K9152 is a polychrome cylindrical vessel currently on display as a part of the collection at Dumbarton Oaks. It depicts two characters hunting a shark-like monster in an aquatic environment. Two bands of K’IN glyphs border the scene itself, and at the very top, a row of pseudoglyphs can also be found.

The shark depicted in this scene (Figure 2) is one of the clearer examples of this beast in Maya art. Occasionally, they take on ophidian characteristics, but this one is more piscine, especially with the finned tail. This shark is actually quite similar to a XOOK ‘shark’ glyph from Copan; they are in the same position and orientation, and they both feature a spondylus shell at the base of the tail, another aquatic trait (Stone and Zender 2011:203).

The character who has pierced the shark with his flint spear is none other than the Jaguar War God (Figure 3). He has the T-shaped tooth, large eye with curled pupil, jaguar ear, and bundled hair. In addition, he also has LEM ‘shiny’ glyph “god-markings.” He is also wearing a large hat of some sort. Nicholas Carter suggests that the hat is partly comprised of the same paper used in sacrificial offerings (Finnamore and Houston 2010:246).

Positioned behind the Jaguar War God is his frequent companion, the Pax God (Figure 4). While he lacks the T-shaped tooth (possibly due to damage) and the jaguar paw ear, he still has the missing lower jaw and forehead mirror. He does still have a jaguar paw incorporated into his design; in this example, his hand has become the jaguar paw. Like the Jaguar War God, he also has LEM ‘shiny’ glyph “god-markings.”

Both the Jaguar War God and Pax God seem to be positioned on top of a Water Lily Serpent. As the Water Lily Serpent is the personification of water, it is unclear if the Water Lily Serpent was actually present at this event, or if it is just pictured to show the aquatic nature of the scene.

The borders of the scene, on both the bottom and the top, are composed of K’IN ‘sun’ glyphs. In a previous article for the Aztlander, I suggested that this shark-hunting event take place either at or just below the horizon, where the sun rises and sets, and where Venus and Mercury are often visible. Perhaps this is why a scene that depicts the Jaguar War God and the Pax God, who may represent the evening aspects of Venus and Mercury, is marked by these K’IN glyphs.

Sources
Justin Kerr photograph collection, Dumbarton Oaks, Trustees for Harvard University, Washington, DC.
Crim, Alexander
2026 Shark Hunters of the Horizon: Venus, Mercury, and the Rescue of the Maize God. Aztlander 6, no. 1 (2026): 14-16.
Finnamore, Daniel, and Stephen Houston, eds.
2010 Fiery Pool: The Maya and the Mythic Sea. Yale University Press.
Stone, Andrea, and Marc Zender
2011 Reading Maya Art: A Hieroglyphic Guide to Ancient Maya Painting and Sculpture. Thames & Hudson.