Location and Orientation of Teotihuacan, Mexico: Water Worship and Processional Space
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An Environmental History of the Middle Rio Grande Basin
United States Department of From the Rio to the Sierra: Agriculture Forest Service An Environmental History of Rocky Mountain Research Station the Middle Rio Grande Basin Fort Collins, Colorado 80526 General Technical Report RMRS-GTR-5 Dan Scurlock i Scurlock, Dan. 1998. From the rio to the sierra: An environmental history of the Middle Rio Grande Basin. General Technical Report RMRS-GTR-5. Fort Collins, CO: U.S. Department of Agriculture, Forest Service, Rocky Mountain Research Station. 440 p. Abstract Various human groups have greatly affected the processes and evolution of Middle Rio Grande Basin ecosystems, especially riparian zones, from A.D. 1540 to the present. Overgrazing, clear-cutting, irrigation farming, fire suppression, intensive hunting, and introduction of exotic plants have combined with droughts and floods to bring about environmental and associated cultural changes in the Basin. As a result of these changes, public laws were passed and agencies created to rectify or mitigate various environmental problems in the region. Although restoration and remedial programs have improved the overall “health” of Basin ecosystems, most old and new environmental problems persist. Keywords: environmental impact, environmental history, historic climate, historic fauna, historic flora, Rio Grande Publisher’s Note The opinions and recommendations expressed in this report are those of the author and do not necessarily reflect the views of the USDA Forest Service. Mention of trade names does not constitute endorsement or recommendation for use by the Federal Government. The author withheld diacritical marks from the Spanish words in text for consistency with English punctuation. Publisher Rocky Mountain Research Station Fort Collins, Colorado May 1998 You may order additional copies of this publication by sending your mailing information in label form through one of the following media. -
Ancient Maya Afterlife Iconography: Traveling Between Worlds
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 Ancient Maya Afterlife Iconography: Traveling Between Worlds Mosley Dianna Wilson University of Central Florida Part of the Anthropology Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Wilson, Mosley Dianna, "Ancient Maya Afterlife Iconography: Traveling Between Worlds" (2006). Electronic Theses and Dissertations, 2004-2019. 853. https://stars.library.ucf.edu/etd/853 ANCIENT MAYA AFTERLIFE ICONOGRAPHY: TRAVELING BETWEEN WORLDS by DIANNA WILSON MOSLEY B.A. University of Central Florida, 2000 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Liberal Studies in the College of Graduate Studies at the University of Central Florida Orlando, Florida Summer Term 2006 i ABSTRACT The ancient Maya afterlife is a rich and voluminous topic. Unfortunately, much of the material currently utilized for interpretations about the ancient Maya comes from publications written after contact by the Spanish or from artifacts with no context, likely looted items. Both sources of information can be problematic and can skew interpretations. Cosmological tales documented after the Spanish invasion show evidence of the religious conversion that was underway. Noncontextual artifacts are often altered in order to make them more marketable. An example of an iconographic theme that is incorporated into the surviving media of the ancient Maya, but that is not mentioned in ethnographically-recorded myths or represented in the iconography from most noncontextual objects, are the “travelers”: a group of gods, humans, and animals who occupy a unique niche in the ancient Maya cosmology. -
The Olmec, Toltec, and Aztec
