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La Corona is the name given by archaeologists to an ancient Maya court residence in Guatemala's Petén department that was discovered in 1996, and later identified as the long-sought "Site Q", the source of a long series of unprovenanced limestone reliefs of exceptional artistic quality. The site's Classical name appears to have been Sak-Nikte' ('White-Flower').
During the 1960s, looted Maya reliefs from a then-unknown city surfaced on the international art market. One of these reliefs, showing a ball player, is now in the Chicago Art Institute;[1][4][2] another is in the Dallas Museum of Art. Peter Mathews, then a Yale graduate student, dubbed the city "Site Q" (short for ¿Qué? [Spanish for "what?"]).
"La Corona was located[5] in February 1996 when a jaguar poacher and looter turned eco-tourism promoter named Carlos Catalán[6][7] led Santiago Billy,[8][9] a researcher on a Conservation International campaign to protect scarlet macaws, to the heavily looted site"[10][11]
Ian Graham[10] and David Stuart from Harvard University's Peabody Museum of Archaeology and Ethnology investigated the site the following year, naming the new site La Corona.[12] Among the broken sculptures left by looters, Stuart found textual references to a place name and to historical figures that were featured on Site Q artifacts, leading him to believe that La Corona was Site Q.
In 2005 Marcello A. Canuto,[13] then a Yale professor, found a panel in situ at La Corona that mentioned two Site Q rulers. The panel had been quarried from the same rock as the Site Q artifacts, providing convincing evidence that La Corona was indeed Site Q.
Since 2008, the site has been investigated by the La Corona Archaeological Project co-directed by Marcello A. Canuto (Director, Middle American Research Institute at Tulane University and Tomás Barrientos, Universidad del Valle de Guatemala.[citation needed]
In April 2012, La Corona Archaeological Project discovered a row of 12 staircase risers with many different relief scenes; another 10 sculpted risers were found looted from their original context but then discarded for being too eroded to be worth selling on the illicit antiquities market.[citation needed]
The texts of these newly discovered panels contain important historical information about political events in the Classic period; one of the panels (Hieroglyphic Staircase 2, Block 5) contains a reference to 4 Ahau 3 K'ank'in, the notorious 13th baktun-ending.[citation needed]
Research focuses on the relationship between the powerful kingdom of Calakmul and La Corona.[14]
A famous sculpted panel (now in the Dallas Museum of Art) depicts two large palanquins each carrying a royal woman from Calakmul, one standing in a temple pavilion, the other overshadowed by a supernatural protector; the text, however, refers to three women who came from Calakmul's ruling dynasty to marry the kings of La Corona.
In 679 AD, a daughter of Calakmul's powerful Yuknoom Ch'een was given in marriage to a La Corona king. Another, newly discovered relief mentions a visit in between these two dates, in 696, by another Calakmul king (Yuknoom Yich'aak K'ahk'), following Calakmul's defeat by Tikal.[15]
In 721 AD, a daughter of the Calakmul king (Yuknoom Took' K'awiil) was married off to a king of La Corona.[16]
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