It was stifling inside, a true sauna. 

We were in complete darkness, all sweating profusely, in silent repose. I leaned back on my blanket, wondering what came next. There was only silence for a good long while—us and our thoughts. Finally Sandra spoke.

SILENCE

“After your silent contemplation, we now begin our journey of rebirth. We’re in the womb here of Mother Earth. She asks our reasons for coming. While we sweat, it’s our job to look within for spiritual cleanliness while the sweat removes our physical toxins. We'll remain in silence."

For what seemed like forever, the dome was silent, with the only interruption being the hissing of the volcanic rocks when Sandra dripped water onto them. At long last she spoke. 

“Now we can go around the circle and speak out loud to our ancestors and our sisters here.”

Ancient temazcal at Parque Yaxah Nakum Naranjo (photo Wikipedia)

The next part of the temezcal was charged and emotional. The ceremony, the silence, the profuse sweating out of toxins, the intensity evident in our soul-bearing to each other, had transformed us.  After the last of us spoke, Sandra led a prayer and  benediction—a display of gratitude to Ixchel, our ancestors, the four elements and spirits. I felt bonded to not only Sandra but all the other women there along with renewed respect for Ixchel, the Maya mother goddess who had guided us to this satisfying finale.

I hear every temezcal is unique, though a certain amount of propriety remains intact. The ceremony I attended was a hybrid, conducted not by a Maya local but a woman from the community who had studied and trained in the ways of Maya shamanic life. I felt reborn as I crawled out of the dark dome, eyes downward, after my jolt of spiritual awareness. One by one we made our way to the edge of that clear cenote, feeling the welcome fresh air and slipping into the cool water, submerging our entire bodies as we embraced our newborn selves. From darkness, we were now swimming in the light.

Temazcal in San Luis Potosi (photo Trip Advisor)

If you enjoyed this blog, check out my memoir Where the Sky is Born: Living in the Land of the Maya. it's available on Amazon with many more tales about ex-pat life and living within 100 miles of four major pyramid sites fo years, owning a bookstore in Mexico, Maya culture and Mexico travel. Subscribe to my bi-monthly blog posts above, or check out my website at www.jeaninekitchel.com. Books one and two in my Mexico cartel trilogy, Wheels Up—A Novel of Drugs, Cartels and Survival, and Tulum Takedown, are also on Amazon. My journalistic overview of the Maya 2012 calendar phenomenon, Maya 2012 Revealed: Demystifying the Prophecy, is also on Amazon.

 

DAY TRIPPING TO THE MUST-SEE MAGNIFICENT MAYA PYRAMIDS AT EK BALAM

Ek Balam Gateway to the Underworld (En-Yucatan Travel)

Day Tripping

Excerpt Chapter 17, Where the Sky is Born—Living in the Land of the Maya

On the paid highway just outside of Valladolid we stopped at the toll booth to pay the fee. All around us the monotonous landscape of the eastern Yucatan prevailed. Flat and dry with the occasional crecopia tree, ranch or small hacienda, there was little else. In five minutes we were at the city's outskirts, driving on a narrow one-way street past tidy cement block homes. A mustard-colored stone wall hugged the road all the way into el Centro.

Crecopia (Useful tropical plants)

Our rental car bolted towards the square where wrought iron benches with wooden slats were crowded with locals and tourists alike. I gazed at an ancient stone church with two tall spires that stood on the south corner of the square as we rounded the wide traffic circle, looking for a sign that would direct us to Ek Balam.

Although its past history was ominous, present day Valladolid was that pleasant contradiction one so commonly finds in Mexico—a busy city with one foot in the past and one in the future. Commerce prevailed and the streets were lined with shoppers and vendors taking care of daily chores and business.

Valladolid

One more time around the traffic circle and el Centro and we spotted the sign directing us to the pyramid site, only 15 kilometers away. Another one-way street led out of town and we followed it past small pharmacies, neat houses and the occasional tienda. 

