2. Background of the 1976 UCB Project During the Summer of 1975 We Discussed the Feasibility and Profitability of Detailed Explorations at Abaj Takalik
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Cotsen Institute of Archaeology Press
UCLA Cotsen Institute of Archaeology Press Title Rock Art of East Mexico and Central America: An Annotated Bibliography Permalink https://escholarship.org/uc/item/68r4t3dq ISBN 978-1-938770-25-8 Publication Date 1979 Data Availability The data associated with this publication are within the manuscript. Peer reviewed eScholarship.org Powered by the California Digital Library University of California Rock Art of East Mexico and Central America: An Annotated Bibliography Second, Revised Edition Matthias Strecker MONOGRAPHX Institute of Archaeology University of California, Los Angeles Rock Art of East Mexico and Central America: An Annotated Bibliography Second, Revised Edition Matthias Strecker MONOGRAPHX Institute of Archaeology University of California, Los Angeles ' eBook ISBN: 978-1-938770-25-8 TABLE OF CONTENTS PREFACE By Brian D. Dillon . 1 ACKNOWLEDGEMENTS . vi INTRODUCTION . 1 PART I: BIBLIOGRAPHY IN GEOGRAPHICAL ORDER 7 Tabasco and Chiapas . 9 Peninsula of Yucatan: C ampeche, Yucatan, Quintana Roo, Belize 11 Guatemala 13 El Salvador 15 Honduras 17 Nicaragua 19 Costa Rica 21 Panama 23 PART II: BIBLIOGRAPHY BY AUTHOR 25 NOTES 81 PREFACE Brian D. Dillon Matthias Strecker's Rock Art of East Mexico and Central America: An Annotated Bibliography originally appeared as a small edition in 1979 and quickly went out of print. Because of the volume of requests for additional copies and the influx of new or overlooked citations received since the first printing, production of a second , revised edition became necessary. More than half a hundred new ref erences in Spanish, English, German and French have been incorporated into this new edition and help Strecker's work to maintain its position as the most comprehen sive listing of rock art studies undertaken in Central America. -
Una Revision Preliminar De La Historia De Abaj Takalik
Popenoe de Hatch, Marion y Christa Schieber de Lavarreda 2001 Una revisión preliminar de la historia de Tak´alik Ab´aj, departamento de Retalhuleu. En XIV Simposio de Investigaciones Arqueológicas en Guatemala, 2000 (editado por J.P. Laporte, A.C. Suasnávar y B. Arroyo), pp.990-1005. Museo Nacional de Arqueología y Etnología, Guatemala (versión digital). 77 UNA REVISIÓN PRELIMINAR DE LA HISTORIA DE TAK´ALIK AB´AJ, DEPARTAMENTO DE RETALHULEU Marion Popenoe de Hatch Christa Schieber de Lavarreda Nuestras recientes investigaciones en Tak´alik Ab´aj se han dirigido hacia resolver una serie de preguntas que nos han interesado por largo tiempo. Este año hemos dirigido nuestra atención a la pregunta más intrigante de todas. En algún momento durante la historia de Tak´alik Ab´aj ocurrió un incidente violento. Muchos de los monumentos de gran tamaño, especialmente los esculpidos en estilo Maya, fueron tirados y destruidos. ¿Quién fue responsable de la violencia en Tak´alik Ab´aj, destruyendo deliberadamente los monumentos, y cuándo ocurrió este evento? Creemos que tenemos la respuesta a esta pregunta y presentaremos el argumento en breve. Otras preguntas que hemos tenido son las siguientes: ¿Quiénes fueron los primeros habitantes de Tak´alik Ab´aj?; ¿Por qué fundaron el sitio en el lugar donde se encuentra?; ¿Cuál era la función de Tak´alik Ab´aj?; ¿Cuántos complejos cerámicos, que representan distintas poblaciones, pueden identificarse a lo largo de la historia de Tak´alik Ab´aj y qué papel jugaron?; ¿Qué cerámica está asociada con las esculturas Olmecas y cuál corresponde a las esculturas Mayas?; ¿Qué relaciones mantuvo Tak´alik Ab´aj con otras regiones a lo largo del tiempo?; ¿Cómo se manifiestan los periodos Preclásico, Clásico y Postclásico en Tak´alik Ab´aj, y cómo están relacionados? Hace un año en este Simposio (Popenoe de Hatch et al. -
CATALOG Mayan Stelaes
