This is my representation of perhaps the most fascinating and important archeological find in all of the Americas. This is the sarcophagus lid that housed the remains of King Pakal, widely regarded as the most important leader of the ancient Mayan city of Palenque located near the Yucatán Peninsula. The tomb was discovered in 1952 by the Mexican archaeologist Alberto Ruz Lhuillier. While excavating the Palenque site in 1948, Lhuilier walked up to the top of the pyramid known as the Temple of the Inscriptions. He began to study the floor and noticed that it was a giant slab that had numerous holes in it. He wondered why and I am certain that he also wondered why no one, out of all that had come before him, paid attention or just simply ignored that detail. He immediately instructed a number of workers to begin removing the slab and they noticed two steps descending down. By the end of the summer of 1948, they had excavated 23 steps. 23 more in 1949. It took 3 more years to complete the excavation until June of 1952, they had found an empty room that seemed to lead to nowhere else. There had to be something more. It was then that an especially astute stone mason noticed a funny little triangle on a wall and it was removed and found that it led to another room. Upon entry of this room, the sarcophagus was discovered surrounded by ornate carvings throughout the walls. However, no one really knew what they had stumbled upon. They originally thought it was a table or perhaps an altar of some sort. One of the masons suggested to Lhuilier that they drill a hole in the side to see if it was solid or hollow, which does suggest to me that they had the idea that it could be a tomb. They drilled and did indeed find that it was at least hollow. Lhuilier then sent some men out to get automobile jacks and once obtained, they removed the 7 ton, 7’x 12 feet, 9.5-11 inch thick stone slab, all the while marveling at the ornate carving that adorned the slab and having no idea what it meant or of whom it represented. They had, of course, uncovered the remains of a great king. He was found adorned with jade jewelry and next to his head were the broken remains of his death mask also made of jade. The mask was later reassembled to reveal its true beauty. Many years later, once scholars had “cracked the code” of many of the Mayan symbology and language, it was discovered the significance of the find and indeed of the King himself. Pakal was born in 603 AD and came to power at age 12 in 615 after the death of his father, K’an Mo’ Hix around 612. He reigned until his death in 683. His rule was proceeded by his son who completed the construction of his father’s tomb, the Temple of the Inscriptions. King Pakal’s reign is important to the city due his ability to bring the city back from the brink after it was sacked in 599 by the city of Calakmul. Pakal later rose to power and was able to establish the city as an important royal court bringing much wealth and prosperity back to Palenque until the people of this city, like all other Mayan cities, mysteriously vanished. Theories are abound as to what happened to the once thriving civilization ranging from drought and famine to other worldly explanations...as some ancient astronaut theorists contend. Which brings me to the interpretation. The magnificent artistic carving on the top of the sarcophagus lid is one of the masterpieces of Mayan art. King Pakal as well as his family are well represented in various carvings throughout Palenque. He is usually characterized in the center of these compositions indicating his importance and the reverence felt by his people. This lid is no different. It depicts Pakal being reborn. Pakal is on his back, wearing his jewels, headdress, and skirt. Pakal is shown in the center of the cosmos, being reborn into eternal life. He has become one with the god Unen-K'awill, who was associated with maize, fertility, and abundance. He is emerging from a maize seed held by the Earth Monster whose enormous teeth are clearly shown. Pakal is emerging along with the Cosmic Tree, visible behind him. The tree will carry him to the sky, where the god Itzamnaaj, the Sky Dragon, is awaiting him. However, ancient alien theorists assert that Pakal is depicted here as a sort of astronaut manipulating controls with his hands and feet and utilizing some sort of breathing apparatus. The Cosmic Tree is a type of flying machine that is blasting off in a hail of smoke and fire seen at the bottom of the carving. This is certainly an intriguing theory and, when one looks at the carving, a convincing theory. Zechariah Sitchin had a number of theories on this, furthered by Erich Von Daniken in his astounding book “Chariots of the Gods”, along with many other modern day ancient alien theorists. Let me say that I am a believer in many of these theories, or, I am at least open to many of the possibilities that these “unorthodox” theories propose. However, my problem with their interpretation of King Pakal’s lid comes down to one thing, the Cosmic Tree. As stated before, Pakal is depicted often throughout the city. So is the tree. While there are several artistic interpretations of this tree, the main shape and depictions are the same. Nowhere else is it represented as a type of mountain drilling machine as Sitchin believed nor is it meant to be a flying machine as Von Daniken has proposed. In every carving, it is simply the Cosmic Tree. If the lid carving were a one off and the “tree” was not seen anywhere else in Mayan interpretations, I could believe this much easier. Therefore, one must contend with the well researched Mayan scholars. This does not necessarily debunk the theory that aliens had visited this planet then or at any other time or even assisted any prior civilization on Earth. There is plenty of other evidence to support this theory and I will let you research that and decide for yourself. I simply wanted to celebrate this incomparable piece of artwork and give a bit of history behind it. It is truly remarkable and I find the Mayan artwork to be some of the most beautiful work that our species has ever produced. While my feeble representation cannot possibly be compared to the original work, I hope that you find it at least entertaining to look at and perhaps even see the love and respect I tried to pour into this piece as one artist stands in awe of another artist that, unfortunately, remains unknown. Thank you, Martin Freeman
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