Once on the city's outskirts the road narrowed considerably but was smooth and newly paved. Several kimometers later another sign pointed to the right and we took a turn that dipped and led down to an empty creek bed, then back up the other side into a forgotten pueblo. Packed dirt streets no more than 12 feet wide were bordered by rock walls dividing the street from tiny yards with ancient stone houses coated with rough plaster. Some lots had twig huts with palapa roofs. At one crossroads, two squealing pink piglets ran dangerously close to our tires, chased by a squawking red rooster, tail feathers bobbing. A hunched old woman eyed our late model rent-a-car cautiously as we inched our way through this time warp in history.

Countryside near Ek Balam (PxHere)

Finally out of town, we welcomed the freedom of the open countryside. In the distance I saw a pyramid temple peeking above the low shrub landscape. A simple green sign with an arrow and picture of a pyramid pointed down a side road to the north. We turned onto the sacbe, an ancient Maya pathway, and drove slowly towards what we hoped was the site entrance. 

At a primitive palapa a caretaker appeared. He explained there was a ten peso donation and asked if we wanted a guide. We said yes and he pointed to a raven-haired boy of ten.

"Mi hijo, Jorge." His son would assist us. We dropped the pesos in a handmade wooden box and followed the boy down the road.

Entrance to Ek Balam (photo Loco Gringo)

Except for his size, Jorge had all the attributes of a serious 40-year old. He was reflective and deliberate in his speech, and as we walked, he began telling us the history of Ek Balam. Construction started around 100 B.C. The site was named for Maya ruler Ek Balam, bright star jaguar. Ek to the Maya is the brightest star in the heavens; balam is the word for jaguar. The first excavations of the site were carried out by Frenchman Désiré Charnay in 1886, and more recent work had begun in 1987 when INAH (National Institute of Anthropology and History) funding was granted. Although the city was compact, there was still much to be done. He explained that the number of buildings on the site suggested Ek Balam had been rich and powerful at the same time, possibly holding the position of agriculture center of the northwestern Yucatan.

Statues at Ek Balam (Yucatan photos)

We walked through an amazing four-sided gateway arch that, Jorge explained, connected to a sacbe (road) which connected to all the Maya kingdoms. Ek Balam had numerous sacbes, he explained, to all major sites in northern Yucatan and beyond. The views from the arch landing were breathtaking.

Arch of Ek Balam (photo FinalTransit)

Front Ek Balam arch (photo Mauricio Marcelin)

"Paul," I said. "This is fantastic."

A three-sided wall, either ceremonial or defensive, surrounded the city, similar to the wall at Tulum. Ek Balam was known to contain an astrological observatory, palace, tower, a ball court, two cenotes and a building archeologists named the Acropolis, most likely due to the sculptures found inside—full figure statues that looked more Greek than Maya.

From the 10-foot high stairway at the gateway arch, Jorge directed us through the ball court and onward to the remarkable Acropolis. He told us the Acropolis was twice the size of El Castillo at Chichen Itza, with tunnels inside leading to tombs. A unique stucco fresco had life-size statues intricately carved into it. These were definitely rare in the Maya world. They appeared Asian, closer in appearance to Angor Wat than Chichen Itza. I'd not seen anything like it before in Mexico. 

Acropolis at Ek Balam (photo 123RF)

We climbed two-thirds of the way up the edifice, to get a closer look at the statues. Burnished in time to a golden brown, it was almost impossible to believe we were here in Ek Balam. Paul stood before the stucco fresco. "They seem Grecian, or Indian. Look at the lotus position on that statue," he said as he pointed at a character with a Shiva-like headdress.

Hindu comes to the Maya at Structure 4 (photo Yucatanmagazine)

Statues (Mediawarehouse.com)

Through a hallway leading to the tomb of the ruler, Ukit Kan Le'k Tok, who coined Ek Balam, was a 12-foot high stucco mouth with teeth, representing the gateway to the underworld, the Maya version of the River Styx. Archeologists theorize most of the Acropolis was built around 800 A.D. by Ukit Kan Le'k Tok.

The Maya so well preserved the stucco in the Acropolis tomb that no modern restoration was required. After the ruler was buried, the tomb was filled with powdered limestone and rocks, and the entire facade was covered with the same material for preservation.

