thumb|300 px|right|Bonampak
Bonampak (known anciently as Ake or, in its immediate area as Usiij Witz, 'Vulture Hill') is an ancient Maya archaeological site in the Mexican state of Chiapas. The site is approximately south of the larger site of Yaxchilan, under which Bonampak was a dependency, and the border with Guatemala. While the site is not overly spatial or abundant in architectural size, it is well known for the murals located within the three-roomed Structure 1 (The Temple of the Murals). The construction of the site's structures dates to the Late Classic period (c. AD 580 to 800). The Bonampak murals are noteworthy for being among the best-preserved Maya murals.
The site, lying close to a tributary of the Usumacinta River, was seen by non-Mayans in 1946. Precisely who was first of the non-Mayans to see it is a matter of speculation, but it was either two American travelers, Herman Charles (Carlos) Frey and John Bourne, or photographer/explorer Giles Healey. The Americans were led to the ruins by the local Lacandon Maya who still visited the site to pray in the ancient temples. Giles Healey was the first to be shown the huge paintings covering the walls of one of the structure's three rooms. The paintings show the story of a single battle and its victorious outcome.
History of the polity
Bird Jaguar in the early 5th century fought against K'inich Tatb'u Skull I in Yaxchilan, and lost his freedom. Other nobles were captured in a later war against Knot-eye Jaguar I. In 514, Knot-eye Jaguar I was himself taken captive (by Ruler C of Piedras Negras), giving Bonampak some respite; but after 526, his successor K'inich Tatb'u Skull II attacked Bonampak again and captured more lords.
Bonampak by 600 CE had become a satellite of Yaxchilan. In that time, the ajaw of Yaxchilan installed Yajaw Chan Muwaan I as lord in Bonampak. Subsequent ajawob reconstructed the site to orient toward the metropolis. C. 790 CE, Yaxchilan's king Shield Jaguar III oversaw the installation of Chan Muwaan II, and hired Yaxchilano artisans to commemorate it in "Structure I"'s murals. Bonampak collapsed with Yaxchilan in the 9th century.
Temple of the Murals
thumb|200 px|Musicians on lower register of the east wall of Room 1.Structure 1:
Structure 1 at Bonampak, built at the end of the eighth century A.D. measures 16 meters long, four meters deep, and seven meters tall, and is constructed atop a T-shaped platform. Although there is no evidence to support the claim, some speculate that it may have also had a roofcomb, such as can be seen on Structure 33 at nearby Yaxchilan. Structurally symmetrical, balanced and stable, it is composed of three separate rooms, which contain murals that narrate the events surrounding the accession to the throne by Chooj, son of Bonampak ruler Yajaw Chaan Muwan, and grandson of Aj Sak Teles. Although there has been some disagreement as to the temporal sequence of events, it is generally agreed that the narrative should be viewed in chronological order, beginning in Room 1 (scene of tribute, dressing, dance, mummery and musical performance); then on to Room 2 (scene of violent conflict, and a display in which a human cull is presented, tortured and killed in the company of the highest members of court and upper echelons of the victorious force); and, finally, to Room 3 (scene of a dance, with observers, and ritual bloodletting). Between these niches there were two larger stucco scenes, only one of which has survived the ravages of time. Hinting at what is depicted within on the murals, the image depicts a figure in a forward stride toward a captive on his knees before him, his hair being gripped firmly by his vanquisher. On the east and west sides of the building, the upper course featured additional seated figures within niches set atop long-snouted god heads—these still have some remnants of red paint visible. There are 77 human figures in this first room fulfilling various functions within the narrative. Some of the actors that capture immediate attention are the elegantly costumed figures on the lower register of the south wall (HF's 62, 63, and 64). The large, feathered back racks, in addition to the various jaguar, quetzal and serpent elements in their costumes, underscore the importance of these figures. These are the three ch’oks (young heirs). It was at first thought that the central figure (HF 63) was the ruler of Bonampak, Yajaw Chaan Muwan. However, further readings of the accompanying glyphs show this figure to be the future ruler, Chooj, who is in between his two brothers: Bird Balam and Aj Balam. Finally, in the vault across the whole scene in Room 1, the faces of the Sun God are shown as it moves across the sky. On the east wall, a large crocodilian, representing the vault of the sky, carries the myriad avatars of the Sun God upon its back. It also contains more human figures than either Room 1 or Room 2, with 139 of them. The south wall, which is the first that is viewed upon entering, along with the east and the west walls, depict warriors in the heat of battle. Bodies are intertwined on both the lower and the upper registers. Trumpets blast as the battle rages on (HF 7). As one begins to focus more and more on the individuals, a couple of
artistic elements and their symbolic meanings become clear. The ancient Maya believed that to be left-handed was a sign of femininity and weakness, thus the warriors who are shown as defeated—including already being stripped nude, with the victors gripping them by the hair—or those in the process of being defeated, are depicted as being left-handed (e.g., HF's 61 and 67). Some are even illustrated with two left hands. To contrast this sharply, several victors are given two right hands, doubling their strength and masculinity. In addition to left-handedness, the losers are also all wearing some element of a bird—or, at least those that are still in their battle costumes, and have not yet been stripped of them. This is also indicative of defeat. The victors, on the other hand, all wear costumes with feline elements—specifically, the jaguar. Therefore, it is of no surprise to see the main character on the upper register of the south wall, Yajaw Chan Muwaan (HF 55), firmly gripping a jaguar skin-covered spear in his right hand while donning a large, extravagant jaguar headdress—which may contain a water-lily scroll—and wearing a jaguar jerkin and jaguar boots. It is clear that this tomb was part of the original construction of Structure 1 and was not, therefore, created at a later date.
Room 3:
thumb|200 px|Upper register of the east wall in Room 3 featuring Bonampak noble women engaged in ritual bloodletting. Immediately above, in the vault, is a supernatural entity spewing blood.|alt=
This is the scene of ritual celebration for victory in battle, including bloodletting by nobles, and contains 65 human figures. As with Rooms 1 and 2, the south wall is the first to be viewed. What captures one's attention immediately are the three elaborately dressed individuals in the upper register (HF's 16, 21, and 24) wearing tall, green, quetzal-feathered headdress and dancers wings.