CATALOG Mayan Stelaes Palos Mayan Collection 1 Table of Contents Aguateca 4 Ceibal 13 Dos Pilas 20 El Baúl 23 Itsimite 27 Ixlu 29 Ixtutz 31 Jimbal 33 Kaminaljuyu 35 La Amelia 37 Piedras Negras 39 Polol 41 Quirigia 43 Tikal 45 Yaxha 56 Mayan Fragments 58 Rubbings 62 Small Sculptures 65 2 About Palos Mayan Collection The Palos Mayan Collection includes 90 reproductions of pre-Columbian stone carvings originally created by the Mayan and Pipil people traced back to 879 A.D. The Palos Mayan Collection sculptures are created by master sculptor Manuel Palos from scholar Joan W. Patten’s casts and rubbings of the original artifacts in Guatemala. Patten received official permission from the Guatemalan government to create casts and rubbings of original Mayan carvings and bequeathed her replicas to collaborator Manuel Palos. Some of the originals stelae were later stolen or destroyed, leaving Patten’s castings and rubbings as their only remaining record. These fine art-quality Maya Stelae reproductions are available for purchase by museums, universities, and private collectors through Palos Studio. You are invited to book a virtual tour or an in- person tour through [email protected] 3 Aguateca Aguateca is in the southwestern part of the Department of the Peten, Guatemala, about 15 kilometers south of the village of Sayaxche, on a ridge on the western side of Late Petexbatun. AGUATECA STELA 1 (50”x85”) A.D. 741 - Late Classic Presumed to be a ruler of Aguatecas, his head is turned in an expression of innate authority, personifying the rank implied by the symbols adorning his costume. -
Chalcatzingo:Abrief Introduction Special DAVID C
ThePARIJournal A quarterly publication of the Pre-Columbian Art Research Institute Volume IX, No. 1, Summer 2008 Chalcatzingo:ABrief Introduction Special DAVID C. GROVE Chalcatzingo Issue University of Florida containing: In 1934 archaeologist Eulalia Guzmán trav- bas-relief carvings. The largest of them Chalcatzingo: A eled to the remote hamlet of Chalcatzingo (Monument 1), nicknamed “El Rey” by Brief Introduction near Jonacatepec in the Amatzinac valley the villagers, depicts a personage seated of eastern Morelos state to investigate re- in a cave-like niche above which are rain by ports of “stones with reliefs.” The village clouds and falling raindrops (Guzmán David Grove sits near two conjoined granodiorite hills 1934:Fig. 3) (Figure 2). In addition, in a PAGES 1-7 or cerros—the Cerro Delgado and the larg- small barranca that cuts through the site er Cerro Chalcatzingo (also known as the Guzmán was shown a unique three di- • Cerro de la Cantera)—that jut out starkly mensional sculpture—a “mutilated stat- against the relatively flat landscape of the ue” of a seated personage, minus its head. Chalcatzingo valley (Figure 1). The archaeological site Guzmán also found pot sherds dating to Monument 34: A that Guzmán viewed is situated just at both the “Archaic” (Preclassic or Forma- Formative Period the base of those cerros where they meet tive) and “Teotihuacan” (Classic) periods, “Southern Style” to form a V-shaped cleft. The ancient oc- leaving her uncertain as to the date of the Stela in the Central cupation extended across a series of ter- carvings (Grove 1987c:1). Mexican Highlands races below the twin cerros. -
The PARI Journal Vol. XVI, No. 1
ThePARIJournal A quarterly publication of the Ancient Cultures Institute Volume XVI, No. 1, Summer 2015 Sounds in Stone: Song, Music, and Dance on Monument 21 1 In This Issue: from Bilbao, Cotzumalguapa, Guatemala OSWALDO CHINCHILLA MAZARIEGOS Sounds in Stone: Yale University Song, Music, and Dance on The sculptures of Cotzumalguapa, on the Flower World, a mythological place Monument 21 the South Coast of Guatemala, contain inhabited by portentous beings including from Bilbao, numerous depictions of ritual scenes re- ancestors and the Sun God. Cotzumalguapa, lated to human sacrifice, the evocation of Bilbao Monument 21 is one of the Guatemala ancestors, and the solar cult. Song, music, most elaborate examples of the sculp- by and dance play an important role in these tural art of Cotzumalguapa (Figures Oswaldo Chinchilla scenes. Song is represented by elaborate 1 and 2; Chinchilla Mazariegos 2008; Mazariegos sound scrolls that take the form of prodi- gious plants sprouting abundant flowers, PAGES 1-12 1 A version of this article was first published fruits, jewels, and other precious objects. in Spanish in Flower World: Music Archaeology of As interpreted in this article, the partici- the Americas / Mundo Florido: Arqueomusicología Marc Zender pants in these scenes performed songs and de las Américas, vol. 1, edited by Arnd Adje Both Editor dances in the context of rituals that evoked (Chinchilla Mazariegos 2012). [email protected] Joel Skidmore Associate Editor [email protected] The PARI Journal 202 Edgewood Avenue San Francisco, CA 94117 415-664-8889 [email protected] Electronic version available at: www.precolumbia.org/ pari/journal/1601 ISSN 1531-5398 Figure 1. -