Ek Balam (photo CancunAdventure.com)

Jorge was a perfect guide, very absorbed in the details of the site and its history. He confided that his dream was to one day become an archeologist. We paid him for his guide work and he followed us out to the car, not wanting to end the conversation.

Within minutes he became a ten-year old again, excitedly asking where we were from and where we were going. He gallantly opened my car door and in so doing, spotted my Maya Ruins Guide in the back seat.

Maya Ruins Guide

Noting his look of longing I asked, "Quieres mi libro?" Would you like my book.

"Si, si!" he said, looking terribly excited at the prospect.

I told him it was in English, but I was sure that since he was going to be a famous archeologist some day, he would soon learn that language.

He agreed wholeheartedly and the last image I have of Jorge was his hugging the Maya Ruins Guide tightly to his chest as we pulled onto the ancient sacbe leading us away from Ek Balam.

                                                             ***

Side note: Where the Sky is Born was written in 2003 and many of our Maya travels happened much earlier, late 1980s, so much is now changed—pretty much everywhere in the Yucatán. Ek Balam, however, is still a site to be reckoned with. The foliage surrounding it is lush and gorgeous, and the real plus is it's not as touristy as nearby Chichen Itza. The statues are so very different from other art found at Maya pyramid sites. They're quite exquisite.

If you enjoyed this excerpt from my memoir Where the Sky is Born: Living in the Land of the Maya, it's available on Amazon with many more tales about ex-pat life, living within 100 miles of four major pyramid sites for many years, owning a bookstore in Mexico, and Maya culture and Mexico travel. Subscribe to my bi-monthly blog posts above, or check out my website at www.jeaninekitchel.com. Books one and two in my Mexico cartel trilogy, Wheels Up—A Novel of Drugs, Cartels and Survival, and Tulum Takedown, are also on Amazon.  My journalistic overview of the Maya 2012 calendar phenomenon, Maya 2012 Revealed: Demystifying the Prophecy, is also on Amazon. 

WHY WAS FRANK LLOYD WRIGHT OBSESSED WITH THE MAYA?

 

The Ennis House, Los Angeles (photo TripSavvy).

Frank Lloyd Wright, considered by many to be the greatest architect of all time, never attended a formal architectural school. Wielding an avant-garde edge, he thought of interior and exterior places as one. This concept extended to his building forms and construction methods. Wright's signature on a certain type of architecture became not only an embellishment but a trademark. 

During a career that spanned 70 years, he designed over 1000 structures, created in harmony with humanity and the environment in a philosophy he dubbed organic architecture. His early beginnings were in the midwest where he was born and raised. That too is where he began his formal career as an architect in Chicago in 1893, after moving from rural Wisconsin.

THE PRAIRIE STYLE

From early on he experimented with different styles, incorporating one or more into his commissions, and by 1900, had developed a style that was to become his signature, the Prairie Style.  

Taliesen West (Architecturemagazine.com)

Coonley House/Prairie Style (Curbed Chicago)

1893 WORLD'S PRE-COLUMBIAN EXPOSITION

Though it's believed that Wright never stepped foot on the Yucatán Peninsula, home to numerous Maya pyramids, when he arrived in Chicago, lore has it he was inspired by the display of Maya artifacts and replicas at the 1893 World's Pre-Columbian Exposition in Chicago. It was there he glimpsed plaster castings from major Maya sites, Chichen Itza and Uxmal. A feature of the lesser known Labna site, in the Pu'uc Region in southern Yucatán, became important to his work due to his recurring use of its meaningful arch.

Nunnery Quadrange, Uxmal site (Archeology.eu)

Wright's interest in the Maya was piqued early on, from childhood. He was drawn to the Maya world when his mother showed him pictures in books about Central America and Mexico."Those images stayed in his mind most of his life," said Thomas Hines, UCLA architectural historian.