Mesoamerican Ancient Civilizations The Olmec, Toltec, and Aztec Olmecs of Teotihuacán -“The People of the Land of Rubber…” -Large stone heads -Art found throughout Mesoamerica Olmec Civilization Origin and Impact n The Olmec civilization was thought to have originated around 1500 BCE. Within the next three centuries of their arrival, the people built their capital at Teotihuacán n This ancient civilization was believed by some historians to be the Mother-culture and base of Mesoamerica. “The city may well be the basic civilization out of which developed such high art centers as those of Maya, Zapotecs, Toltecs, and Totonacs.” – Stirling Cultural Practices n The Olmec people would bind wooden planks to the heads of infants to create longer and flatter skulls. n A game was played with a rubber ball where any part of the body could be used except for hands. Religion and Art n The Olmecs believed that celestial phenomena such as the phases of the moon affected daily life. n They worshipped jaguars, were-jaguars, and sometimes snakes. n Artistic figurines and toys were found, consisting of a jaguar with a tube joining its front and back feet, with clay disks forming an early model of the wheel. n Large carved heads were found that were made from the Olmecs. Olmec Advancements n The Olmecs were the first of the Mesoamerican societies, and the first to cultivate corn. n They built pyramid type structures n The Olmecs were the first of the Mesoamerican civilizations to create a form of the wheel, though it was only used for toys. -
ATLANTE 3-Manuel Álvarez Bravo
1 Manuel Álvarez Bravo et la photographie contemporaine Nus, plantes, paysages Manuel Álvarez Bravo, Fruit défendu (1976) © Colette Urbajtel / Archivo Manuel Álvarez Bravo, SC Coordination Paul-Henri Giraud Atlante. Revue d’études romanes, automne 2015 2 Paul-Henri GIRAUD Imprévisible profondeur du visible. En guise d’avant-propos 4 Dossier José Antonio RODRIGUEZ La buena fama durmiendo: otro acercamiento 18 Jacques TERRASA Chevelures et pilosités dans l’œuvre de Manuel Álvarez Bravo 25 Juan Carlos BAEZA SOTO Écorcher l’absolu. Corps et identité de l’âme dans les nus de Manuel Álvarez Bravo 48 Daniel HAUTELIN Patience, obstination, révélation. Manuel Álvarez Bravo et Bertrand Hugues face au monde végétal 80 Annexes Vivienne Silver Manuel Álvarez Bravo. Clefs pour une œuvre 104 (Traduction de « A Guide to Viewing Manuel Alvarez Bravo », Exposure, 19:2, 1981, p. 42-49, par les étudiants du parcours « Traduction juridique et technique (JET) » du Master « Métiers du Lexique et de la Traduction (français-anglais) – MéLexTra » de l’Université Lille 3, promotion 2015-2016). Paul-Henri Giraud “Trato de simplificar al máximo lo representado” Entrevista con el fotógrafo Rafael Navarro 119 Paul-Henri Giraud « J’essaye de simplifier au maximum ce qui est représenté » Entretien avec le photographe Rafael Navarro (traduit par P.-H. Giraud) 125 Jacques Terrasa Micropaysages, portraits, nus Entretien avec le photographe Pierre-Jean Amar 131 Atlante. Revue d’études romanes, automne 2015 3 Eduardo Ramos-Izquierdo Suite de desnudos femeninos 147 Marcos Zimmermann Un encuentro con Manuel Álvarez Bravo en Arles y su Colección para la Fundación Televisa 153 Marcos Zimmermann Une rencontre avec Manuel Álvarez Bravo en Arles et sa Collection pour la Fundación Televisa (traduit par Michèle Guillemont) 156 Marcos Zimmermann Desnudos sudamericanos 159 Marcos Zimmermann Nus sud-américains (traduit par Michèle Guillemont) 165 Compte rendu Michele Carini Sur Promessi sposi d’autore. -
Introducing Izapa
Ancient Mesoamerica, 29 (2018), 255–264 Copyright © Cambridge University Press, 2018 doi:10.1017/S0956536118000494 INTRODUCING IZAPA Robert M. Rosenswiga and Julia Guernseyb aDepartment of Anthropology, State University of New York at Albany, Albany, New York 12222 bDepartment of Art and Art History, University of Texas, Austin, Texas 78705 Abstract This paper introduces the articles that comprise this Special Issue on Izapa. First, we review early reporting and assessments of Izapa’s monuments as well as archaeological investigations undertaken at the site during the twentieth century. Next, we describe more recent developments in interpretation and new archeological excavations and survey data collected during the past two decades. The papers in this Special Issue present new information that contribute to our evolving understanding of Izapa during the millennium that stretches from the Middle Formative period through the Middle Classic period (700 b.c.