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Chaac
god of lightning, rain, and thunder
Other namesChac, Chaahk
GenderMale
ConsortItzamna
Equivalents
AztecTlaloc
GreekZeus
HinduIndra

Chaac (also spelled Chac or, in Classic Mayan, Chaahk [t͡ʃaːhk]) is the name of the Maya god of rain, thunder, and lightning. With his lightning axe, Chaac strikes the clouds, causing them to produce thunder and rain. Chaac corresponds to Tlaloc among the Aztecs and Cocijo among the Zapotecs.

Earthenware effigy urn (an incense burner) of Chaac, 12th–14th century

Rain deities and rain makers

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Chaac sculpture at the Maya Sculpture Museum, Honduras.

Like other Maya gods, Chaac is both one and manifold. Four Chaacs are based in the cardinal directions and wear the directional colors. East, where the sunrise is, is red, North, mid-day zenith, is represented by white, West is represented by black for the sunset, and South is represented by yellow. There is a fifth color which is associated with the center point, and that is green.[1] In 16th-century Yucatán, the directional Chaac of the east was called Chac Xib Chaac 'Red Man Chaac', only the colors being varied for the three other ones.[2]

Contemporary Yucatec Maya farmers distinguish many more aspects of the rainfall and the clouds and personify them as different, hierarchically-ordered rain deities. The Chorti Maya have preserved important folklore regarding the process of rain-making, which involved rain deities striking rain-carrying snakes with their axes.

The rain deities had their human counterparts. In the traditional Maya (and Mesoamerican) community, one of the most important functions was that of rainmaker, which presupposed an intimate acquaintance with (and thus, initiation by) the rain deities, and a knowledge of their places and movements.[3] According to a Late-Postclassic Yucatec tradition, Chac Xib Chaac (the rain deity of the east) was the title of a king of Chichen Itza,[4] and similar titles were bestowed upon Classic rulers as well (see below).

Rain rituals

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Among the rituals for the rain deities, the Yucatec Chʼa Cháak ceremony for asking rain centers on a ceremonial banquet for the rain deities. It includes four boys (one for each cardinal point) acting and chanting as frogs. Asking for rain and crops was also the purpose of 16th-century rituals at the cenotes, of Yucatán.[citation needed]

The ocellated turkey (yuum kuuts) is associated with the deity; one is yearly hunted and sacrificed to obtain its blood to be offered to fields in hopes of a good harvest.[5]

Mythology

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The rain deity is a patron of agriculture. A well-known myth involving the Chaacs (or related rain and lightning deities) is about the opening of the mountain where the maize was hidden. In Tzotzil mythology, the rain deity also figures as the father of nubile women representing maize and vegetables. In some versions of the Qʼeqchiʼ myth of Sun and Moon, the rain deity Choc (or Chocl) 'Cloud' is the brother of Sun; together they defeat their aged adoptive mother and her lover. Later, Chaac commits adultery with his brother's wife and is duly punished; his tears of agony give origin to the rain. Versions of this myth[6] show the rain deity Chac in his war-like fury, pursuing the fleeing Sun and Moon, and attacking them with his lightning bolts.

In some mythologies, it is believed that water and clouds are formed within the Earth in caves and cenotes and then carried into the sky by deities such as Chaac.[7] Classic period Maya sources also suggest that Chaac was the god who opened the mountain containing maize, using his lightning axe, K'awiil.[8][9]

Iconography

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Rain deity impersonator, Classic period

Chaac is usually depicted with a human body showing reptilian or amphibian scales, and with a non-human head evincing fangs and a long, pendulous nose. In the Classic style, a shell serves as his ear ornament. He often carries a shield and a lightning axe, the axe being personified by a closely related deity, K'awiil, called Bolon Dzacab in Yucatec. The Classic Chaac sometimes shows features of the Central Mexican (Teotihuacan) precursor of Tlaloc.

Rain

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reconstructed image of Chac, from the Dresden Codex, Art by unidentified pre-Columbian Maya scribe before C.E.1500.

A large part of one of the four surviving Maya codices, the Dresden Codex, is dedicated to the Chaacs, their locations, and activities.[10] It illustrates the intimate relationship existing between the Chaacs, the Bacabs, and the aged goddess, Ixchel. The main source on the 16th-century Yucatec Maya, Bishop Diego de Landa, combines the four Chaacs with the four Bacabs and Pauahtuns into one concept. The Bacabs were aged deities governing the subterranean sphere and its water supplies.

Warfare

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In the Classic period, the king often impersonated the rain deity (or an associated rain serpent) while a portrait glyph of the rain deity can accompany the king's other names. This may have given expression to his role as a supreme rain-maker. Typically, however, it is the war-like fury of the rain deity that receives emphasis (as is also the case in the myth mentioned above). The king personifying the rain deity is then shown carrying war implements and making prisoners,[11] while his actions seem to be equated with the violence of a thunderstorm.

Classic period narrative

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About Chaahk's role in Classic period mythological narrative, little is known. He is present at the resurrection of the Maya maize god from the carapace of a turtle, possibly representing the earth. The so-called 'confrontation scenes' are of a more legendary nature. They show a young nobleman and his retinue wading through the waters and being approached by warriors. One of these warriors is a man personifying the rain deity. He probably represents an ancestral king, and seems to be referred to as Chak Xib [Chaahk].[12] Together with the skeletal Death God (God A), Chaahk also appears to preside over an initiate's ritual transformation into a jaguar.

In modern times

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Chaac continues to hold importance for some Maya groups in Mexico. In 2024, a statue of the Greek god Poseidon located in Progreso, Yucatán, caused controversy for locals who deemed it offensive to their beliefs in Chaac. Many locals organized with the goal of destroying the statue because it supposedly angered Chaac. While the movement originated as a joke, many took it seriously and attempted to vandalize the statue.[13] Activist lawyers sought to have the statue removed, and some people in Mexico cited Tropical Storm Alberto and Hurricane Beryl as proof that Chaac was upset at Poseidon.[14]

