MEXICO CITY.- For the ancient Maya, tattoos and scarification weren't just skin deep. They were a vibrant language etched onto the body, a complex system of symbols that spoke volumes about an individual's place in society, their achievements, and their connection to the spiritual world. A new exploration into Mayan art and culture is shedding light on the rich traditions surrounding these practices, revealing their profound significance in Mayan life.

Archaeologist Benjamín Guarneros Brito, presenting his research at the Seminar on Anthropological and Historical Studies of Quintana Roo, has delved into the artistic expressions of the cultures that flourished along the Usumacinta River, including Toniná, Palenque, Comalcalco, Jaina, and Calakmul. His work focuses on the Late Classic period, a time of great artistic and cultural flourishing, and examines how tattoos and scarification were depicted in Mayan art, from ceramic vessels and figurines to monumental stone sculptures and vibrant mural paintings.

Guarneros Brito's research reveals that these practices were deeply ingrained in Mayan society, serving a multitude of functions. Tattoos could mark the important transition into adulthood, celebrating a young person's coming of age. They could also commemorate a warrior's bravery and success in battle, signifying their elevated status. Ascension to political, social, or religious leadership was often marked with distinctive ink, visually proclaiming an individual's new role and responsibilities. Lineage and social standing were also clearly displayed through intricate designs, ensuring that everyone knew their place within the complex social hierarchy. Perhaps most importantly, tattoos and scarification served as a powerful link to ancestors and the supernatural realm, connecting individuals to their spiritual heritage and the gods they worshipped.

Intriguingly, Guarneros Brito's experimental archaeology has provided insights into the tools and techniques used by Mayan artists. He discovered that stingray spines and fish dorsal spines were particularly effective for injecting pigments into the skin. He also identified halved sea snail shells as potential tattooing and scarification tools, possibly used by the specialized guild of Mayan artist-scribes.

The very words used to describe these practices offer a clue to their meaning. "Tattoo," derived from the Samoan words "ta" (drawing) and "tau" (skin), emphasizes the artistic nature of the practice. "Scarification," from the Latin "scaraficatio," highlights the physical act of creating incisions on the skin. The Mayan word "hots," meaning "to work the body oneself," as defined by the Cordemex dictionary, suggests a deliberate and perhaps even ritualistic approach to body modification.

Guarneros Brito proposes that the Mayan painters-scribes, known as ajtzib' or ix ajk'uhu'n, who were responsible for creating murals, codices, and painted ceramics, were also likely the practitioners of tattooing and scarification. This specialized group, highly skilled and sanctioned by the ruling class, possessed the knowledge and tools necessary to carry out these intricate and culturally significant practices.

The Spanish conquistadors, upon their arrival in the 16th century, documented their observations of Mayan tattooing. Diego de Landa, in his Relación de las cosas de Yucatán, described the practice, noting that the more elaborate the tattoos, the more valiant and brave the individual was considered. Bernal Díaz del Castillo, in his True History of the Conquest of New Spain, recounted a conversation with Gonzalo Guerrero, a Spaniard who had integrated into Mayan society, who explained that his tattooed face and pierced ears marked him as a leader and warrior.

Unfortunately, with the arrival of Christianity, these deeply rooted traditions began to disappear. The Spanish associated these practices with pagan beliefs and sought to eradicate them. Like many other indigenous customs, tattooing and scarification were suppressed, fading from common practice.

Guarneros Brito acknowledges that the study of tattooing in Mesoamerican archaeology is still in its early stages. However, his research and the work of other scholars is beginning to piece together the fascinating story of these ancient traditions. He also points out the modern resurgence of tattooing, noting its shift from a practice associated with marginalized groups to a widespread form of self-expression. While today's tattoos may often lack the profound symbolic weight of their Mayan counterparts, they nonetheless represent a continuation of the human desire to adorn and transform the body, echoing the artistic impulses of cultures past.