Ministerial Agreement 721 of 2003 (Translation)
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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. -
Edwin M. Shook Archival Collection, Guatemala City, Guatemala
FAMSI © 2004: Barbara Arroyo and Luisa Escobar Edwin M. Shook Archival Collection, Guatemala City, Guatemala Research Year: 2003 Culture: Maya Chronology: Pre-Classic to Post Classic Location: Various archaeological sites in Guatemala and México Site: Tikal, Uaxactún, Copán, Mayapán, Kaminaljuyú, Piedras Negras, Palenque, Ceibal, Chichén Itzá, Dos Pilas Table of Contents Abstract Resumen Background Project Priorities Conservation Issues Guide to the Edwin M. Shook Archive Site Records Field Notes Photographs Correspondence and Documents Illustrations Maps Future Work Acknowledgments List of Figures Sources Cited Abstract The Edwin M. Shook archive is a collection of documents that resulted from Dr. Edwin M. Shook’s archaeological fieldwork in Mesoamerica from 1934-1998. He came to Guatemala as part of the Carnegie Institution and carried out investigations at various sites including Tikal, Uaxactún, Copán, Mayapán, among many others. He further established his residence in Guatemala where he continued an active role in archaeology. The archive donated by Dr. Shook to Universidad del Valle de Guatemala in 1998 contains his field notes, Guatemala archaeological site records, photographs, documents, and illustrations. They were stored at the Department of Archaeology for several years until we obtained FAMSI’s support to start the conservation and protection of the archive. Basic conservation techniques were implemented to protect the archive from further damage. This report lists several sets of materials prepared by Dr. Shook throughout his fieldwork experience. Through these data sets, people interested in Shook’s work can know what materials are available for study at the Universidad del Valle de Guatemala. Resumen El archivo Edwin M. Shook consiste en una colección de documentos que resultaron de las investigaciones arqueológicas en Mesoamérica realizadas por el Dr. -
Artist: Period/Style: Patron: Material/Technique: Form
TITLE: Apollo 11 Stones LOCATION: Namibia DATE: 25,500-25,300 BCE ARTIST: PERIOD/STYLE: Mesolithic Stone Age PATRON: MATERIAL/TECHNIQUE: FORM: The Apollo 11 stones are a collection of grey-brown quartzite slabs that feature drawings of animals painted with charcoal, clay, and kaolin FUNCTION: These slabs may have had a more social function. CONTENT: Drawings of animals that could be found in nature. On the cleavage face of what was once a complete slab, an unidentified animal form was drawn resembling a feline in appearance but with human hind legs that were probably added later. Barely visible on the head of the animal are two slightly-curved horns likely belonging to an Oryx, a large grazing antelope; on the animal’s underbelly, possibly the sexual organ of a bovid. CONTEXT: Inside the cave, above and below the layer where the Apollo 11 cave stones were found, archaeologists unearthed a sequence of cultural layers representing over 100,000 years of human occupation. In these layers stone artifacts, typical of the Middle Stone Age period—such as blades, pointed flakes, and scraper—were found in raw materials not native to the region, signaling stone tool technology transported over long distances.Among the remnants of hearths, ostrich eggshell fragments bearing traces of red color were also found—either remnants of ornamental painting or evidence that the eggshells were used as containers for pigment. Approximately 25,000 years ago, in a rock shelter in the Huns Mountains of Namibia on the southwest coast of Africa (today part of the Ai-Ais Richtersveld Transfrontier Park), an animal was drawn in charcoal on a hand-sized slab of stone. -
COMPENDIO DE LEYES SOBRE LA PROTECCIÓN DEL PATRIMONIO CULTURAL GUATEMALTECO Título: COMPENDIO DE LEYES SOBRE LA PROTECCIÓN DEL PATRIMONIO CULTURAL GUATEMALTECO
COMPENDIO DE LEYES SOBRE LA PROTECCIÓN DEL PATRIMONIO CULTURAL GUATEMALTECO Título: COMPENDIO DE LEYES SOBRE LA PROTECCIÓN DEL PATRIMONIO CULTURAL GUATEMALTECO Katherine Grigsby Representante y Directora de UNESCO en Guatemala Blanca Niño Norton Coordinadora Proyecto PROMUSEUM Oscar Mora, Consultor, Ministerio de Cultura y Deportes © UNESCO, 2006 ISBN: 92-9136-082-1 La Información contenida en esta publicación puede ser utilizada siempre que se cite la fuente. COMPENDIO DE LEYES SOBRE LA PROTECCIÓN DEL PATRIMONIO CULTURAL DE GUATEMALA CULTURAL DEL PATRIMONIO COMPENDIO DE LEYES SOBRE LA PROTECCIÓN ÍNDICE Constitución Política de la República de Guatemala 7 Ley para la Protección del Patrimonio Cultural de la Nación 9 Ley Protectora de la Ciudad de la Antigua Guatemala 25 Código Penal 35 Reglamento de Funcionamiento del Parque Nacional Tikal 39 Acuerdo Ministerial sobre Protección de Kaminal Juyú 43 Acuerdo Ministerial sobre las Normas para la Protección y uso de las Áreas Adyacentes afectas al Montículo de la Culebra y Acueducto de Pinula 45 Acuerdo de Creación de Zonas y Monumentos Arqueológicos Históricos y Artísticos de los Periodos Prehispánico e Hispánico 47 Acuerdo Ministerial Número 721-2003 56 Reglamento para la Protección y Conservación del Centro Histórico y los Conjuntos Históricos de la Ciudad de Guatemala 61 Convención para la Protección del Patrimonio Mundial, Cultural y Natural 69 Convención sobre las Medidas que deben adoptarse para Prohibir e Impedir la Importación, la Exportación y la Transferencia de Propiedad Ilícita -