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Chaac

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Chaac, also known as Chaak or Chac and designated as God B in scholarly , is the primary in the ancient Maya religious pantheon, embodying control over thunder, , storms, and the life-sustaining waters essential for . Depicted with reptilian attributes including fish scales, a long protruding or curly nose, tendril-like elements from the mouth, and shells over the ears, Chaac wields a stone axe to strike clouds and produce bolts, often accompanied by tears symbolizing rainfall. In Maya cosmology, Chaac holds profound significance as the arbiter of seasonal rains critical to maize cultivation and societal survival in the rain-dependent Mesoamerican environment, with manifestations tied to the four cardinal directions—red for east, white for north, black for west, and yellow for —each influencing specific practices. Mythologically, he is linked to the origins of rain through cenotes and caves, and to agricultural origins by cleaving open the mountain with his axe, underscoring his role in and abundance. Rulers and shamans invoked Chaac via ceremonies involving offerings and sacrifices, including children and animals hurled into sacred cenotes like those at , to secure favorable weather and avert droughts or destructive hurricanes. Chaac's iconography permeates Maya art from the Preclassic period, as seen in early depictions on Izapa Stela 1 around AD 200, through and Postclassic eras in codices such as the and , painted ceramics, and architectural motifs like the Chaac masks at sites including Mayapán and . This enduring representation highlights his centrality in Maya worldview, where mastery over rain directly correlated with prosperity, ritual efficacy, and the divine sanction of kingship.

Etymology and Origins

Linguistic Roots

The name Chaahk, as attested in Classic Maya hieroglyphic texts from sites such as and dating to the 7th–9th centuries CE, derives from the linguistic root chaak in the Ch'olan-Tzeltalan branch of , reconstructed as denoting "rain" or the action of raining. This etymology aligns with the deity's central role in controlling , as evidenced by glyphic compounds where Chaahk appears as a title or proper name in royal inscriptions and ritual contexts. Proto-Mayan reconstructions by linguists like Terrence Kaufman trace chak to an ancestral form potentially evoking the sound of thunder or cracking associated with storms, which evolved into rain-specific terms in daughter languages, distinguishing it from unrelated homophones like chak meaning "red" in Yucatec Maya. In Postclassic Yucatec Maya, spoken in the northern lowlands from the 13th century onward, the god's name persisted as Chaak or Yuum Chaak ("Lord Rain"), with the term cháak directly signifying rain in modern dictionaries of the language, underscoring semantic continuity despite phonetic shifts like (cha'ak). This linguistic persistence is documented in colonial-era records, such as the 16th-century Relación de las cosas de Yucatán by , where Maya informants described rain invocations tied to the , though Landa's variably renders it as "Chac." Epigraphers note that the name's onomatopoeic quality—mimicking thunder—further ties it to storm acoustics, a feature common in Mesoamerican rain deities, but scholarly consensus favors the rain derivation over thunder alone due to contextual usage in agricultural rituals.

Name Variations and Epithets

Chaac is attested under various spellings in scholarly literature, including Chac, Chaak, and Chaahk, reflecting differences in from Yucatec Maya and hieroglyphic conventions. In Classic Maya texts, the name appears as a logographic (T100 in Thompson's catalog) denoting chaahk, a term associated with the deity's axe-wielding attribute symbolizing and production, with over 200 instances recorded in postclassic codices. The rain god is systematically identified as God B in the Schellhas-Zimmermann classification, a framework developed in the early to catalog recurring divine figures in Maya iconography and inscriptions based on consistent traits like the T-shaped nose and serpentine elements. This designation persists in epigraphic studies for its utility in distinguishing Chaac from other deities despite regional stylistic variations. Epithets in Maya texts often compound the core name with qualifiers emphasizing directionality or attributes, such as Chak Xib' Chaahk ("Red/Eastern Chaahk"), linking the god to the eastern quadrant in quadripartite cosmological schemes where four manifestations control from cardinal directions. Similar titles appear in royal names, like K'ahk' Chan Chaahk ("Fiery Chaahk"), invoking the deity's fiery aspect to legitimize rulership through divine ancestry. These epithets underscore Chaac's role as a multifaceted entity, blending with power, as evidenced in inscriptions from sites spanning the southern lowlands to .

Historical and Archaeological Context

Preclassic Period Evidence

The earliest archaeological evidence for a rain deity precursor to the Classic Maya god Chaac appears in Late Preclassic iconography, particularly at highland and Pacific coast sites with proto-Maya influences. At , located in , , Stela 1 (dated circa 300 BCE–100 CE) depicts a long-lipped figure interpreted by scholars such as as an early manifestation of the Maya lightning and rain god, characterized by attributes like an elongated proboscis suggestive of later Chaac representations. This Izapan-style monument reflects broader Mesoamerican motifs of storm deities, but its facial features and context align with emerging Maya rain god symbolism during the period's transition from Olmec-influenced styles. Further evidence emerges from in the highlands, a core center active from approximately 1000 BCE to 200 CE. A , likely carved in the Terminal Preclassic phase (circa 100 BCE–150 CE), portrays a rain deity with skeletal features, earflares, and storm associations, including motifs of water and celestial events that prefigure Chaac's control over precipitation and thunder. This piece, consistent with regional Izapan sculptural traditions at sites like , emphasizes the deity's role in fertility and destruction, carved in a style exploiting stone's natural contours to evoke dynamic storm imagery. Such representations indicate that rain god veneration, tied to agricultural dependence in the and highlands, solidified by the Late Preclassic, though explicit Chaac nomenclature and full iconographic standardization await Classic Period texts. No confirmed depictions of the rain god exist from Early or Middle Preclassic phases (circa 2000 BCE–400 BCE), where iconography at sites like Nakbe or prioritizes solar and creation motifs over storm deities. The Late Preclassic examples suggest cultural continuity from earlier Mesoamerican precedents, but their Maya-specific attributes—such as proboscis-like noses and axe-wielding potential—mark the deity's localization amid urbanization and ritual elaboration. These artifacts, often found in elite or ceremonial contexts, underscore the rain god's emerging centrality to cosmology, predating the more anthropomorphic and textual elaborations of the era.