INCIDENTS OF TRAVEL BEST SELLER 

Las Monjas, Chichen Itzá (Frederick Catherwood)

In the 1840s, two books about Central America archeology became best sellers: Incidents of Travel in Central America, Chiapas and Yucatán, and Incidents of Travel in Yucatán, Part 2, by explorer John Lloyd Stephens and British artist Frederick Catherwood. The 1893 exposition's display of the ancient Americas lauded the indigenous people who first called this continent home. It was one of Stephens' books that drew Wright into the world of the Maya.

GOLDEN DOORWAY

Wright and his employer, Louis Sullivan, had contributed a monumental golden doorway for the Transportation Building at the fair and during his many visits to check on it, Wright would have seen Stephens' casts and photos of the Maya buildings. Both he and his employer were drawn to the style which would eventually be known as Mayan Revival; they both distained the European Neo-classical style that dominated other buildings at the expo.

Golden Doorway for Transportation Building

Eventually Wright broke from his employer and established his own firm in Oak Park, Illinois, where he designed numerous commissions, gaining ground and at times notoriety with many well-heeled clients. By this time he was married. With his wife, Catherine, and their six children, he settled into a white picket fence existence.

Edwin and Mamah Cheney house (compositiondelascasa.com)

THE CHENEY HOUSE

While designing a house for local residents Edwin and Mamah (Mamey) Cheney, Wright and Catherine began socializing with his clients at the precise moment that middle age, ennui regarding his Prairie style designs, and a craving for change and greener pastures collided. Mamah, a feminist and free thinker, could keep up with Wright intellectually. She intrigued him. Change won. She and her husband divorced almost immediately, allowing Mamah to escape the confines of her marriage. The couple soon left for Europe to avoid the brouhaha and the tabloids. They spent time in Germany and Italy, where he viewed various architectural styles. On their return to the US and despite his wife refusing to grant an immediate divorce, Wright was determined to build a house for Mamah in the rural fields of Wisconsin near his childhood home. It would be transformational and a beauty, and he would name it Taliesin.

Taliesin (Wisconsin Visitor Bureau)

TALIESIN 

Love and happiness, however, were short lived. At a nearly completed Taliesin in 1914, his lover Mamah Bothwick Cheney was murdered by a household staff member along with her two children and five others. After the heinous massacre, Wright sought solace far from the midwest. Los Angeles, known as a place for reinvention and recuperation, beckoned. He headed west.

Mamah Borthwick Cheney (history.com)

After the murders, he was again exposed to Maya architecture and pyramids at the Panama Pacific Exposition in San Francisco in 1915. As the displays at Chicago had stimulated Wright, mentioned by Thomas Hines, the Panama Pacific Exposition glimpse of Maya culture made a lasting impression.

Though the displays were based on a Maya fantasy world, they cemented the Maya link between architecture and death, "Which was not only the setting for a fantastic pyramid palace but also for human sacrifice; part of the complexes displayed where humans were buried."

WRIGHT IN LOS ANGELES

"A place where the living could communicate and remember the dead," said Hines. "And after the loss of his lover, Mamah Cheney, death was much on the architect's mind. The exceptional architectural style of the Maya sites must have greatly intrigued him, for it was an outsized influence on his Los Angeles architectural style," continued the UCLA historian.

A.D. German Warehouse (franklloydwright.org)

Prior to his exodus to LA, Wright tried out his Mayan Revival style on a Richland, Wisconsin commission in 1915, —the A.D. German Warehouse. On completion, the site hardly looked like something that would house the wares of a green grocer in a small Wisconsin town—it more resembled a temple pulled from a Catherwood drawing of the Maya Nunnery at Uxmal.

This commission helped test the Maya motif that would become the basis of his residential work in Los Angeles. On completing Wisconsin, he accepted an offer to design the Imperial Hotel in Japan.  

Hollyhock House (photo Curbed LA)

MAYAN REVIVAL STYLE

Today five iconic LA houses render his Maya look. While constructing the first, Hollyhock House, he worked simultaneously in Japan on the Imperial Hotel which helped shape his vision as an architect.

