An incised, worked, and openwork conch shell, decorated with the image of a man or deity with an elongated head—possibly the Maize God—emerging from the mouth of an aquatic monster through the conch’s distal cannula.

Each of the conch’s nodules, on its upper protuberances, is carved with the image of a skull.

* This particular example is a Pleuroplaca gigantea (Archaeologist Julio Cotom, 2016).

* Donation  to La Ruta Maya ONG by Mr. Claudio Riedel Telge (enero 2010).

Length: 34 cm
Width: 18 cm.

Conch shells were used by the Pre-Columbian peoples, including the Maya, as trumpets or decorated with techniques such as painting, incision, carving, and/or openwork.

Based on their natural distribution and archaeological findings, it is known that their access as a luxury item was very limited. In addition to shells carved with effigies of rulers, deities, and hieroglyphs, numerous images of conch shells appear painted on vessels and murals, which identify their use in various contexts.

Conch shells have also been found in numerous archaeological excavations across a variety of Mesoamerican settlements, both as musical instruments or depicted in murals, stone reliefs, and polychrome vessels, among other artifacts.

Due to their organological characteristics, they are defined as aerophones (wind instruments). It is important to consider the mechanism by which they set the air vibrating and the shape of their resonating chamber, as these elements determine the pitch and timbre of the sound. The player applies strong sound pressure (a blast) to the conch shells, causing the lips to vibrate.

Conch shells made of clay have also been found; their ergonomic design facilitates and optimizes their resonance, making them more akin to a musical instrument (Zalaquett et al., 2014).

To read more:

* “Use of Conch Shell Trumpets among the Maya.” Images by Justin Kerr www.mayavase.com

* Zalaquett R., Francisca, Pablo Padilla, Roberto Carbajal, Dulce S. Espino, and Ramiro Chávez. 2014. “Archaeoacoustic Study of Pre-Hispanic Maya Conch Shell Trumpets” in Sound Networks of Mesoamerican Tradition: Identities, Images, and Contexts (Francisca Zalaquett, Martha Ilia Nájera, and Laura Sotelo, editors). National Autonomous University of Mexico. pp. 71-109

1. Financiera de Occidente (October 2010 – April 2011)

2. “The World of the Mayan Artist.” Spanish Cooperation Training Center, Antigua Guatemala (February 3 – June 16, 2013)

3. “The World of the Mayan Artist.” Casa N’oj Cultural Center, Quetzaltenango (August 12 – September 6, 2013)

4. “The Maya and Water.” Spanish Cooperation Training Center, Antigua Guatemala (July 17–November 8, 2015)

5. “MAYA: RULERS OF THE RAINFOREST”
Drents Museum, Assen, Netherlands (February 28–September 4, 2016)
Historisches Museum der Pfalz, Speyer, Germany (October 2, 2016–April 23, 2018)
Archaeological Museum of Alicante, MARQ, Spain (May 25, 2017–January 7, 2018)

6. “MAYAS IN SANTO DOMINGO DEL CERRO” Santo Domingo del Cerro Cultural Center, Antigua Guatemala (August 16, 2018–April 20, 2019)

7. “MASTERPIECES OF THE PRE-COLUMBIAN ARTIST” Santo Domingo del Cerro Cultural Center, Antigua Guatemala (December 2019–February 2, 2022)

8. “MAYA: THE GREAT JAGUAR RISES” (2nd Tour) Kansas City Union Station (August 2022–March 2023) and California Science Center (April–September 2023)

9. “MASTERWORKS BY THE PRE-COLUMBIAN ARTIST.” La Ruta Maya Foundation, Guatemala City (November 6, 2024 to May 31st, 2025)

Paredes Maury, Sofia. 2015. “Las Trompetas de Caracol” en PUBLIRUTA, 9na edición, marzo, 2015: p. 6-7. Ediciones CRN, Guatemala

Paredes Maury, Sofia. 2015. Agua, Fuente de Vida y Felicidad“” en PUBLIRUTA, edición # 19, agosto, 2015: p. 6-7. Ediciones CRN, Guatemala.