COPYRIGHTED MATERIAL NOT for DISTRIBUTION Part I
CONTENTS List of Figures xiii List of Tables xvii Preface xix The Inevitable Note on Orthography xxiii Acknowledgments xxv PART I. CULTURAL AND ENVIRONMENTAL PERSPECTIves 3 1 COPYRIGHTEDINTRODUCTION: THE ITZA MAYAS MATERIAL AND THE PETÉN ITZA MAYAS, THEIR ENVIRONMENTS AND THEIR NEIGHBORS NOTPrudence FOR M. Rice DISTRIBUTIONand Don S. Rice 5 The Maya Lowlands: Environmental Perspectives 5 Who Were the Itzas? Etymological Perspectives 8 The Itzas of Petén 11 The Itzas of the Northern Lowlands and Their Allies 22 2 ITZAJ MAYA FROM A HISTORICAL PERSPECTIVE Charles Andrew Hofling 28 Yukateko versus Southern Yukatekan Language Varieties 31 Itzaj and Mopan 35 vii viii Contents Contact with Ch'olan Languages 35 Concluding Discussion 38 3 THE LAKE PETÉN ITZÁ WATERSHED: MODERN AND HISTORICAL ECOLOGY Mark Brenner 40 Geology and Modern Ecology 40 Modern Limnology 42 Lacustrine Flora and Fauna 45 Historical Ecology 46 Climate Change 50 Summary 53 PART II. THEORETicAL PERSPECTIVES ON THE EpicLASSic ITZAS: FACTIONS, MIGRATIONS, ORIGINS, AND TEXTs 55 4 THEORETICAL CONTEXTS Prudence M. Rice 59 Migration: Travel Tropes and Mobility Memes 59 Identities 65 Factions and Factionalism 67 Spatiality 70 5 ITZA ORIGINS: TEXTS, MYTHS, LEGENDS Prudence M. Rice 77 The Books of theChilam Balam 79 Some Previous Reconstructions of Itza Origins 88 COPYRIGHTEDConcluding Thoughts 93 MATERIAL NOT FOR DISTRIBUTION 6 LOWLAND MAYA EpiCLASSIC MIGRATIONS Prudence M. Rice 97 Western Lowlands 98 Southwestern Petén 101 Central Petén Lakes Region 102 Eastern Petén, Belize, and the Southeast 105 Northern Lowlands 106 Rethinking Epiclassic Migrations and the Itzas 109 Contents ix 7 EpiCLASSIC MATERIAL PERSPECTIVES ON THE ITZAS Prudence M. -
Reconstructing Slave Perspectives on the Grave Stele of Hegeso Alexis Garcia*, Art History and Cultural Anthropology
Oregon Undergraduate Research Journal 18.1 (2021) ISSN: 2160-617X (online) blogs.uoregon.edu/ourj Silent Slaves: Reconstructing Slave Perspectives on the Grave Stele of Hegeso Alexis Garcia*, Art History and Cultural Anthropology ABSTRACT The Grave Stele of Hegeso (400 BCE) depicts a ‘mistress and maid’ scene and preserves valuable insights into elite iconography. The stele also explores the experiences of wealthy Athenian women in their social roles and domestic spaces. The slave attendant, if discussed at length, primarily functions as a method of contrast and comparison to her elite master. While the comparison between elite and non-elite women is a valuable interpretation for studies of gender and class in classical Athens, more can be done in regard to examining the slave attendant on the stele, and as a result, examining slave figures in Greek art. Slaves made up a sizeable portion of classical Athenian society and were present in both elite and poor households. However, due to a lack of material and written evidence, the field of classics has not explored the concept of Greek slavery to its full extent. In addition, what little does remain to modern scholars was commissioned or written by elite voices, who were biased against slaves. The remaining elite perspective does provide insight into the role of slaves in classical Athenian households and can be reexamined to find subversive interpretations. This paper explores potential reconstructions for slave perspectives and narratives on the Grave Stele of Hegeso by drawing upon the Attic funerary practices and literary tropes of the Good Slave and Bad Slave in Athenian theater and Homeric epic. -
China's Nestorian Monument and Its Reception in the West, 1625-1916
