the tall and regal figure with mature countenance, poised in full regalia referencing the celestial and Underworld deities, his outturned legs slightly bent in dancing posture and elongated hands with cupped fingers in rhythmic gesture, wearing an Olivella shell studded belt supporting a head wearing the mask of the Xoc shark monster with toothy upper gums, the loincloth below with triple pendant danglers, and crosshatched side sashes, with a tubular support on the back of the belt for insertion of a tall backrack, the massive jewelry including a necklace with large bead trimmed medallion supported on a jade bead necklace, ear flares with tubular inserts, bracelets, and the coiffure bound into a turban supporting the tall headdress of the long-lipped deity with solar attributes of Kinich Ahau including large rectangular eyes and toothy snout, surrounded by a feather panache and plumes rising above, with remains of red and blue pigment overall. 

Acquired in the 1960's

Baltimore, The Walters Art Museum, 2002-2010

Gérald Berjonneau, Emile Deletaille and Jean-Louis Sonnery, Rediscovered Masterpieces of Mesoamerica, Boulogne, 1985, Pl. 421

As shown, overall very good with old losses clearly visible, absent areas have not been filled or restored. Losses include : parts of sandal on PR foot, portion of disc under the head of the belt, small part of PL thumb, PR thumb, one lobe of the massive pectoral necklace, some losses of fangs on the removable headdress. Clean repair on figures PR upper arms and hand as shown. Excellent remains of color and encrustation overall.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This rare sculpture depicts a magnificently dressed ruler performing a dance, wearing the deity-laden attire relevant to this performance and to his high rank. The posture of outturned bent legs and a lifted heel or foot, are signifiers of performance. Grube (1992) identified the glyph 'ak'ot' (to step), as dance is referred to as 'stepping' into sacred spaces particularly when performed during the ritual calendar and for accession events. 
Dancing was a means for a ruler to affirm and amplify his power, in both public and private performances. Dance accessed the rulers 'wayob', or animal soul companion, who were vehicles to ancestral and spiritual power.
 "Through dance people become gods, and gods became people." (Schele 1995:264).

Dance ceremonies are portrayed on monumental stone stela and also on numerous polychrome vases.The Palenque limestone relief at Dumbarton Oaks (Panel 2, PC.B.258) records the graceful performance of young lord K'an Hoy Chitam as the deity Chak (Miller and Martin 2004:Pl. 117); the distinctive orange and white pottery vases known for the Holmul dancer, illustrate the massive headdress, backrack and jewelry similar to this figure, worn for performance events of the Maize god, (see mayavase.com including K517, 703, 633, 5976, 1837). The Maize god dances jubilantly in Xibalba, flaunting his powers to the gods of the Underworld (mayavase.com, K1560).

Maya moldmade and hand-modeled ceramic figures are conveniently referred to as Jaina for the island off of Campeche, but "Jaina style" or "Jaina tradition" more accurately encompasses the broader geographic range of figures (O'Neil 2012:400). The extraordinary cached assemblage of over twenty various figures from the Southern lowlands, illustrate the range, style and usage of this ceramic tradition; see Finamore and Houston (2010:284-287), and Rich et al. 2007, Rich et al. 2010. There is growing evidence that the Jaina style figures were also traded as part of extensive local and long-distance networks between the Gulf Coast and inland regions.

For a highly similar figure formerly in the Walter Annenberg collection, and probably from the same workꦐshop as the off🎃ered figure, see von Winning (1968:colorplate 449).