The -U- Symbol in Mesoamerican
Iconography: A Cosmic Element of Maya
Culture in Architecture
PhD. María Pilar V. Llorente
Universidad de Córdoba, Spain
Abstract: This article will try to explain the
significance of artistic symbolism in
Mesoamerica, with the ancient “U” motif, and
its relation with cosmology in the Preclassic
until Classic periods. This element is visible in
the coastal Izapa cultures, the highland
Kaminaljuyú societies, and the lowland Maya
cultures who used this symbol in their
iconography and epigraphy.
Keywords: Mesoamerica, Iconography,
Architecture, Symbolism, Cosmology, “U”
element.
1. Introduction
The “U” symbol appears in the Mesoamerican
Preclassic (1400 B.C. - 150 A.D.) to Classic
(250-600 A.D.) contexts through diverse
cultures. This evolution originates from a divine
scope (sometimes conforming quincunx motif),
to others of dignitary character in Olmec and
Maya leaders.
Starting from its origin as a heavenly power
symbol in the Olmec and Izapa pictures, this
“U” motif is on the top of all images in a
celestial zone, and is seen in some aspects of the
ancient Maya realm, such as various aspects of
king´s ornaments or supernatural beings.
The “U” motif serves as a representation of
power for the Maya elite, and is observed in
effigy context on Preclassic stucco masks. In
some concrete scenes, the “U” motif is used in
sacred context to mark a heavenly character or
god. In many diverse iconographic
manifestations, the”U” symbol is an icon seen
through time in the Mesoamerican corpus. The
“U” symbol is detected in common contexts, but
the sociocultural meaning and true significance
can only be surmised, and could change in future
interpretations with new archaeological
discoveries.
2. Origin of Preclassic -U-motif in the Gulf of
Mexico and Soconusco zone
At the initiation of a new symbol in a society,
the emblem will carry relevant significance so
that is appreciated and recognized by each
group; in fact, by definition, a symbol is: A mark
or character used as a conventional
representation of an object, function, or process.
In ancient Olmecs images, high ranking
characters have a connection with the heavens or
the celestial ancestors, in which the “U” symbol
represents as important signature or seal. In this
case, it is seen on the top of the hand as
directional points shaping the quincunx motif,
with one point in the center (1). The center of
creation is represented in the kings with the “U”
symbol in their hands; representing the tree of
the world that connects the heaven with
underworld. Its function is to exercise divine
distinctive that differentiates those special
beings from other inferior characters of society;
the latter not qualified to have a special
connection with the gods.
It is curious that this “U” motif imprint in the
hands is shown in other Preclassic and Classic
images such as in statuette of Río Pesquero (Fig.
2), and in number 39 and 31 stelae of Tikal.
Even though they do not definitively appear in
stelae 29 and 40, which share a high percentage
of similarity to the iconography of stelae number
39 y 31 with regards to the representation and
position of the hands, in number 29 y 40 the
motif could be eroded by time. There are other
stelae from Tikal, number 2 and 5, in which the
“U” motif could be represented in the hands of
kings as well.
Figure 1: Olmecs representations with U- motif
in the hands of leaders (left: Kent 1991; right:
Schele in FAMSI).
Figure 2: Figure of Río Pesquero with “U” motif
in profile of head; other Olmec axe with
quincunx motif, four points and head as center
(according Schele in FAMSI, and Taube 2004).
Note that in Stele 39 (Fig. 3) of Tikal, the
captive under the feet of the ruler presents the
same “U” motif in his hand. This means that this
man was not any prisoner, but was an important
governor from a rival city or group, which
illustrates importance for the king of that captive
by making him appear more powerful before his
people (in Stele 31 too), and showing him as the
winning ruler with greater prestige after the
arrest of the vanquished.
The “U” symbol of Olmec era was represented Figure 3: Stele 39 from Tikal, with “U” motif in
as a stamp in the hand, usually next to two the hands of captive and in the hands of the king
circles. This can be observed in the later Maya (according to Schele in FAMSI).
mural painting iconography of San Bartolo, but
with modification of the motif adding more
circles in decreasing size. More importantly, the
central character of the north wall is surrounded
by infant-looking characters, suggesting the
emergence of life.
This makes it very likely that the initial religious
meaning was in relation to the divine power of
regeneration of life. Progressively it may be
reflected in the leaders of the people as icons of
fertility in agriculture, suggesting a divine ability
to draw foodstuffs from the inert earth, and a
justification for respect and tribute from a people
without agricultural knowledge.
Roman Piña Chan (2) advocates that the first
form of “U” in the Olmec figures have reference
iconographically to the furrow in a plot of land
ready to be cultivated and planted with grains of
precious corn. Piña Chan further suggests that
the iconographic value of plowed land could be
one of several meanings of the “U” motif,
depending on the temporal period in which it is
demarcated.