Illustrations iii Michael Keevak Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong © Hong Kong University Press 2008 ISBN 978-962-209-895-4 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. Secure On-line Ordering http://www.hkupress.org Printed and bound by Lammar Offset Printing Ltd., Hong Kong, China. Hong Kong University Press is honoured that Xu Bing, whose art explores the complex themes of language across cultures, has written the Press’s name in his Square Word Calligraphy. This signals our commitment to cross-cultural thinking and the distinctive nature of our English-language books published in China. “At first glance, Square Word Calligraphy appears to be nothing more unusual than Chinese characters, but in fact it is a new way of rendering English words in the format of a square so they resemble Chinese characters. Chinese viewers expect to be able to read Square Word Calligraphy but cannot. Western viewers, however are surprised to find they can read it. Delight erupts when meaning is unexpectedly revealed.” — Britta Erickson, The Art of Xu Bing Contents List of Illustrations vii Acknowledgments xi Prologue The Story of a Stone 1 1 A Stone Discovered 5 2 The Century of Kircher 29 3 Eighteenth-Century Problems and Controversies 61 4 The Return of the Missionaries 89 Epilogue The Da Qin Temple 129 Notes 143 Works Cited 169 Index 187 Illustrations vii Illustrations 11. -
After the Battle Is Over: the Stele of the Vultures and the Beginning Of
To raise the ofthe natureof narrative is to invite After the Battle Is Over: The Stele question reflectionon the verynature of culture. Hayden White, "The Value of Narrativity . ," 1981 of the Vultures and the Beginning of Historical Narrative in the Art Definitions of narrative, generallyfalling within the purviewof literarycriticism, are nonethelessimportant to of the Ancient Near East arthistorians. From the simpleststarting point, "for writing to be narrative,no moreand no less thana tellerand a tale are required.'1 Narrativeis, in otherwords, a solutionto " 2 the problemof "how to translateknowing into telling. In general,narrative may be said to make use ofthird-person cases and of past tenses, such that the teller of the story standssomehow outside and separatefrom the action.3But IRENE J. WINTER what is importantis thatnarrative cannot be equated with thestory alone; it is content(story) structured by the telling, University of Pennsylvania forthe organization of the story is whatturns it into narrative.4 Such a definitionwould seem to providefertile ground forart-historical inquiry; for what, after all, is a paintingor relief,if not contentordered by the telling(composition)? Yet, not all figuraiworks "tell" a story.Sometimes they "refer"to a story;and sometimesthey embody an abstract concept withoutthe necessaryaction and settingof a tale at all. For an investigationof visual representation, it seems importantto distinguishbetween instancesin which the narrativeis vested in a verbal text- the images servingas but illustrationsof the text,not necessarily"narrative" in themselves,but ratherreferences to the narrative- and instancesin whichthe narrativeis located in the represen- tations,the storyreadable throughthe images. In the specificcase of the ancientNear East, instances in whichnarrative is carriedthrough the imageryitself are rare,reflecting a situationfundamentally different from that foundsubsequently in the West, and oftenfrom that found in the furtherEast as well. -
Prehistoric Human-Environment Interactions in the Southern Maya Lowlands: the Holmul Region Case
Prehistoric Human-Environment Interactions in the Southern Maya Lowlands: The Holmul Region Case Final Report to the National Science Foundation 2010 Submitted by: Francisco Estrada-Belli and David Wahl Introduction Dramatic population changes evident in the Lowland Maya archaeological record have led scholars to speculate on the possible role of environmental degradation and climate change. As a result, several paleoecological and geochemical studies have been carried out in the Maya area which indicate that agriculture and urbanization may have caused significant forest clearance and soil erosion (Beach et al., 2006; Binford et al., 1987; Deevey et al., 1979; Dunning et al., 2002; Hansen et al., 2002; Jacob and Hallmark, 1996; Wahl et al., 2007). Studies also indicate that the late Holocene was characterized by centennial to millennial scale climatic variability (Curtis et al., 1996; Hodell et al., 1995; Hodell et al., 2001; Hodell et al., 2005b; Medina-Elizalde et al., 2010). These findings reinforce theories that natural or anthropogenically induced environmental change contributed to large population declines in the southern Maya lowlands at the end of the Preclassic (~A.D. 200) and Classic (~A.D. 900) periods. However, a full picture of the chronology and causes of environmental change during the Maya period has not emerged. Many records are insecurely dated, lacking from key cultural areas, or of low resolution. Dating problems have led to ambiguities regarding the timing of major shifts in proxy data (Brenner et al., 2002; Leyden, 2002; Vaughan et al., 1985). The result is a variety of interpretations on the impact of observed environmental changes from one site to another. -
The Terminal Classic Period at Ceibal and in the Maya Lowlands