Classic Period Iconography and Texts

In Classic Period Maya art (c. 250–900 CE), Chaac, the rain and deity, is iconographically distinguished by an elongated, trunk-like snout, T-shaped incisors evoking or kernels, and a stone axe (often flint or ) held aloft, symbolizing thunderbolts. He frequently wears or shell pendants and earspools, with water-scroll motifs or lily pads emphasizing aquatic associations. A limestone figurine from Jaina Island, dated 600–900 CE, exemplifies this portrayal, depicting Chaac in a striding pose mid-strike, his axe raised to invoke storms essential for agriculture. Architectural representations abound, particularly in the region (Late Classic, c. 750–900 CE), where massive stone masks of Chaac adorn temple facades at sites like and Kabah, featuring upturned snouts, fang-like teeth, and eye sockets framing the structure's entrances, merging the god with mountainous or cavernous earth features. The Cauac monster, a theriomorphic variant linked to Chaac, appears as disembodied heads in reliefs and lintels across lowland sites, marked by cheek circles (possibly rain glyphs), a cleft cranium denoting caves, and serpentine elements, embodying the deity's dual fertile-destructive nature. These motifs integrate into broader compositions on stelae and altars, such as at and Yaxchilán, where Chaac heads frame royal portraits or ritual scenes, invoking divine sanction for rulers. Epigraphic texts from the Classic Period reference Chaac via the T-74 (axe shape) or head variants prefixed with yax ("" or primordial) or ha' ("water"), forming compounds like yax ch'aak or yax ha' ch'aak, denoting the "first" or "water" rain god tied to creation myths. Inscriptions at sites including and describe rituals involving Chaac, such as offerings during period endings or accessions, often pairing him with worldbearers (pawahtun ch'aak) to signify cosmic stability and precipitation. Personal names incorporating ch'aak, like those of elites at , underscore the god's patronage over elites mediating weather cycles. These textual attestations, decoded through phonetic and iconographic analysis, confirm Chaac's centrality in elite ideology, though interpretations vary due to script ambiguities.

Postclassic and Colonial References

In the Postclassic period (c. 900–1500 CE), Chaac is prominently featured in the three surviving Maya screenfold books: the , , and Codices, which served as priestly almanacs for rituals, astronomy, and . These manuscripts, produced primarily in Yucatán, illustrate Chaac as the central deity overseeing rain provision, often shown striking clouds with his stone axe to produce thunder and wielding water vessels in agricultural ceremonies. The , dated to the 11th–12th century and likely from or , contains numerous depictions of Chaac in almanacs linking lunar cycles, tables, and seasonal rainfall predictions, emphasizing his role in sustaining cultivation amid periodic droughts. In the Madrid Codex, from the late 15th century, Chaac appears in sequences of offerings and renewal rites, including beekeeping and hunting tied to fertility invocations. The , tentatively dated around 1450 and associated with , includes a dedicated section on a 260-day calendrical cycle governed by Chaac, portraying him alongside other gods in prophetic and directional contexts. Colonial-era references to Chaac appear in Yucatec Maya manuscripts like the Books of , composed between the 17th and 18th centuries by indigenous scribes blending pre-Hispanic lore with Christian elements. These texts describe four directional Chaacs—colored red, white, black, and yellow—linked to cardinal points, , and world creation, portraying Chaac as a gigantic figure who taught farming techniques and controlled natural forces. Such accounts, preserved in works like the of Chumayel, indicate persistent ritual veneration of Chaac for rain amid Spanish suppression, often syncretized with figures in cosmological narratives.

Divine Attributes

Rain and Storm Control

Chaac functioned as the primary Maya responsible for regulating rainfall and storm activity, essential for the agricultural sustenance of in the rain-dependent and beyond. Maya texts and portray him wielding a stone axe to strike clouds, thereby generating thunder as the sound of impact and releasing rain from celestial reservoirs. This mechanism underscores the causal link Maya cosmology drew between divine intervention and meteorological phenomena, with Chaac's actions believed to open stone vessels or gourds containing water stores in the sky. Archaeological evidence from cenotes and caves reveals dedicated s to petition Chaac for during dry seasons, including offerings of , , and incense deposited in water features interpreted as portals to the from which ascended. At sites like , human remains in the , dated to the Postclassic period (circa 900–1500 CE), indicate sacrificial practices aimed at appeasing Chaac to avert droughts, with victims often comprising children whose remains show signs of preparation. Inscriptions from Classic period (250–900 CE) sites, such as those at Aguateca, document ceremonies involving and scattering of substances to invoke rain gods, linking these acts to calendrical cycles tied to agricultural planting. The quadripartite nature of Chaac, manifested as four directional variants (associated with colors red, white, black, and yellow), reflected beliefs in regionally controlled storm quadrants, each variant overseeing precipitation from its cardinal point to ensure balanced distribution across Maya territories. Excessive or withheld rains attributed to Chaac's displeasure could precipitate famines or floods, as evidenced by drought-related collapses in the Terminal Classic period (circa 800–900 CE), where reduced lake levels and abandoned sites correlate with intensified rain-invocation artifacts. Modern Yucatec Maya descendants maintain echoes of these practices in cha'chaak ceremonies, involving prayer and offerings to invoke storms, demonstrating continuity in attributing storm causality to Chaac's domain.

Lightning and Thunder Symbolism


Chaac's lightning axe serves as the primary symbol of his dominion over thunder and lightning, depicted in Maya iconography as a stone or serpentine implement that he wields to strike clouds, producing the flash of lightning and the roar of thunder to release rain. This axe, often equated with the personified lightning deity K'awiil, embodies the god's power to cleave the sky, with archaeological evidence from Classic period sculptures and reliefs at sites like Chichen Itza and Uxmal showing Chaac in dynamic poses raising or hurling the axe amid storm motifs. The symbolism reflects causal mechanisms in Maya worldview, where thunder arises from the axe's impact and lightning from its luminous trail, essential for agricultural fertility yet capable of destruction through hail or floods. Linguistically, the name Chaac connects to "cauac," a term denoting , thunder, and storms, underscoring the integrated symbolism in Maya texts and glyphs where these phenomena signal Chaac's intervention in natural cycles. In Postclassic codices, such as the , Chaac appears in almanacs forecasting rain, brandishing the axe alongside thunder symbols like crossed bones or serpent motifs to invoke precipitation during dry seasons. This dual aspect—thunder as herald of abundance and as a perilous force—mirrors empirical observations of tropical storms, with ethnohistoric accounts from colonial Yucatan describing Chaac's "thunder horse" or celestial lashings as direct causes of meteorological events. Archaeological contexts, including ceramic vessels and temple facades from the Late Classic (ca. 600–900 CE), reinforce and as omens of Chaac's favor or wrath, often paired with water lilies or to link violence to renewal. Peer-reviewed analyses of these artifacts highlight how the axe's T-shaped haft and blade mimic natural thunderbolts, distinguishing Chaac from other deities and emphasizing his role in cosmic balance without unsubstantiated anthropomorphic narratives.