Were-Jaguars and Crocodilians: a Need to Redefine
Takkou-Neofytou, R 2014 Were-Jaguars and Crocodilians: A Need to Redefine. pia Papers from the Institute of Archaeology, 24(1): 25, pp. 1-12, DOI: http:// dx.doi.org/10.5334/pia.472 GENERAL Were-Jaguars and Crocodilians: A Need to Redefine Richard Takkou-Neofytou* The general consensus amongst scholars is that anthropomorphic and zoomorphic Formative art, usually associated with the Olmecs but extending to post-Columbian civilisations, are depictions of humans and/or jaguars known as were-jaguars (De La Fuente 2000: 258). More recently, there has been discussion concerning what is actually being depicted through this Mesoamerican art form. In this paper, I will argue that the art form is much more complex than first anticipated with motifs of different deities amalgamated into one depiction, thereby extolling ceremonial influence to other animals worshipped in a religion based on animism, whilst also looking critically at some anthropomorphic images of the jaguar. Introduction art under the umbrella of the jaguar. Colin Upon entering the Mexico gallery at the McEwan, the former curator of this gallery, British Museum, it occurred to me that the writes (McEwan 2009: 136): Museum was endorsing a particular view of Olmec art history; a view that is quite conten- This massive ceremonial axe (celt) tious since the issue surrounding the genre combines characteristics of the cai- of the type of art in question has not yet been man and the jaguar, the most pow- settled. Of course, I refer to the ‘were-jaguar’ erful predators inhabiting the rivers and its feline components (see figures 1 and and forests of the tropical lowlands. -
A 3D Model of Complex A, La Venta, Mexico
Digital Applications in Archaeology and Cultural Heritage 1 (2014) 72–81 Contents lists available at ScienceDirect Digital Applications in Archaeology and Cultural Heritage journal homepage: www.elsevier.com/locate/daach A 3d model of Complex A, La Venta, Mexico Susan D. Gillespie a,n, Michael Volk b a Department of Anthropology, University of Florida, P.O. Box 117305, Gainesville, FL 32611-7305 USA b Department of Landscape Architecture, University of Florida, P.O. Box 115704, Gainesville, FL 32611-5704 USA article info abstract Article history: La Venta was a large regional center located near the Gulf coast in Tabasco, Mexico. From ca. 800–400 BC Received 21 September 2013 it was the major Olmec capital in Mesoamerica. Despite its significance La Venta has received little Received in revised form archeological attention. The clay structures of its ritual precinct, Complex A, excavated in the 1940s–50s, 14 April 2014 were subsequently destroyed. Unfortunately, the published reports on those excavations are inadequate, Accepted 27 June 2014 with misleading archeological drawings. In order to obtain a more precise and comprehensive under- Available online 5 July 2014 standing of La Venta the original excavation records were consulted, and field drawings and maps were Keywords: digitized to create more accurate 2d images as well as a 3d model of Complex A. This article summarizes La Venta the process of digitizing the archival records and the interpretive benefits from utilizing 3d visualizations Olmec of the site. Recounting the process may inform similar projects dependent on archival records when field Archival archeology mapping or excavation are no longer possible. -
Maya Ritual and Myth: Human Sacrifice in the Context of the Ballgame and the Relationship to the Popol Vuh Jessica Zaccagnini