Though the houses Wright designed in Los Angeles pre-dated the Art Deco movement that began in the 1920s, they have the undeniable air of deco. We'll never know if Wright influenced the movement or vice versa. And though the Mayan Revival style itself had begun at the turn of the 20th century, its popularity accelerated once Wright got on board. This style is most notably seen in his Southern California open-concept layouts built from concrete stackable blocks molded with local materials and natural color schemes, and stamped with bold geometric motifs.

Hollyhock House, his first LA commission, was completed in 1921 for oil heiress Aline Barnsdall who had purchased 36 acres on the eastern edge of Hollywood. Wright's finished design was above all a Maya temple. Barnsdall had planned on a multi-arts center, and never intended it for residential use.

The hearth at Hollyhock House (photo Curbed LA)

HOLLYHOCK PLUS FOUR 

With its 17 rooms and seven baths, it's often noted as a bridge of Wright's two prominent styles: Mayan Revival, with textile blocks inspired by temples from Palenque, and Prairie Style, with its low-pitched roof line. 

In 1927 she gifted it to the city. But it was at Hollyhock House, named for the flower that Barnsdall most loved, where Wright began working with natural materials. 

A "cultural nationalist," according to leading Wright authority Kathryn Smith, Los Angeles, he strove to define an original American architecture and shied away from Victorian and Spanish colonial styles. Though of Welsh origin, he believed an indigenous architectural style would better suit the Americas rather than a European style architecture.

Kathryn Smith said he sought out traditional materials on the lands where he was building, making the concrete blocks from sand and granite, stamping them with motifs resembling Maya symbols. His open concept layout led to massive rooms and enormously high ceilings, in some cases creating the feeling of a mausoleum, as people who actually lived in his houses had been known to say.

Next came the Alice Millard commission on one acre in Pasadena, La Miniatura. This is where he truly refined the concrete molecular block system, with his stamped Maya patterns. Flat-roofed and mysterious, a wall of blocks stamped with equi-distant diametric crosses greets one at the property's edge. One historian said the cross is a reference to the MesoAmerican understanding of the cardinal directions, pointing to the cardinal elements that establish the shape of the universe. Some called the Millard House a small temple in a eucalyptus grove.

The Millard House

The placement of the house is in a ravine, with two towering eucalyptus trees standing nearby, and gives the feel of being at a jungle pyramid site, much like Palenque. 

After the Millard commission came the Storer House in 1923. Built on a steep hillside, the house is dominated by a large upstairs living room with a high ceiling. Maya inspired columns and tall narrow windows dominate. It's believed that this house was built on spec. It was owned by Joel Silver, Hollywood producer, from 1984 until 2002. He gave it a thoughtful renovation including a pool that had been in the original plans. Brendan Gill, one of Wright's most thoughtful biographers, said it was more like a home for a Mayan god.

 

The Storer House (Californiahomedesigns.com)

Probably the best known FLW house in Los Angeles is the Ennis House, built also in 1923, for Charles and Mabel Ennis. It very much appears to be another Maya grand palace, but the Ennis' insisted that Wright incorporate some of their desires into his design. Notably seen in a handful of movies—Blade Runner, Day of the Locust, The House on Haunted Hill—it overpowers the environment and looms over the neighborhood like an ancient ruin, visible for miles around.

The Ennis House (TripSavvy.com)

Ennis House stamped wall of concrete Maya blocks (photo Galerie)

And last of the FLW LA five is the house built in 1924 for dancer Harriet Freeman and her husband Samuel, the Freeman House. Donated to USC, the daughter and son-in-law of the Dean of Architecture lived in the house while attendeding university. "It felt like a ruin," she said in 2002. "It was crumbling down all around us."

The Freeman House

Of Wright's LA houses, the Freeman House had the happiest existence. It was home for 60 years to the Freemans, a Bohemian couple who befriended him and scraped together the money for Wright's commission. Notably it was the only Wright house in LA to hold long-term occupants. The Freemans lived there until 1986 when they donated it to USC. According to Harriet Freeman, the house was dense and introverted, but it well suited their purposes. Along with being their home, Harriet, a dancer, used it as a dance center and salon where she entertained and performed.