Fertility Versus Destructive Forces

Chaac's role in Maya agriculture underscored his capacity to foster through controlled rainfall, which was vital for cultivation in the region's seasonal climate. The Maya, reliant on rain-fed farming systems, depicted Chaac as the dispenser of life-sustaining waters that nourished crops and replenished cenotes, with archaeological evidence from sites like showing rituals aimed at invoking his benevolence to avert and ensure bountiful harvests. This association positioned him as a patron of , where his axe was interpreted not only as a tool for storm generation but also as a symbol of fertilizing the earth akin to seed planting. Yet, Chaac's attributes equally encompassed destructive forces, manifesting in hailstorms, floods, and cyclones that could inundate fields and erode settlements, as evidenced in Postclassic codices and inscriptions linking him to cataclysmic weather events. In Maya texts, such as those from the , his thunderous voice and serpentine lightning strikes represented both renewal and ruin, compelling worshippers to perform sacrifices to mitigate his wrathful excesses rather than solely celebrate his generative power. This duality mirrored the empirical realities of Mesoamerican hydrology, where insufficient rain led to while overabundance caused and crop failure, prompting a cosmological view of Chaac as an arbiter of natural equilibrium rather than an unequivocally benevolent deity. The tension between these forces influenced ritual practices, where Chaac's altars often featured dual iconography— axes for rain alongside blades evoking destruction—to acknowledge his unpredictable agency in the . Scholarly analyses of Classic period stelae, such as those at Copan dated to circa 700-800 CE, reveal rulers claiming mediation with Chaac to harness his fertile rains while propitiating against storm-induced calamities, highlighting a pragmatic grounded in observed environmental over idealized harmony.

Iconographic Representations

Core Physical Traits

Chaac is consistently depicted in Maya art with a prominent, elongated , often characterized as hooked, pendulous, or proboscis-like, forming a T-shape in profile that symbolizes his association with axes. This feature appears ubiquitously in stone masks, stelae, and codices from the Classic period (c. 250–900 CE) onward, distinguishing him from other deities. His mouth features sharp, protruding fangs or tusks, typically curved downward, enhancing a reptilian or visage that evokes both and ferocity. Large, round eyes, frequently framed by circular motifs resembling shells or , complete the core facial traits, conveying vigilance over natural forces. While the body is generally anthropomorphic, it bears scaly textures indicative of reptilian attributes, aligning with his dominion over water and storms; skeletal elements occasionally appear in Postclassic representations, such as at (c. 800–1200 CE), underscoring themes of death and renewal. These traits, rooted in archaeological evidence from sites like and Mayapán, reflect Chaac's dual role as life-giver and destroyer, without significant alteration across regional variants.

Associated Symbols and Tools

Chaac's primary tool is the lightning axe, a stone or jade implement often depicted with slots for inserting blades of greenstone or , symbolizing thunderbolts used to strike clouds and generate , thunder, and . This axe appears in Maya sculptures, such as limestone figures from the Puuc region dated 800–1000 CE, and in codices and ceramics from the Classic and Postclassic periods (ca. 250–1500 CE). Serpents form another key symbol and tool associated with Chaac, representing bolts or conduits that he hurls at the clouds to produce . These elements, sometimes integrated into headdresses, emphasize his command over storm elements and appear in painted vessels and architectural motifs. Chaac may also carry a , portraying him as a confronting agricultural threats like .

Temporal and Regional Variations

Chaac's iconographic depictions evolved across Maya temporal periods, reflecting shifts in artistic styles and cultural emphases. The earliest representations appear in the Late Preclassic period (c. 350 BCE–250 CE), where Chaac emerges as a nascent with rudimentary zoomorphic traits, often linked to fertility symbols rather than fully developed anthropomorphic forms. In the Classic period (c. 250–900 CE), particularly in lowland sites, Chaac is commonly shown as a figure with reptilian or attributes, including scales, fangs, a protruding , and large round eyes; he is frequently armed with a stone axe symbolizing , as seen in paintings and stelae. Postclassic imagery (c. 900–1500 CE), preserved in Yucatecan codices like the , retains these core features but integrates Chaac into ritual and astronomical contexts, with added serpentine elements and ritual staffs, adapting to intensified calendrical and prophetic functions. Regionally, northern Yucatán's style (Late –Terminal ) prominently features exaggerated Chaac masks on architectural facades—characterized by elongated, hook-like noses, fanged mouths, and stacked compositions—due to the area's chronic aridity heightening dependence on rain invocation. In contrast, southern Petén lowlands during the era favor dynamic, narrative portrayals of Chaac in vase paintings and reliefs, depicting him in active poses amid mythological scenes rather than static masks, aligning with denser rainfall and integrated cosmological narratives. Highland Maya regions show sparser Chaac , often syncretized with Mesoamerican rain deities like Tlaloc, featuring and fangs but less emphasis on the pendulous snout, indicative of broader cultural exchanges.

Mythological Framework

Cosmological Role

In Maya cosmology, Chaac functioned as the primary regulator of hydrological forces, channeling water from celestial reservoirs to nourish the terrestrial plane and avert existential threats posed by drought or inundation. The layered universe—encompassing the sky (overworld), earth (middleworld), and ()—relied on Chaac's interventions to cycle primordial waters, which originated in underworld chasms and were released via his strikes against clouds using a stone axe, symbolizing as a conduit between realms. This process sustained the cosmic order, as not only fertilized crops but also replenished the earth's connection to subterranean aquifers accessed through cenotes, which the Maya regarded as portals to the watery underworld domain of rain deities. Chaac's manifold nature, comprising four directional manifestations, aligned directly with the quadripartite structure of the Maya cosmos, where disk was quartered by cardinal axes intersecting at a central () that pierced the vault. Each aspect bore the ritual color of its direction—red for east (associated with sunrise and renewal), white for north (linked to ancestors and cold winds), black for west (tied to sunset and decline), and yellow for south (evoking warmth and growth)—and operated from sky corners analogous to the Bacabs, the aged deities who bore the heavens' weight. These four Chaacs distributed regionally, ensuring balanced influxes that mirrored the directional energies sustaining spatial harmony and preventing the sky's collapse or earthly . This directional framework integrated Chaac into broader cyclical dynamics, where his rains synchronized with the 260-day tzolk'in ritual calendar and 365-day haab' solar year, marking seasonal transitions critical to averting apocalypses akin to prior world destructions by flood in mythic precedents. Disruptions in Chaac's benevolence, interpreted as divine displeasure, threatened the equilibrium of dualistic forces—creation versus destruction—embodied in his capacity for both verdant abundance and torrential havoc, thereby necessitating perpetual mediation to uphold the current epoch's stability. Archaeological evidence from sites like , including stelae and codical almanacs, corroborates this role, depicting Chaac amid astronomical motifs that tied rain cycles to transits and solstices.