Southern Illinois University Carbondale OpenSIUC Honors Theses University Honors Program 12-2003 Maya Ritual and Myth: Human Sacrifice in the Context of the Ballgame and the Relationship to the Popol Vuh Jessica Zaccagnini Follow this and additional works at: http://opensiuc.lib.siu.edu/uhp_theses Recommended Citation Zaccagnini, Jessica, "Maya Ritual and Myth: Human Sacrifice in the Context of the Ballgame and the Relationship to the Popol Vuh" (2003). Honors Theses. Paper 336. This Dissertation/Thesis is brought to you for free and open access by the University Honors Program at OpenSIUC. It has been accepted for inclusion in Honors Theses by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. Maya Ritual and Myth: Human Sacrifice in the Co?text of the Ballgame and the Relationship to the Popol yUh Jessica Zaccagnini Dr. Jonathan Hill Anthropology 480 December 8, 2003 Maya Ritual and Myth: Ritual Human Sacrifice in the Context ofth~ Ballgame and the Relationship to the Popol Vuh Abstract The ballgarne existed as an integral facet of Mayan life. Ritual and mythic expression are inextricably linked to the execution ofthe ballgarne and are deeply integrated into Mayan culture. Ritual human sacrifice is an unquestionable aspect related to the ballgarne. The Maya rulers extended the outcome of the ballgarne by satisfYing th., deities through ritual and human sacrifice (Scarborough 1991 :143). The Quiche book of epic narratives, named the Papal Vuh, is a recurring theme in the exploration of the ballgarne and it is deeply weighted with mythic significance. A discussion of how this theme is interwoven into the political, social, and religious aspects of Mayan society wil! be addressed in this paper. -
Informe Del Proyecto Arqueológico Ceibal-Petexbatun La Temporada 2011
INFORME DEL PROYECTO ARQUEOLÓGICO CEIBAL-PETEXBATUN LA TEMPORADA 2011 Editado por Victor Castillo Aguilar y Takeshi Inomata Directores Takeshi Inomata y Victor Castillo Aguilar Informe entregado al Instituto de Antropología e Historia 2011 Agradecimientos El Proyecto Arqueológico Ceibal-Petexbatun desea manifestar su agradecimiento a las personas e instituciones que apoyaron la realización de la Temporada 2011. Se agradece al Maestro Erick Ponciano, Director del Patrimonio Cultural y Natural del Ministerio de Cultura y Deportes, a la Licenciada Mónica Urquizú, Directora Técnica del Instituto de Antropología e Historia y a la Licenciada Griselda Pérez Robles, Jefa del Departamento de Monumentos Prehispánicos y Coloniales por el apoyo institucional para la ejecución del proyecto. A la Licenciada Ana Lucía Arroyave y la Licenciada Elisa Mencos, supervisoras del proyecto, al Sr. Julio López, Inspector de Monumentos de la zona y demás trabajadores del Instituto de Antropología e Historia pos su apoyo y colaboración. El Proyecto Arqueológico Ceibal-Petexbatun fue financiado por la Universidad de Ibaraki, fondo que es otorgado por el Ministerio de Educación, Cultura, Deportes, Ciencia y Tecnología de Japón. CONTENIDO Agradecimientos PARTE I: INTRODUCCIÓN 1. Introducción a la temporada de 2010 1 Takeshi Inomata y Victor Castillo Aguilar PARTE II: INVESTIGACIONES EN LA CORTE ESTE 2. Excavaciones enfrente de la Estructura A-15: Operación 201B 7 Daniela Triadan 3. Excavaciones en la Estructura A-14: Operación 201C 23 Giovanni González y Daniela Triadan 4. Excavaciones detrás de la Corte Este: Operación 201D 30 Jessica MacLellan 5. Excavaciones en la fachada oeste de la Estructura A-14: Operación 201E 37 María Belén Méndez Bauer 6. -
Analysis of Archaeological Artifacts from Cotzumalhuapa, Guatemala
FAMSI © 2004: Oswaldo Chinchilla Mazariegos Analysis of Archaeological Artifacts from Cotzumalhuapa, Guatemala Research Year: 2003 Culture: Maya Chronology: Late Classic Location: Southern Guatemala Site: Cotzumalhuapa Table of Contents Abstract Resumen Introduction The Cotzumalhuapa Causeways Description Ceramic Analysis Special Objects The El Baúl Obsidian Workshop Summary Description of Excavations Ceramic Analysis Special Objects Obsidian Analysis, by Edgar Carpio Rezzio Final Comments Acknowledgements List of Figures Sources Cited Annex I. Preliminary Report on the Artifact Analysis of the Obsidian Workshop at El Baúl Abstract Recent research at Cotzumalhuapa focused on the extensive system of causeways and bridges that linked together the settlements and major architectural compounds of the ancient city. Further excavations investigated a large obsidian workshop dump and associated structures, including possible workshop platforms and a probable sweat bath. Analysis of ceramics from these excavations provides a basis to date of the construction and use of the causeways, and the use of the obsidian workshop area. Analysis of obsidian debris recovered from the dump revealed details on the production of both prismatic blades and projectile points from raw materials imported from highland sources. The location of the workshop suggests a degree of centralized control of the industry. Resumen Las investigaciones recientes en Cotzumalhuapa se enfocaron en el extenso sistema de calzadas y puentes que integraba los asentamientos y conjuntos arquitectónicos principales de la antigua ciudad. También se excavó un gran basurero de desechos de talla de obsidiana, y algunas estructuras asociadas, que incluyen posibles plataformas del taller y lo que parece ser un baño de vapor. El análisis de la cerámica de estas excavaciones provee una base para fechar la construcción y el uso de las calzadas, y el uso del área del taller. -