–a.d. 600). They serve as a status report on our understanding of the still largely enigmatic ancient kingdom, its regional structure, and connections to contemporaneous Isthmian sites. INTRODUCTION Blanca collapsed after a few centuries, and population declined in the immediate region. Its demise was a continuation of a millennium Izapa followed a trajectory of settled life that began at the beginning of political volatility characterized by a succession of polities coa- of the second millennium b.c. in the Soconusco region of Chiapas lescing and collapsing on the coastal plain (Love 2002b, 2007, and neighboring Guatemala (Figure 1). A series of Early Formative 2011). This rise-and-fall sequence provided the context in which (1900–1000 b.c., all dates calibrated) centers characterize the mounded architecture was adopted at Izapa sometime around 800 Mazatán zone of the Soconusco region (Clark and Pye 2000; b.c. -
Problems in Interpreting the Form and Meaning of Mesoamerican Tomple Platforms
Problems in Interpreting the Form and Meaning of Mesoamerican Tomple Platforms Richard 8. Wright Perhaps the primary fascination of Pre-Columbian art the world is founded and ordered, it acquires meaning. We for art historians lies in the congruence of image and con can then have a sense of place in it. " 2 cept; lacking a widely-used fonn of written language, art In lhe case of the Pyramid of lhe Sun, its western face fonns were employed to express significant concepts, often is parallel to the city's most prominent axis, the avenue to peoples of different languages. popularly known as the Street of the Dead. Tllis axis is Such an extremely logographic role for art should oriented 15°28' east of true nonh for some (as yet) un condition research in a fundamental way. For example, to defined reason (although many other Mesoamcriean sites the extent that Me.wamerican an-fonns literally embody have similar orientations). Offered in explanation arc a concepts, !here can be no real separation of image and variety of hypotheses that often intenningle calendrical, meaning. To interpret such an in the Jjght of Western topographical and celestial elements.' conventions, where meaning can be indirectly perceived (as It should not be surprising to see similar practices in in allegory or the imitation of nature), is to project mislead other Mesoamerican centers, given the religious con• ing expectations which !hen hinder understanding. servatism of ancient cultures in general. Through the One of the most obvious blendings of form and common orientations and orientation techniques of many meaning in Pre-Columbian art is the temple, with its Mesoamerican sites, we can detect specific manifestations supponing platfonn. -
Aztec Mythology
Aztec Mythology One of the main things that must be appreciated about Aztec mythology is that it has both similarities and differences to European polytheistic religions. The idea of what a god was, and how they acted, was not the same between the two cultures. Along with all other native American religions, the Aztec faith developed from the Shamanism brought by the first migrants over the Bering Strait, and developed independently of influences from across the Atlantic (and Pacific). The concept of dualism is one that students of Chinese religions should be aware of; the idea of balance was primary in this belief system. Gods were not entirely good or entirely bad, being complex characters with many different aspects and their own desires and motivations. This is highlighted by the relation between Quetzalcoatl and Tezcatlipoca. When the Spanish arrived with their European sensibilities, they were quick to name one good and one evil, identifying Quetzalcoatl with Christ and Tezcatlipoca with Satan during their attempts to integrate the Nahua peoples into Christianity. But to the Aztecs neither god would have been “better” than the other; they are just different and opposing sides of the same duality. Indeed, their identities are rather nebulous, with Quetzalcoatl often being referred to as “White Tezcatlipoca” and Tezcatlipoca as “Black Quetzalcoatl”. The Mexica, as is explained in the history section, came from North of Mexico in a location they named “Aztlan” (from which Europeans developed the term Aztec). During their migration south they were exposed to and assimilated elements of several native religions, including those of the Toltecs, Mayans, and Zapotecs. -