Relationships with Other Deities

Chaac manifests in Maya cosmology as a quadripartite , with four aspects corresponding to the cardinal directions, each associated with a specific color: for the east (Chak Xib Chaac), for the north, black for the west, and yellow for the south. These directional Chaacs embody the god's dominion over regional weather patterns, ensuring balanced precipitation across the Maya landscape, and reflect the broader quadripartite structure of the . The directional Chaacs maintain a functional alliance with the Bacabs (also known as Pawah Tuuns or God N), the four elderly deities positioned at the world's corners who support the and regulate earthly stability, including water sources. Invocations for and agricultural routinely paired Chaac with the Bacabs, as evidenced in colonial-era ethnohistorical accounts and codical depictions, underscoring their shared role in sustaining cosmic order and preventing drought-induced catastrophe. This relationship highlights Chaac's dependence on the Bacabs' structural maintenance of the heavens, from which originates, rather than portraying them as hierarchical superiors. In mythological narratives, the Chaacs collaborate with other deities to facilitate human sustenance, particularly in tales of piercing mountains to release and , a motif adapted across Maya groups akin to the K'iche' Popol Vuh's flood and crop emergence episodes. Here, Chaac's lightning axe complements the creative labors of figures like , the supreme inventor god, by providing the aqueous medium for agricultural renewal, though direct familial ties remain unattested in primary sources. Such interactions emphasize Chaac's intermediary position in the pantheon, bridging celestial forces with terrestrial gods like , the maize deity, whose cycles rely on Chaac's storms for germination and growth, without implying subordination or conflict.

Narratives Involving Natural Cycles

In Maya mythology, Chaac's influence over natural cycles is exemplified by the quadripartite aspects of the deity, with four directional manifestations—red in the east, white in the north, black in the west, and yellow in the south—associated with the annual alternation of dry and wet seasons in the Yucatán Peninsula. These forms of Chaac collectively enact a recurring "burner" ritual, performed twice each year to invoke rainfall by balancing fire and water elements, often involving the sacrifice of animal hearts to avert prolonged drought or excessive flooding. This narrative underscores the perceived cyclical renewal of precipitation, aligning with the Maya's observation of bimodal rainfall patterns, where the wet season typically spans May to October and the dry period from November to April, critical for maize cultivation. A foundational ties Chaac to the agricultural cycle through the discovery of , a staple crop whose growth depended on timely rains. In this account, Chaac wields his lightning axe to cleave open a , revealing sacred maize seeds within, thereby initiating the perpetual cycle of planting, growth, harvest, and rebirth essential to Maya sustenance. This act symbolizes the god's role in breaking natural barriers to , mirroring the seasonal transition from barren dry lands to verdant fields nourished by rains, with historical droughts, such as those documented around 800–1000 CE, prompting intensified invocations to restore the cycle. Chaac's capacity for both benevolence and destruction in flood-drought oscillations appears in narratives where insufficient or excessive disrupts equilibrium; prolonged withholding of leads to crop failure, while overabundance causes inundation that erodes fields. One attributes itself to Chaac's shed in perpetual over an adulterous liaison with the moon goddess, his brother's wife, framing as a sorrowful yet life-sustaining recurrence that replenishes sources like cenotes and rivers during the hydrological cycle. These stories reflect the Maya's empirical attunement to environmental rhythms, where Chaac's axe-strikes on clouds not only generate thunder and but also perpetuate the dual forces of renewal and peril in Mesoamerican .

Ritual and Worship Practices

Ceremonial Invocations for Rain

In Yucatec Maya communities, the Ch'a Cháak ceremony represents a key ritual for invoking Chaac to bring rain, typically performed between late April and early May before the wet season or during droughts to avert crop failure. Led by a h-men (traditional priest or shaman), the rite centers on verbal supplications and symbolic chants directed at Chaac, entreating him to strike clouds with his lightning axe and release life-sustaining waters. Offerings including maize dough figures, tobacco, copal incense, and balché (a fermented bark beverage) are placed on altars representing the four cardinal directions, with the h-men reciting prayers that emphasize Chaac's dominion over storms and fertility. Four boys, embodying the auxiliary Chaacs or Bacabs of each direction, actively participate in the invocations by croaking like frogs in rhythmic chants, mimicking the sound of impending rain and symbolizing the earth's thirst-quenching response to Chaac's benevolence. These vocal elements, combined with processions along ritual paths lined with green branches, aim to ritually "bring" Chaac (ch'a Cháak literally meaning "to bring Chaac") from his cenote abodes to the fields. Ethnohistoric records and participant observations confirm the ceremony's structure, with prayers often alluding to Chaac's ancient epithets like Yuum Chaak ("Lord Rain") and pleas for mercy against his destructive thunder. Scholars trace these invocatory practices to pre-Columbian origins, linking them to and Postclassic Maya rituals documented in codices such as the , where almanacs depict Chaac receiving periodic propitiation amid agricultural cycles, implying structured prayers tied to 260-day Tzolkin intervals for rain petitions. Spanish colonial accounts, including those from the , describe similar communal gatherings with chants and offerings to rain gods during dry spells, predating Christian syncretism. Archaeological finds, like jade and ceramic artifacts from cenotes at dated to the Terminal (ca. 800–900 CE), indicate invocatory deposits explicitly for Chaac to mitigate droughts, underscoring the rituals' empirical basis in responding to verifiable climatic variability in the .