Additionally, the iconographic representation of

San Bartolo (Middle Preclassic) inside the trunk
of the tree has the representation of shape “U” Figure 4: Iconographic comparative of “U”
and contains circles in the celestial tree (Fig. 4). motif with circles in Olmec figure (left), and
This further suggests that the “U” symbol has a “U” motif and circles in celestial tree of San
divine character related to the creation of the Bartolo (according to Hurst 2002).
universe or of life, and therefore has a
relationship with the blood represented next to
the “U” motif.
Although you can find this same “U” motif in
many of the Olmec jade figure, axes or stelae
(Fig. 5), it should be mentioned that in many
cases this symbol is not given, or simply an
indentation is observed and the maize plant
arises. Chan also connects this indentation with
the “U” symbol (Fig. 6).
Figure 5: Stele C from Tres Zapotes, with “U”
symbol in the center of the pectoral (according
to Guerrero Orozco 2010: 1069).
Figure 6: Olmec foliated heads as the supposed
Corn God (according to Taube 2004: 95).
Another zone where more samples have been
found with the “U” symbol has been in the area
of Izapa. This area is considered to be pre-Maya
or of the Mixe-Zoque culture. Located in
Soconusco zone of Mexico, which has an
estimated timeline about 300 B.C-250 A.D, this
area constitutes an important cultural legacy
where several stylistic samples of “U” motif are
found in many of the ancient preclassic stelae.
Some of the examples are: Stela 1, Stela 6, Stela
11, or Stela 21 (between others) (Fig. 7 and 8).
In these stelae the “U” motif is seen between
two wide lines on each side above a horizontal
band, sometimes with two scrolls on either side,
making clear their celestial demarcation.
The “U” symbol can be found either face down,
face up or sideways in these pictures, and
occasionally it appears only in the upper
celestial level.
For this reason, this motif could represent the
different lunar phases as represented by the “U”
in different positions, and as the celestial icon
that influences real and supernatural events. On
the other hand, the “U” motif could represent
both the symbolism with the furrow of the earth
from which the corn arises, as well as alluding to
the lunar phases influencing in agricultural
cycles.
In Stela 1, the “U” motif is upside down and
likewise between two bands, with a possible
ancestor or celestial deity that is observing a god
Chaac, god of water. However in Stela 6, the
same motif is on the open mouth of an alligator
and in face-up position, suggesting cosmological
significance.
 Figure 7: Stela 1 and 6 from Izapa with “U” Figure 8: Stela 7 and 11 from Izapa with “U”
symbol (according to Montgomery and Schele in symbol between two bands; as in Kaminaljuyú
FAMSI). or San Bartolo.

Other Mesoamerican locations of similar

chronology like Izapa and with this same “U”
motif, are La Mojarra, El Baúl, Abaj Takalik and
Kaminaljuyú, in southern Guatemala.
In these cases, the form “U” representing the
celestial level is also observed as characterizing
the quincunx shape; conforming the central point
of the other symbol (Figs. 9 and 10); moreover
the “U” symbol appears in Tikal or La Mojarra
as celestial flowers (3).
Figure 9: Stele 11 from Kaminaluyú, with “U”
like a center point of quincunx motif (according
to
http://www.mesoweb.com/lords/origins02.html).
Figure 10: Stele 4 from La Mojarra, with “U”
symbol appears like flowers hanging from the
ornament (according to Lacadena 2008).
Other good examples with “U” motif in different
positions are visible at Kaminaljuyú (Fig. 11).
Kaminaljuyú is a Late Preclassic maya city (250
B.C-250 A.D) which was famous for its socio-
cultural importance; and presents similar “Ú”
forms as in San Bartolo (Fig. 12).
Figure 11: Details of Stela from Kaminaljuyú,
with “U” in different positions between bands
and feet (photograph of the author, in Museo de
Arqueología y Etnología de Guatemala, 2009).
Figure 12: “U” symbol between two bands in
San Bartolo, similar to those in Kaminaljuyú.
This is another good example of different Figure 13: Stele 4 from Yaxchilán, with “U”
positions where the “U” symbol can be found. motif like quincunx (according to Chang Lan
Notice that the “U” motif is also marked several 1991: 21).
times among the heavenly band on which the
characters are standing above the band. In these
examples from Kaminaljuyú, it is observed that
there is variation in the “U” motif represented in
face-up, face-down and sideways postures,
similar to the half-moon.