Waterlily Paradise Lakeside, Riverside, Creeks, Swamps
WATERLILY PARADISE LAKESIDE, RIVERSIDE, CREEKS, SWAMPS Nymphaea ampla El Golfete Municipio de Livingston, Izabal, Guatemala NICHOLAS HELLMUTH WATERLILY PARADISE LAKESIDE, RIVERSIDE, CREEKS, SWAMPS MAY 2020 APPRECIATION Assistance for local Access, Municipio de Livingston • Daniel Esaú Pinto Peña, Alcalde of Livingston (Izabal, Guatemala). • Edwin Mármol Quiñonez, Coordinación de Cooperación de Livingston (Izabal, Guatemala) • Juana Lourdes Wallace Ramírez, Asistente Administrativo, Coordinación de Cooperación de Livingston MUNICIPALIDAD DE Livingston CREDITS The helpful individuals listed below are all part of the FLAAR Mesoamerica research and field work team. The office research team, webmaster, and web designers are additional individuals in the main office in Guatemala City. Since each report is a different plant or animal, the individuals who assist in preparing the bibliography, in species identification and botanical information category are not the same for each report. Author Nicholas Hellmuth Genus species identification team Nicholas Hellmuth Victor Mendoza Senaida Ba Bibliography team Nicholas Hellmuth Vivian Hurtado Editor Vivian Díaz Photographers Nicholas Hellmuth María Alejandra Gutierrez David Arrivillaga Photography assistants Senaida Ba Mucu Juan Pablo Fumagalli Manager of design and layout Andrea Sánchez Díaz Layout of this english edition Jaqueline González Front Cover Photograph Tittle Page Photograph Nymphaea ampla. Nymphaea ampla Photograph by: María Alejandra Gutierrez. FLAAR Photograph by: María Alejandra Gutierrez. -
California State University, Northridge the Were
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE WERE-JAGUAR MOTIF AND THE OLMEC CHIEFDOM A thesis submitted in partial satisfaction of the .requirements for the degree of Master of Arts in Anthropology by Bryn Marie Barabas January 1985 0 • The Thesis of Bryn Marie Barabas is approved: Susan Kenagy Dav~ Hayanbj f{_ Robert Ravicz, Chairma~ California State University, Northridge ii ACKNOWLEDGEMENTS I would like to gratefully acknowledge all of the help and guidance provided by my committee members, Susan Kenagy, David Hayano, Robert Ravicz, and my second ·chair Carol Mackey, without whom this thesis wo~ld not have been possible. I also extend thanks to Gregory Truex, Charles Bearchell, and Ralph Vicero for coming through in the end. Thanks Mom and Pops for your patient understanding and encouragement. And finally, multiple thank yous to all of those special people, particularly R. J., for seeing me through with my elusive were-jaguar dream. iii TABLE ·oF CONTENTS Page ACKNOWLEDGEMENTS • • • • • • • • • • • • iii LIST OF FIGURES • • • • • • • • • • • • v ABSTRACT • • • • • • • • • • • • • • • vi Chapter 1 INTRODUCTION • • • • • • • • • • 1 2 DEFINITIONS • • • • • • • • • • 5 Summary • • • • • • • • • • 14 3 BACKGROUND • • • • • • • • • • 16 Summary • • • • • • • • • • 36 4 THE WERE-JAGUAR • • • • • • • • • 38 Summary • • • • • • • • • • 71 5 SAN LORENZO • • • • • • • • • • 73 Summary • • • .. • • • • • • 86 6 SUMMARY AND CONCLUSIONS • _. • • • • 89 Conclusions • • • • • • • • • 93 NOTES • • • • • • • • • • • • • • • • 97 FIGURES • • • • • • • • • • • • • • • 99 REFERENCES • • • • • • • • • • • • • • 117 APPENDIX • • • • • • • • • • • • • • • 130 iv LIST OF FIGURES figure page 1 The Olmec Area (Weaver 1981:63). • • • • • • 100 2 Chronology (Coe 1970; Tolstoy 1978; Weaver 1981) • 101 3 Olmec Central Places (Bernal 1969; Bove 1976:129). 102 4 Celts or Ceremonial Axes (Covarrubias 1946:30). • 103 5 Evolution of Mesoamerican Rain Gods (Covarrubias 1946:27) ~ • • • • • • • • • 104 6 R{o Chiquita Monument 1 (Joralemon 1976:31).