Sacrificial Rites and Offerings

Sacrificial rites to Chaac primarily aimed to secure rainfall essential for , often involving human victims deposited in cenotes interpreted as portals to the . At Chichén Itzá's , archaeological excavations recovered over 200 human skeletons, including children, alongside , , and artifacts, indicating offerings to the rain deity during droughts. Victims were ritually prepared, sometimes painted with pigment symbolizing water and resurrection, before being thrown into the waters to appease Chaac. Recent genomic analysis of 64 subadult remains from a subterranean chamber near , dated AD 500–900, revealed all were male children and adolescents, with many closely related pairs including twins, suggesting selections based on kinship ties for ritual efficacy in invoking Chaac's favor. These sacrifices aligned with broader Maya practices where young males embodied and renewal, mirroring Chaac's role in natural cycles. Non-lethal offerings complemented human sacrifices, including auto-sacrifice through —piercing tongues, ears, or genitals with spines—and deposition of incense, , and (a fermented honey drink) at . The Cha'a Chaak ceremony, performed by farmers, featured four elderly men representing directional Chaacs, who prepared a world-center altar with food offerings and incantations to summon rain, a practice persisting in modified form today without human elements. Maya codices depict Chaac in rain-invocation scenes, such as wielding lightning axes amid ritual contexts implying blood offerings, as seen in the Dresden Codex's almanacs linking deities to calendrical rites. Similarly, the Madrid Codex illustrates sacrifices and rainfall petitions, underscoring offerings' integration with for agricultural timing. Archaeological corroboration from strata shows layered deposits of sacrificed items spanning centuries, reflecting sustained reliance on these rites amid variable .

Sacred Sites and Environmental Integration

The ancient Maya venerated Chaac at cenotes and caves, natural formations viewed as portals to , the underworld, and direct abodes of the rain god himself. These sites facilitated rituals to invoke , with offerings including , , and human sacrifices hurled into depths to appease Chaac amid droughts threatening . The at exemplifies this practice, yielding archaeological evidence of deposited artifacts and skeletal remains from the Late Classic period (ca. AD 600–900), when a specialized "cenote cult" intensified supplications for water in the arid . Similarly, the Holtún cenote near preserved zenith-passage offerings aligned with solar observations on and , linking Chaac's domain to calendrical cycles essential for farming. Caves like Balankanche, adjacent to , hosted prolonged rituals from the Pre-Classic era onward, featuring ceramic jars and tools placed around a column evoking the , symbolizing Chaac's and storm-bringing powers. Lower water tables during the Terminal Classic (ca. AD 800–1000) allowed deeper access, enabling offerings in subterranean chambers tied to rain petitions. This worship integrated seamlessly with the environment of the lowlands, where surface rivers are absent and cenotes furnish vital for survival. Rituals such as Cha Chaak ceremonies—entailing altars, fermentation, and symbolic calls—were performed at field edges or these features to synchronize human actions with seasonal rains, underpinning water management systems like reservoirs that supported up to 250,000 cubic meters for urban and agricultural use. By embedding invocations in hydrological hotspots, Maya practitioners causally linked divine propitiation to , as evidenced by persistent ethnographic parallels in contemporary highland rites.

Societal and Cultural Impact

Agricultural Dependence and Economic Ties

The ancient Maya economy centered on rain-fed agriculture, particularly the cultivation of maize through swidden techniques that required reliable seasonal precipitation for soil fertility and crop yields. Chaac, as the deity governing rain and storms, was perceived to control these vital water cycles, making his favor indispensable for agricultural productivity that underpinned food surpluses, population support, and broader economic activities like trade in goods such as cacao and obsidian. Successful harvests, attributed to Chaac's intervention, enabled the accumulation of surpluses that sustained urban centers, elite hierarchies, and craft specialization, fostering interconnected market systems across Maya polities. In contrast, rainfall deficits—often lasting multiple years and linked to Chaac's displeasure—triggered crop failures, economic contraction, and societal conflicts, as evidenced by correlations between episodes and warfare inscriptions from the Classic period (circa AD 250–900). Archaeological data from sites like reveal storage facilities designed to buffer against such variability, highlighting the precarious economic reliance on rain-dependent farming. Rituals invoking Chaac, including offerings of , , and human sacrifices during dry seasons, diverted communal resources toward religious labor, intertwining spiritual practices with tied to the 260-day calendar's agricultural phases. These ceremonies reinforced social cohesion and labor mobilization for terracing and water management, indirectly bolstering long-term economic resilience in a where up to 90% of the population engaged in farming.

Integration with Maya Calendars and Divination

The Tzolk'in, the 260-day sacred calendar central to Maya divination, incorporated Chaac through its day signs and trecenas (13-day periods), with rituals timed to auspicious alignments believed to enhance appeals for and avert drought. The day sign Kawak (Cauac), symbolizing , storms, thunder, and lightning, directly evoked Chaac's attributes, prompting daykeepers (aj q'ij) to perform prognostications on such days for agricultural timing and weather forecasts. Divinatory practices involved consulting the Tzolk'in to select dates for Chaac invocations, as the calendar's numbered coefficients (1–13) and 20 day names were interpreted to reveal divine intentions regarding , with Kawak days favoring ceremonies to summon thunder and fertility. These sessions, conducted by ritual specialists, integrated Chaac's four directional manifestations—each tied to a color and supporter of the sky—to align petitions with cosmic order, ensuring harmony between human actions and natural cycles. The Tzolk'in interlocked with the 365-day Haab' to form the 52-year Calendar Round, guiding broader rain rites during transitional months like Zip or Yax, when Chaac offerings peaked to coincide with seasonal shifts. Inscriptions at sites such as Uxmal and Chichen Itza record dated events linking Chaac worship to these cycles, underscoring empirical reliance on calendrical patterns for predicting monsoon reliability.
Codex illustrations, such as those in the , depict Chaac alongside almanacs synchronizing deities with Tzolk'in intervals for divinatory use in weather-related rites. This fusion reflected causal beliefs in time's rhythmic influence over Chaac's agency, prioritizing observable correlations between dated invocations and rainfall outcomes over abstract .

Archaeological Corroboration of Efficacy Beliefs

Excavations at Chichen Itza's have yielded remains of over 200 individuals, predominantly children aged 3 to 12, dated to the Postclassic period (ca. 900–1500 AD), accompanied by , , artifacts, and blue-painted skeletal evidence, consistent with ritual offerings to Chaac for during droughts. Genetic analysis confirms many victims were local and possibly siblings or twins, selected for symbolic purity in water propitiation, underscoring beliefs in sacrificial efficacy for meteorological intervention. Paleoclimate reconstructions from lake cores and speleothems document severe droughts, with precipitation reductions of 41–54% during the Terminal Classic (ca. 800–900 AD), correlating with intensified ritual activity at water temples and cenotes, including increased deposits of greenstone beads, cacao beans, and copper bells as Chaac offerings. At sites like Cara Blanca pools, Terminal Classic layers show escalated submersion of human and animal remains alongside agricultural tools, indicating heightened rain-invocation rites amid crop failures. Cave and chasm contexts, such as Aguateca's Main Chasm (Late Classic, ca. 600–800 AD), reveal burned shells, residues, and symbolic axes linked to Chaac , evidencing communal rain-making ceremonies tied to seasonal cycles and response. Petén sites like La Blanca and Chilonché yielded ceramic vessels with water motifs and faunal offerings in karstic features, dated to Preclassic–Classic transitions, supporting persistent strategies predicated on Chaac's perceived control over . These patterns of escalation during verified arid phases demonstrate the archaeological materiality of Maya convictions in Chaac's efficacy, even as climatic stressors contributed to societal disruptions.