The Gupta Empire: an Indian Golden Age the Gupta Empire, Which Ruled
The Gupta Empire: An Indian Golden Age The Gupta Empire, which ruled the Indian subcontinent from 320 to 550 AD, ushered in a golden age of Indian civilization. It will forever be remembered as the period during which literature, science, and the arts flourished in India as never before. Beginnings of the Guptas Since the fall of the Mauryan Empire in the second century BC, India had remained divided. For 500 years, India was a patchwork of independent kingdoms. During the late third century, the powerful Gupta family gained control of the local kingship of Magadha (modern-day eastern India and Bengal). The Gupta Empire is generally held to have begun in 320 AD, when Chandragupta I (not to be confused with Chandragupta Maurya, who founded the Mauryan Empire), the third king of the dynasty, ascended the throne. He soon began conquering neighboring regions. His son, Samudragupta (often called Samudragupta the Great) founded a new capital city, Pataliputra, and began a conquest of the entire subcontinent. Samudragupta conquered most of India, though in the more distant regions he reinstalled local kings in exchange for their loyalty. Samudragupta was also a great patron of the arts. He was a poet and a musician, and he brought great writers, philosophers, and artists to his court. Unlike the Mauryan kings after Ashoka, who were Buddhists, Samudragupta was a devoted worshipper of the Hindu gods. Nonetheless, he did not reject Buddhism, but invited Buddhists to be part of his court and allowed the religion to spread in his realm. Chandragupta II and the Flourishing of Culture Samudragupta was briefly succeeded by his eldest son Ramagupta, whose reign was short. -
From the Renaissance to England's Golden
HISTORY AND GEOGRAPHY From the Martin Luther Renaissance to England’s Golden Age Reader Flying machine Queen Elizabeth I Printing press The Renaissance 1-89 The Reformation 91-145 England in the Golden Age 147-201 Creative Commons Licensing This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. You are free: to Share—to copy, distribute, and transmit the work to Remix—to adapt the work Under the following conditions: Attribution—You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation (www.coreknowledge.org) made available through licensing under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. This does not in any way imply that the Core Knowledge Foundation endorses this work. Noncommercial—You may not use this work for commercial purposes. Share Alike—If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page: https://creativecommons.org/licenses/by-nc-sa/4.0/ Copyright © 2017 Core Knowledge Foundation www.coreknowledge.org All Rights Reserved. Core Knowledge®, Core Knowledge Curriculum Series™, Core Knowledge History and Geography™ and CKHG™ are trademarks of the Core Knowledge Foundation. Trademarks and trade names are shown in this book strictly for illustrative and educational purposes and are the property of their respective owners. -
EARTH MOTHER CRYING: Encyclopedia of Prophecies of Peoples of The
EARTH MOTHER CRYING: Encyclopedia of Prophecies of Peoples of the Western Hemisphere, , , PART TWO of "The PROPHECYKEEPERS" TRILOGY , , Proceeds from this e-Book will eventually provide costly human translation of these prophecies into Asian Languages NORTH, , SOUTH , & CENTRAL , AMERICAN , INDIAN;, PACIFIC ISLANDER; , and AUSTRALIAN , ABORIGINAL , PROPHECIES, FROM "A" TO "Z" , Edited by Will Anderson, "BlueOtter" , , Compilation © 2001-4 , Will Anderson, Cabool, Missouri, USA , , Wallace "Mad Bear" Anderson, "I am Mad Bear Anderson, and I 'walked west' in Founder of the American Indian Unity 1985. Doug Boyd wrote a book about me, Mad Bear : Movement , Spirit, Healing, and the Sacred in the Life of a Native American Medicine Man, that you might want to read. Anyhow, back in the 50s and 60s I traveled all over the Western hemisphere as a merchant