2. Heritage of the “U” motif for the Maya

culture

3.1. Examples of Stelae

The ancient Maya were familiar with various

religious symbols that were already used by the
Olmec culture. Some of these were the jester-
god as the icon of divine royalty; or the
quincunx motif that represents a cosmic
connection with the supernatural world.
In some cases, the “U” motif is visible inside of
the quincunx motif (Fig. 13), or is seen as a lone
symbol that marks the deity of the kings in their
ornamentation as lords of high rank, whether as
terrestrial kings or supernaturals.
It is curious how the “U” motif appears in
realms like Tikal and allied cities like El Zapote
to designate the kings (Fig. 14), but not in other
areas such as Palenque, which uses the jester-
god. Why the motif was used by some kingdoms
and not by others is unknown. It is considered
that the quincunx motif represents the symbol of
creation with the fifth point in the center as
principal mythical symbol for the Olmecs and
Maya (4).
In this Stela from Yaxchilán, the quincunx with
“U” as a center, acts as a portal to the other
world, where the celestial serpent originates. In
addition, there are other monuments from city of
Kaminaljuyú that have the “U” motif in
quincunx form, as well as in some examples
from San Bartolo.
The same “U” symbol, apart from appearing as a
calendar motif, arises previously in monuments
like those in Chocolá as well as in Kaminaljuyú
embodied in calendrical hieroglyphic names as
scrolls that drip blood (5). Therefore,
iconographically, the “U” motif forms a
fundamental element of that divine blood
belonging to the legitimacy of the ancestors
(Fig.15).
 Figure 14: Stela 5 from El Zapote, where the
“U” motif appears in the ornaments of the queen
(according to Schele in FAMSI).
Figure 15: Pictographic comparison of
calendrical hieroglyphics that shed blood, in:
Monument 1 from Chocolá, San Bartolo
hieroglyphic, and Monument 10 from
Kaminaljuyú.

It is clear that the influence, dispersion and

characterization of the “U” motif was an
ideologically recognized and expanded form
throughout the Mesoamerican area. Assimilated
in both sculptural and monumental pictographic
forms by the rulers who wanted to show that
special connection with the divine and heavenly;
being related with the gods and ancestors who Figure 17: Infant emergence into life in cosmos
legitimized their power. with U inside gourd and two points; north wall
from SB.
3.2. Examples of Murals, San Bartolo

The “U” motif is exemplified in the mural

paintings of San Bartolo; the element “U” is of
such importance, it is only used to represent
beings, elements or characters that have a
connection with the condition of heavenly or
divine authority (Figs. 16, 17, and 18).
All samples were given to the author by Casa
Herrera in Antigua Guatemala.

Figure 16: Divine character in front of the gourd,

with “U” motif in all the ornaments of his body.

Figure 18: Other images from San Bartolo with

“U” motif: in the trunk of the tree; in the eye of
the serpent; and in the gourd with two circles.
The “U” form displayed on the clothes of gods
and as ritual elements (Fig. 19 and 20). Figure 21: Preclassic Mask from Str.34 El
Mirador, Petén, Guatemala.
Figure 19: Ritual bleeder with “U” motif, and
baby before entering the cave with the gods.

Figure 22: Divine character with ”U” motif

surrounding him.

Figure 20: Gods with “U” motif in their clothes

in San Bartolo.

3.3. Examples in Masks and other elements of

“U” form

Some cases of monumental architecture that

show the “U” motif in Preclassic times, are cities
4. Maya epigraphy with “U” motif
such as Cerros, Uaxactún or El Mirador (Fig.
21), where the “U” form appears as an eye, and
The “U” motif is also found in Maya epigraphy
in other monuments forming part of the divine
and the hieroglyphics (Fig. 23).
ornamentation of being (Fig. 22).
Sequentially it appears in columns, names of the
kings, royalty context, and religious context.
 Table 23: The Mayan hieroglyphics with “U”
motif.
5. Conclusion
In conclusion, the main cultural and religious
aspects from the different iconographic
representations in which the “U” motif is
present, are:
a) The “U” symbol began to be represented
in images from Olmec leaders, as a seal on the
hand to allude to divine power; and was
continued in Maya time.
b) During the Middle Preclassic, and in
some places like Izapa, Kaminaljuyú, or Abaj
Takalik, the motif is used to correlate symbols
that are identified with the sky, or the celestial
level; and in the quincunx motif with the “U” in
the center and with corresponding blood
droplets, as an element that characterizes the
creation.
c) The “U” motif when it is printed
between two bands is associated with the sky or
cosmos.
d) The “U” symbol as the fundamental
icon in mythical and celestial beings and gods in
San Bartolo, and within the iconography of the
Late Preclassic
e) This “U” form was only welcomed by
some classic Maya cities, as Tikal, El Zapote,
Uaxactún, or El Mirador; all of them located in
the Guatemalan Petén zone.
f) Highlights the “U” motif printed on
ornaments of classic royal costumes, as in
necklaces, flowers, jingle bells, earmuffs or
headdresses; in individuals who are granted a
sacred character.
g) In monumental architecture the “U”
motif appears in preclassic masks, in the eyes,
eyebrows, mouth and as part of the earmuffs of
mythical beings.
h) Use of the iconographic motif “U” in
hieroglyphics related to royalty or religious
aspects.
References
(1) D. Freidel, L. Schele, J. Parker, Maya
Cosmos: Three Thousand Years on the
Shaman´s Path, Ed: Perennial, New York, 2011,
p. 137.
(2) R. Piña Chan, El lenguaje de las piedras,
México, 1995, pp. 33 and 49.
(3) D. Freidel, L. Schele, J. Parker, Maya
Cosmos: Three Thousand Years on the
Shaman´s Path, Ed: Perennial, New York, 2011,
p. 183.
(4) D. Freidel, L. Schele, J. Parker, Maya
Cosmos: Three Thousand Years on the
Shaman´s Path, Ed: Perennial, New York, 2011,
p. 135.