Comparative Analysis

Parallels with Tlaloc

Chaac and Tlaloc served as principal rain deities in their respective Maya and Aztec pantheons, both wielding authority over precipitation, thunder, and lightning to sustain agricultural fertility in rain-dependent Mesoamerican societies. These gods shared functional roles in regulating natural cycles vital for crop production, with Chaac influencing storms, floods, and hurricanes alongside benevolent rains, while Tlaloc governed hail, earthly water sources, and even pathological conditions linked to excess moisture. Archaeological and codex evidence from Classic and Postclassic periods underscores their centrality to agrarian economies, where invocations ensured seasonal downpours for maize and other staples. Iconographically, both deities featured reptilian or traits symbolizing their watery domains, including fangs, bifurcated tongues, and prominent goggle-like eyes or ringed blinders evoking vigilance over atmospheric phenomena. Chaac typically appeared as an aged figure with a curled , scales, and a stone axe used to cleave clouds for thunder, often shedding tears to represent falling rain; Tlaloc mirrored this with blue-green skin, jaguar-like dentition, and tools such as lightning serpents or thunder rattles. These shared motifs, evident in like the and Aztec manuscripts like the , suggest diffusion from pre-Classic shared traditions or interactions during the Postclassic era around the 14th-15th centuries near regions like . Ritual practices further aligned, emphasizing sacrifices to propitiate , particularly of children whose tears were believed to mirror and summon . For Chaac, ceremonies involved young male victims assisted by four dwarfish attendants (Bacabs) who supported the and directed storms; Tlaloc's rites, conducted at mountaintop shrines like , featured similar child offerings managed by Tlaloques—four supernatural beings of varied colors who distilled in cavernous realms. Festivals synchronized with agricultural calendars, such as Tlaloc's Atlcahualo for sowing preparation, paralleled Chaac's invocations tied to Maya dry-season anxieties, highlighting a common causal logic where blood offerings compelled divine hydrological intervention. These parallels indicate pan-Mesoamerican conceptual unity in rain god archetypes, likely rooted in Olmec or precedents and reinforced by trade, migration, and , rather than isolated evolutions. While distinct in some attributes—such as Tlaloc's rulership over the paradisiacal Tlalocan versus Chaac's integration with Maya directional Bacabs—their convergence underscores empirical adaptations to shared environmental imperatives in tropical highlands and lowlands.

Distinctions from Other Mesoamerican Rain Deities

Chaac's prominently features a pronounced, T-shaped or trunk-like , interpreted as a conch shell or symbolizing thunder and production, paired with a stone axe representing that the wields to cleave clouds. In contrast, the Aztec Tlaloc exhibits goggle-like protruding eyes, prominent fangs, and often blue-green skin denoting water, with reptilian or jaguar-like traits emphasizing a more aquatic and mountainous domain rather than direct axe-wielding for storm generation. Similarly, the Zapotec aligns more closely with Tlaloc's central Mexican storm god archetype, displaying and motifs but lacking Chaac's distinctive nasal appendage, reflecting a shared highland Mesoamerican visual tradition distinct from lowland Maya conventions. Mythologically, Chaac manifests as a quadrupartite entity—four directional variants (e.g., Chac Xib Chac for the north)—integrated into Maya cosmology for balanced distribution across quadrants, with rituals invoking specific aspects for agricultural cycles. Tlaloc, however, operates within a hierarchical pantheon including spouses like and child associates governing varied precipitation types (, hail, drought), with abode in mountaintop paradises or caves, underscoring Aztec emphases on territorial control and warfare-linked fertility over Maya directional multiplicity. This contrasts with Cocijo's singular, less fragmented form in Zapotec lore, where provision ties more to urban temple complexes without the Maya god's explicit fourfold spatial division. Functionally, while all invoke for maize-dependent sustenance, Chaac's agency centers on mechanical invocation via hurled axes and serpents to pierce clouds, aligning with Maya empirical observations of lightning-initiated downpours in tropical lowlands. Tlaloc's purview extends to broader hydrological duality—nurturing vs. destructive floods—manifest in sacrifices to avert calamity, reflecting highland vulnerability to erratic patterns absent in Chaac's more uniformly agrarian role. Archaeological evidence from sites like corroborates Tlaloc's integration with militaristic earth cults, diverging from Chaac's primary embedding in Maya calendrical divination for crop timing.

Broader Cross-Cultural Patterns

Rain deities like Chaac recur across diverse cultures, particularly in agrarian societies where seasonal was essential for yields, often merging thunder and with fertility roles to explain and invoke vital . These gods typically wield lightning-emitting weapons—such as Chaac's stone axe, the Norse Thor's hammer , the Slavic Perun's axe, or the Greek Zeus's thunderbolts—symbolizing the harnessing of storms to battle chaos and release water, a pattern rooted in the empirical observation of thunderstorms preceding downpours. This iconographic consistency highlights a shared causal realism: lightning as a tool of divine agency against or serpentine watery foes, evident from to Indo-European traditions. A dual nature pervades these archetypes, balancing destruction (hail, floods) with benevolence (irrigating fields), as seen in Chaac's association with both agricultural bounty and sacrificial demands for rain, paralleling the Yoruba Shango's axe-wielding storms or the Vedic Indra's slaying of the drought-dragon Vritra to liberate waters. Rituals invoking such deities, including dances or offerings, appear recurrently worldwide, from Maya cenote immersions to Slavic thunder-god festivals, underscoring rituals' role in addressing environmental unpredictability rather than mere superstition, with efficacy beliefs corroborated by correlations between ceremonial timings and monsoon patterns in historical records. Cross-cultural multiplicity further aligns Chaac's four aspects with quadripartite storm divisions in other systems, such as directional winds in Polynesian or African lore, reflecting a cosmological structuring of forces to mirror observed seasonal cycles and ensure societal resilience. These patterns, independent of direct , arise from universal human adaptation to rain-dependent ecologies, prioritizing empirical cues over abstract .

