Monte Albán — Tomb 104

Tomb 104 is a Classic period Zapotec burial chamber at Monte Albán, renowned for its intact discovery, polychrome murals, and artifacts that illuminate elite funerary practices and religious iconography.

Tomb 104, known as Tumba 104, is a rock-cut burial chamber situated beneath a large palatial residence northeast of Monte Albán’s Main Plaza, dating primarily to the site’s Classic period around AD 500–600. As one of the few intact elite tombs discovered at this Zapotec ceremonial center in Oaxaca, Mexico, it features well-preserved polychrome murals and artifacts such as effigy urns, underscoring the religious and social hierarchies of Zapotec society. Its significance lies in providing evidence of ancestral veneration, deity impersonation, and ritual practices, contributing to understandings of Mesoamerican funerary art and state formation. [3] [4]

Location and layout

Tomb 104 is positioned under one of the largest palatial structures in the archaeological zone, northeast of the Main Plaza on the North Platform, accessible near the site’s entrance before ascending to the ceremonial core. The tomb follows a cross-shaped plan, with a main chamber oriented east-west and an antechamber providing access from the west, while the back faces east. This layout integrates with the surrounding elite residential complex, emphasizing its role within the site’s hierarchical spatial organization, close to other tombs like Tomb 105 and relating to the broader plaza for ritual processions. [1] [5]

Architecture and construction

Constructed during Monte Albán IIIB (AD 500–600), Tomb 104 was excavated directly from the hill’s bedrock, with walls smoothed and coated in stucco to support mural paintings. The cross-shaped design includes a main chamber approximately 5 m (16.4 ft) long, roofed with stone slabs, and flanked by niches for offerings. Construction techniques reflect Zapotec engineering, with irregular wall surfaces finished in plaster for durability and aesthetic enhancement, showing phased use without major later modifications. Alignments may tie to astronomical or ritual orientations, consistent with site-wide patterns. [3] [6]

Sculpture and epigraphy

Tomb 104 is distinguished by its polychrome murals covering the walls, depicting seated figures in ritual attire engaged in ceremonies, possibly ancestors performing bloodletting or offerings, with vibrant colors like red, yellow, and blue symbolizing deities and cosmological elements. The facade features a large effigy urn (91 cm/3 ft tall) of a figure holding an incense bag, wearing a headdress with a Xicani mask and jaguar heads, identified as the Zapotec corn god Pitao Cozobi or rain god Cocijo. Some murals include hieroglyphic elements, such as calendrical signs, reflecting early Zapotec writing traditions. Niches contain additional ceramic sculptures, enhancing the tomb’s iconographic program. [4] [7]

Archaeological research

Discovered intact in 1937 by Alfonso Caso during the sixth season of the Monte Albán Project (1931–1943), Tomb 104 was excavated under his direction, revealing undisturbed murals and artifacts through stratigraphic analysis and ceramic associations. Caso’s team documented the tomb with drawings, photographs, and watercolors, classifying phases via radiocarbon and stylistic comparisons. Later studies by Ignacio Bernal (1952) and Javier Urcid analyzed iconography, confirming deity representations and ritual themes. Modern efforts include 3D reconstructions using Caso’s records for virtual access and potential new interpretations via geophysical surveys. Debates persist on exact dating due to reuse, but consensus places primary use in IIIB. [1] [8]

Visiting notes

Visitors can view the exterior and facade of Tomb 104 from ground level near the site’s northwest corner, appreciating the effigy urn and entrance context within the palatial structure, following the interpretive path counterclockwise from the entrance. The interior, including murals, is closed to the public for preservation; a full-scale replica with detailed exhibits is available at the National Museum of Anthropology in Mexico City to understand the burial sequence and artistry. [5]

Related MAHC WIKI entries

Main Plaza
North Platform
Tomb 7
Building J

References

Marcus, Joyce, and Kent V. Flannery. (1996). Zapotec Civilization: How Urban Society Evolved in Mexico’s Oaxaca Valley. Thames & Hudson. Scholarly overview of Zapotec archaeology and tombs.
UNESCO World Heritage Centre. (1987). “Historic Centre of Oaxaca and Archaeological Site of Monte Albán.” https://whc.unesco.org/en/list/415/. Official listing and description.
Caso, Alfonso, Ignacio Bernal, and Jorge R. Acosta. (1967). La Cerámica de Monte Albán. Instituto Nacional de Antropología e Historia (INAH). Ceramic chronology and excavation reports.
Caso, Alfonso, and Ignacio Bernal. (1952). Urnas de Oaxaca. Instituto Nacional de Antropología e Historia (INAH). Analysis of effigy vessels and tomb contexts.
INAH. “Monte Albán.” Lugares INAH. https://lugares.inah.gob.mx/en/node/5597. Official site description and tomb information.
Department of the Arts of Africa, Oceania, and the Americas. (2001). “Monte Albán: Sacred Architecture.” The Metropolitan Museum of Art. https://www.metmuseum.org/toah/hd/alban/hd_alban.htm. Essay on architecture and burials.
Urcid, Javier. (2001). “Zapotec Hieroglyphic Writing.” Dumbarton Oaks. https://www.doaks.org/resources/publications/books/zapotec-hieroglyphic-writing. Study of glyphs in tombs.
Orr, Heather S. (2002). “Danzantes of Building L at Monte Albán.” Foundation for the Advancement of Mesoamerican Studies, Inc. (FAMSI). http://www.famsi.org/reports/93003/93003Orr01.pdf. Contextual analysis including tombs.