THE TERMINAL CLASSIC PERIOD AT CEIBAL AND IN THE MAYA LOWLANDS Takeshi Inomata and Daniela Triadan University of Arizona Ceibal is well known for the pioneering investigations conducted by Harvard University in the 1960s (Sabloff 1975; Smith 1982; Tourtellot 1988; Willey 1990). Since then, Ceibal has been considered to be a key site in the study of the Classic Maya collapse (Sabloff 1973a, 1973b; Sabloff and Willey 1967). The results of this project led scholars to hypothesize the following: 1) Ceibal survived substantially longer than other centers through the period of the Maya collapse; and 2) the new styles of monuments and new types of ceramics resulted from foreign invasions, which contributed to the Maya collapse. In 2005 we decided to revisit this important site to re-examine these questions in the light of recent developments in Maya archaeology and epigraphy. The results of the new research help us to shape a more refined understanding of the political process during the Terminal Classic period. The important points that we would like to emphasize in this paper are: 1) Ceibal did not simply survive through this turbulent period, but it also experienced political disruptions like many other centers; 2) this period of political disruptions was followed by a revival of Ceibal; and 3) our data support the more recent view that there were no foreign invasions; instead the residents of Ceibal were reorganizing and expanding their inter-regional networks of interaction. Ceibal is located on the Pasión River, and a comparison with the nearby Petexbatun centers, including Dos Pilas and Aguateca, is suggestive. -
The Investigation of Classic Period Maya Warfare at Caracol, Belice
The Investigation of Classic Period Maya Warfare at Caracol, Belice ARLEN F. CHASE DIANE Z. CHASE University of Central Florida Prior to the 1950s the prevalent view of the like rulers who were concerned whith preserving ancient Maya was as a peaceful people. ln 1952, their histories in hieroglyphic texts on stone and Robert Rands completed his Ph. D. thesis on the stucco; investigations at the site have thus far evidences of warfare in Classic Maya art, following uncovered some 40 carved monuments (Beetz and up on the important work just completed by Tatia- Satterthwaite 1981; A. Chase and D. Chase na Proskouriakoff (1950). Since then, research has 1987b). Caracol is unusual, however, in having rapidly accumulated substantial documentation left us written records that it successfully waged that the Maya were in fact warlike (cf. Marcus warfare against two of its neighboring polities at 1974; Repetto Tio 1985). There is now evidence different times within the early part of the Late for the existence of wars between major political Classic Period. units in the Maya area and, importantly, Maya There are two wars documented in the hiero- kingship has also been shown to be inextricably glyphic texts: Caracol defeats Tikal in 9.6.8.4.2 or joined with concepts of war, captives, and sacrifice A. D. 562 (A. Chase and D. Chase 1987a:6, (Demarest 1978; Schele and Miller 1986; Freidel 1987b:33,60; S. Houston in press) and Naranjo in 1986). Warfare also has been utilized as a power- 9.9.18.16.3 or A. D. 631 (Sosa and Reents 1980). -
Art of Ancient Civilizations: the Stele of Zezen-Nakht
Art of Ancient Civilizations The Stele of Zezen-nakht Teacher Resource: Grades 6–8 Stele of Zezen-nakht (1947.61) This resource will allow you to lead your students through close looking exercises to enable them to describe, analyze, and interpret what they see in The Stele of Zezen-nakht (2000 BCE) This approach to looking at art is based on the Art of Seeing Art method created by the Toledo Museum of Art. It is discussion-based and will help you and your students explore a work of art from the Museum’s Classic Court. How to use this resource: • Print out the document for yourself. • Read through the document carefully as you look at the image of the work of art. • When you are ready to engage your class, project the image of the work of art on a screen in your classroom using an LCD projector. With the image on the screen lead your students through a discussion of the image. This exercise is meant for use in the classroom. There is no substitute for seeing the real work of art in the exhibition at the Toledo Museum of Art. We are open: Tuesday and Wednesday 10 AM–4 PM Thursday and Friday 10 AM–9 PM Saturday 10 AM–5 PM Sunday 12 PM–5 PM Docent-led tours are available free of charge. Visit http://www.toledomuseum.org/visit/tours/school- tours/ to schedule. Connections to the Common Core State Standards and Ohio’s New Learning Standards: The Common Core State Standards were designed to help teachers provide knowledge and foster skills in students that are necessary in order for them to successfully navigate the contemporary world.