Contemporary Legacy

Persistence in Indigenous Maya Traditions

In indigenous Maya communities of the Yucatán Peninsula, veneration of Chaac endures through the cha chaac ceremony, a rain-invoking ritual performed annually or during droughts to ensure agricultural fertility. Led by h-men (traditional priests or shamans), the ceremony involves constructing altars in milpas (cornfields) with offerings of corn, tobacco, incense, and (a fermented beverage), directed toward the four cardinal Chaacs representing directional aspects of the deity. Participants recite prayers invoking Chaac's lightning axe to strike clouds and release rain, reflecting pre-Columbian beliefs in the god's control over precipitation. Among the Lacandon Maya of , , Chaac receives offerings in god houses—small thatched temples—alongside other deities like the sun god Kinich Ahau, using (pom) and homemade liquor to petition for and forest abundance. These practices, observed in the 20th and 21st centuries, maintain Chaac's role as a provider of life-sustaining without , adapted from Classic Maya traditions. Yucatec Maya farmers continue to honor Chaac in times of , integrating rituals with Catholic elements in some cases, such as invoking saints alongside the god, yet preserving core indigenous invocations for success. Ethnographic records from the mid-20th century document these ceremonies in villages like those near , where participants still attribute rainfall efficacy to Chaac's favor. Such persistence underscores Chaac's foundational tie to in regions prone to erratic wet-dry cycles, with rituals corroborated by direct observations in communities resisting full Christian assimilation.

Modern Scholarly and Archaeological Insights

Archaeological excavations across sites, such as Kabah and , reveal extensive iconographic representations of Chaac, including the Palace of Masks at Kabah featuring approximately 250 large stone masks of the deity with his characteristic hooked nose and reptilian attributes. These depictions, dating primarily to the Late Classic and Terminal Classic periods (c. 600–900 CE), underscore Chaac's centrality in regional and spaces, where his image adorned facades to invoke rainfall. Scholarly of these motifs, informed by epigraphic and evidence, traces Chaac's reptilian features and axe to Preclassic origins (c. 2000 BCE–250 CE), indicating continuity in worship practices. Excavations at cenotes, particularly the at , have uncovered human skeletal remains and offerings directly linked to Chaac veneration, with artifacts like and items suggesting petitions for during droughts. A 2024 study analyzing from 64 sacrificed individuals, mostly children aged 3–6, revealed that these rituals peaked in the Postclassic period (c. 900–1500 CE) and involved migrants from central , potentially reflecting intensified supplications to Chaac amid climatic variability. Isotopic of remains further indicates sacrifices occurred during drier months, aligning with seasonal -beckoning ceremonies documented in Classic Maya texts. Paleoclimate reconstructions from stalagmites document severe multiyear , with precipitation reductions up to 40% during the (c. 800–900 CE), correlating with heightened Chaac imagery and water management features like reservoirs. These findings suggest that exacerbated drought severity, prompting escalated rituals to Chaac, as evidenced by increased iconographic prominence in affected regions. A 2022 links such droughts to civil conflicts, implying failures in Chaac-mediated assurance contributed to sociopolitical . Recent pigment studies identify , sacred to Chaac, sourced from specific mines, highlighting material culture ties to his cult.

Recent Cultural Controversies and Media Depictions

In July 2024, a controversy erupted in , , over a 3.5-meter of the Greek god installed on the city's malecón in April of that year to boost . Local Maya activists, represented by lawyers from the Indigenous advocacy group , filed a legal complaint arguing that the statue violated their to religious by imposing a foreign that conflicted with veneration of Chaac, the traditional Maya god of rain and water. The petitioners claimed , depicted wielding a , symbolized an "alien" cultural imposition offensive to Chaac's role in controlling water sources essential to Maya cosmology and , especially amid regional concerns exacerbated by Hurricane Beryl's landfall earlier that month. Mexican federal authorities responded by ordering the statue covered with a tarp on July 2, 2024, pending review by the National Institute of Anthropology and History (INAH) and the National Council to Prevent Discrimination (CONAPRED), citing potential cultural insensitivity. Despite the backlash, the statue remained in place as of late 2024, drawing tourists and memes contrasting Poseidon's with Chaac's lightning axe, while local officials defended it as non-religious . Critics, including some Maya descendants, viewed the incident as emblematic of broader tensions between tourism-driven and indigenous spiritual preservation, though no evidence emerged of widespread disruption or direct invocation of Chaac in protests. Media depictions of Chaac in contemporary contexts have largely avoided similar disputes, appearing in video games like Smite (2014 onward), where he is portrayed as a warrior god with traditional attributes such as a stone axe and serpent motifs, emphasizing gameplay over cultural critique. Fictional works, such as a 2024 Medium article framing an "interview" with Chaac, treat him as a humorous or narrative figure blending mythology with modern identity, without reported backlash from indigenous groups. Scholarly and touristic representations, including in theme parks, occasionally invoke Chaac in rain-invoking ceremonies tied to eco-tourism, but a separate October 2025 legal claim against alleged general misuse of Maya symbols without specific reference to Chaac or ensuing controversy. These instances reflect Chaac's integration into as a symbol of Mesoamerican heritage, contrasting with the case's focus on exclusionary cultural rivalry rather than appropriation of Chaac himself.

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  93. https://www.startribune.com/the-gods-must-be-angry-mexico-cancels-statue-of-greek-god-poseidon-after-dispute-with-local-deity/600380289
  94. https://yucatanmagazine.com/progresos-poseidon-adventure-feds-shut-down-a-controversial-statue/
  95. https://www.deseret.com/faith/2024/07/16/mexican-authorities-may-remove-poseidon-statue/
  96. https://www.bordercountiesadvertizer.co.uk/news/national/24449470.mexico-cancels-statue-greek-god-poseidon-dispute-local-deity/
  97. https://www.reddit.com/r/Smite/comments/rx6tak/what_is_with_the_lack_of_maya_gods/
  98. https://www.facebook.com/RivieraMayNews/posts/xcaret-park-in-riviera-maya-is-facing-a-legal-claim-for-the-cultural-appropriati/122191517900301451/
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