seaman, and made contacts that eventually led to this current Indian Unity Movement. I always wanted to write a book like this, comparing prophecies from all over the world. The elders have always been so worried that the people of the world would wake up too late to be ready for the , events that will be happening in the last days, what the Thank You... , Hopi friends call "Purification Day." Thanks for financially supporting this lifesaving work by purchasing this e-Book." , , Our website is translated into many different languages by machine translation, which is only 55% accurate, and not reliable enough to transmit the actual meaning of these prophecies. So, please help fulfill the prophecy made by the Six Nations Iroquois Lord of the Confederacy or "Sachem" Wallace "Mad Bear" Anderson -- Medicine Man to the Tuscaroras, and founder of the modern Indian Unity Movement -- by further supporting the actual human translation of these worldwide prophecy comparisons into all possible languages by making a donation, or by purchasing Book #1. -
God of the Month: Tlaloc
God of the Month: Tlaloc Tlaloc, lord of celestial waters, lightning flashes and hail, patron of land workers, was one of the oldest and most important deities in the Aztec pantheon. Archaeological evidence indicates that he was worshipped in Mesoamerica before the Aztecs even settled in Mexico's central highlands in the 13th century AD. Ceramics depicting a water deity accompanied by serpentine lightning bolts date back to the 1st Tlaloc shown with a jaguar helm. Codex Vaticanus B. century BC in Veracruz, Eastern Mexico. Tlaloc's antiquity as a god is only rivalled by Xiuhtecuhtli the fire lord (also Huehueteotl, old god) whose appearance in history is marked around the last few centuries BC. Tlaloc's main purpose was to send rain to nourish the growing corn and crops. He was able to delay rains or send forth harmful hail, therefore it was very important for the Aztecs to pray to him, and secure his favour for the following agricultural cycle. Read on and discover how crying children, lepers, drowned people, moun- taintops and caves were all important parts of the symbolism surrounding this powerful ancient god... Starting at the very beginning: Tlaloc in Watery Deaths Tamoanchan. Right at the beginning of the world, before the gods were sent down to live on Earth as mortal beings, they Aztecs who died from one of a list of the fol- lived in Tamoanchan, a paradise created by the divine lowing illnesses or incidents were thought to Tlaloc vase. being Ometeotl for his deity children. be sent to the 'earthly paradise' of Tlalocan. -
Gaslightpdffinal.Pdf
Credits. Book Layout and Design: Miah Jeffra Cover Artwork: Pseudodocumentation: Broken Glass by David DiMichele, Courtesy of Robert Koch Gallery, San Francisco ISBN: 978-0-692-33821-6 The Writers Retreat for Emerging LGBTQ Voices is made possible, in part, by a generous contribution by Amazon.com Gaslight Vol. 1 No. 1 2014 Gaslight is published once yearly in Los Angeles, California Gaslight is exclusively a publication of recipients of the Lambda Literary Foundation's Emerging Voices Fellowship. All correspondence may be addressed to 5482 Wilshire Boulevard #1595 Los Angeles, CA 90036 Details at www.lambdaliterary.org. Contents Director's Note . 9 Editor's Note . 11 Lisa Galloway / Epitaph ..................................13 / Hives ....................................16 Jane Blunschi / Snapdragon ................................18 Miah Jeffra / Coffee Spilled ................................31 Victor Vazquez / Keiki ....................................35 Christina Quintana / A Slip of Moon ........................36 Morgan M Page / Cruelty .................................51 Wayne Johns / Where Your Children Are ......................53 Wo Chan / Our Majesties at Michael's Craft Shop ..............66 / [and I, thirty thousand feet in the air, pop] ...........67 / Sonnet by Lamplight ............................68 Yana Calou / Mortars ....................................69 Hope Thompson/ Sharp in the Dark .........................74 Yuska Lutfi Tuanakotta / Mother and Son Go Shopping ..........82 Megan McHugh / I Don't Need to Talk