GRANDSON ERIC WRIGHT

Eric Wright, 91, the architects's grandson who lives at FLW's unfinished Malibu property high in the hills, was interviewed by Christopher Hawthorne, architecture critic for the LA Times, for his documentary on Wright, That Far Corner. When Hawthorne asked what drew FLW to Los Angeles, he was candid. "He was very upset about the loss of Mamey and the adverse publicity because they weren't married," Wright said.

"What was his state of mind when he moved to Los Angeles?" Hawthorne asked. 

"Sorrow," Wright said. "He had a wonderful life until her death."

Eric Lloyd Wright in Malibu (Los Angeles Magazine)

Hawthorne asked Tim Samuelson, Chicago's cultural historian, what he made of Wright's LA Mayan Revival look. "They seem like, the houses, almost mausoleum-like. They are heavy. One critic described them as dark and macabre—like the drama of Sophocles. The LA homes were. . . brutal, romantic, fantastic, and—strange."

FUNEREAL ASPECTS

Filmmaker Hawthorne continues, "The LA houses have funereal aspects. They're sinister, lacking joy. But scholars are hesitant to embrace the crude character of pre-Columbian death cults. These ideas, however, shaped Wright's understanding of pre-Columbian design and their meaning."

"His architecture," historian Blair Kamin said, "and this mission helped him to recover from personal tragedy. His architecture saved him in the end."

"His LA houses," continued Hawthorne, "stand apart from his work overall and apart from the rest of LA architecture of the period. They are not just heavy, but heavy-hearted—their starkness, and in some cases, their state of ruin. I don't think it's because the houses look crypt-like and that is why they are empty. It's because they are crypt-like that none are used as full-time residences. They are off-putting. The houses are shadowed by violence and even death.

"At the time, building these houses was a means for Wright to put a troubled period behind him for good. It exemplified his own uncertain state of mind. I believe they were a catalyst for putting aside that very troubled period.

"Wright buried Mamey in the Unity Chapel Cemetery in Spring Green, Wisconsin—but she's also buried in Los Angeles."

                        

                                                                  

Unity Chapel, Spring Green, Wisconsin—FLW's first commission

Who knew that Wright's ongoing obsession with the Maya would rescue him as he worked his way out of grief by creating mausoleum-like, cathedral/pyramid tombs over and over and over again in reverence of the woman he loved and lost. As the historian said, his architecture saved him in the end.

Gravestone for Mamah Borthwick Cheney in Spring Green, Wisconsin

Resources for this post came from Curbed LA—Demystifying Frank Lloyd Wright's Most Eccentric Homes; Coming Around to Frank Lloyd Wright—Architecture Magazine; Getting it Wright: Today's Prairie Style; Trip Savvy's Frank Lloyd Wright LA Homes; Frank Lloyd Wright Foundation: Peek Inside 7 Iconic FLW Houses; ChicagoCurbed.com's Take a Walking Tour of FLW's Oak Park Homes; WendyCity'sChicago.com's World Fair Moments: Sullivan's Golden Door; Sunset Ranch in LA: Frank Lloyd Wright in Los Angeles; Los Angeles Magazine's Inhabiting a Legacy; Curbed LA—Frank Lloyd Wright's Forgotten Hollywood Sand Castle; Artsy.net's How Frank Lloyd Wright's Take on Mayan Temples Shaped Hollywood; Loving Frank, by Nancy Horan; and the documentary That Far Corner, by Christopher Hawthorne.

If you want to read more about the Maya, Mexico and the Yucatán, sign up at the top right for my bi-monthly blogs, or check my website at www.jeaninekitchel.com. Where the Sky is Born: Living in the Land of the Maya, my memoir on life as an expat is available on Amazon. Also there check out my Mexico cartel thrillers, books one and two in my Wheels Up trilogy: Wheels Up—A Novel of Drugs, Cartels and Survival, and Tulum Takedown. For a journalistic overview of the Maya 2012 calendar phenomenon, check out Maya 2012 Revealed: Demystifying the Prophecy.