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Ashes to Caches: Is Dust Dust Among the Heterarchichal Maya?
West Chester University Digital Commons @ West Chester University Anthropology & Sociology Faculty Publications Anthropology & Sociology 6-2020 Ashes to Caches: Is Dust Dust Among the Heterarchichal Maya? Marshall Joseph Becker Follow this and additional works at: https://digitalcommons.wcupa.edu/anthrosoc_facpub Part of the Archaeological Anthropology Commons Volume 28, Issue 3 June 2020 Welcome to the “28 – year book” of The Codex. waxak k’atun jun tun hun Now in its 28th year, The Codex continues to publish materials of substance in the world of Pre-Columbian and Mesoamerican studies. We continue that tradition in this issue. This new issue of The Codex is arriving during a pandemic which has shut down all normal services in our state. Rather than let our members and subscribers down, we decided to go digital for this issue. And, by doing so, we NOTE FROM THE EDITOR 1 realized that we could go “large” by publishing Marshall Becker’s important paper on the ANNOUNCEMENTS 2 contents of caches in the Maya world wherein he calls for more investigation into supposedly SITE-SEEING: REPORTS FROM THE “empty” caches at Tikal and at other Maya sites. FIELD: ARCHAEOLOGY IN A GILDED AGE: THE UNIVERSITY OF Hattula Moholy-Nagy takes us back to an earlier PENNSYLVANIA MUSEUM’S TIKAL era in archaeology with her reminiscences of her PROJECT, 1956-1970 days at Tikal in the 1950s and 1960s. Lady by Sharp Tongue got her column in just before the Hattula Moholy-Nagy 3 shut-down happened, and she lets us in on some secrets in Lady K’abal Xook’s past at her GOSSIP COLUMN palace in Yaxchilan. -
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. -
Maya Mountains M Ountain Pine Ridge
89º00'W 88º30'W 0 20 km 0 10 miles Belize City (32mi) River ize La Democracia Bel BELIZE DISTRICT Guanacaste Banana National Bank Lodge CAYO Park Western Hwy Roaring Art Box DISTRICT Creek El Pilar Archaeological The Leslies’ Belmopan Airport aya Spanish El Pilar Reserve for M Private Paradise Flora and Fauna Lookout Mount BELMOPAN River Hope Teakettle Creek Nohoch Che'en e Unitedville Village Yim Hummingbird Caves Branch Ontario Saan Highway Beliz g Archaeological Reserve Bullet Georgeville Village Roarin Ian Anderson's Jaguar Paw Tree Falls Central Farm Caves Branch Esperanza C Jungle Reserve hiqu Jungle Lodge iver Santa Elena Actun Kropf's R San Ignacio ibul Cahal Pech Tunichil Bakery n y Rd Muknal GUATEMALA Cristo Rey Tapir Mountain St Herman's Blue Hole Mopa Chial Rd Nature Reserve estern Hw Barton National Park W Cristo Rey Xunantunich San José Branch Hummin Creek gbird Succotz Rd Sibun Melchor de San Antonio River Benque Viejo Forest Hwy Mencos Nojkaaxmeen Thousand Café Casita del Carmen Reserve River Foot Falls Caves De Amour Eligio Panti Coom Cairn National Park Cree a Poustinia Land on k Rd Art Park Cooma Sibun Privassi Cairn Baldy Beacon 17º00'N (3126ft) (3346ft) Vaca Forest Pools 17º00'N Rí On Reserve o Sittee River Granite Cairn Forest Reserve Douglas D'Silva (2820ft) (Augustine) Sibun Gorge Rio Mac Vaqueros Mollejon Frio Mountain al Creek Pine Ridge r Creek e Forest Reserve River iv Rd R Chiquibul l ountain Pinec aRidge M Ma Sittee River Chiquibul Victoria National Peak Natural Park Monument Caracol Victoria Peak Archaeological CAYO DISTRICT (3675ft) Reserve STANN Chiquibul CREEK Caracol Forest s Reserve in DISTRICT ta n Cockscomb u Basin Vaca Plateau (1650ft) a Mo y Ma Chiquibul National Park Maya Mountain Forest Reserve TOLEDO DISTRICT Red Bank Chiquibul Branch River 16º30'N Bladen y 16º30'N Doyle's Nature Reserve Hw Delight n s a i (3687ft) n t Southern o u M y a Deep River Swasey Bladen a Forest Columbia River M Forest Reserve Forest Reserve Reserve 89º00'W 88º30'W. -
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. -
With the Protection of the Gods: an Interpretation of the Protector Figure in Classic Maya Iconography
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2012 With The Protection Of The Gods: An Interpretation Of The Protector Figure In Classic Maya Iconography Tiffany M. Lindley 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 Lindley, Tiffany M., "With The Protection Of The Gods: An Interpretation Of The Protector Figure In Classic Maya Iconography" (2012). Electronic Theses and Dissertations, 2004-2019. 2148. https://stars.library.ucf.edu/etd/2148 WITH THE PROTECTION OF THE GODS: AN INTERPRETATION OF THE PROTECTOR FIGURE IN CLASSIC MAYA ICONOGRAPHY by TIFFANY M. LINDLEY B.A. University of Alabama, 2009 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Anthropology in the College of Sciences at the University of Central Florida Orlando, Florida Spring Term 2012 © 2012 Tiffany M. Lindley ii ABSTRACT Iconography encapsulates the cultural knowledge of a civilization. The ancient Maya of Mesoamerica utilized iconography to express ideological beliefs, as well as political events and histories. An ideology heavily based on the presence of an Otherworld is visible in elaborate Maya iconography. Motifs and themes can be manipulated to convey different meanings based on context. -
Investigaciones Arqueológicas En La Región De Holmul, Peten, Guatemala
INVESTIGACIONES ARQUEOLÓGICAS EN LA REGIÓN DE HOLMUL, PETEN, GUATEMALA. INFORME PRELIMINAR DE LA TEMPORADA, 2004 Francisco Estrada-Belli (Director) Judith Valle (co-Directora) Ave sagrada de Holmul, pato aguja Dirección: Vanderbilt University Department of Anthropology Box 306050 Station B Nashville, TN 37235 Investigaciones arqueológicas en la región de la ciudad de Holmul, Petén, 2004. Introducción La temporada de 2004 fue una de las más largas y mas exitosas desde que se hayan iniciado las investigaciones arqueológicas en Holmul del Proyecto Arqueológico de Holmul en el año 2000. Este trabajo de campo se llevó a cabo desde Marzo a Julio de 2004 bajo la dirección de su servidor, Dr. Francisco Estrada-Belli y de la Licda. Judith Valle como co-directora. Tomaron parte a las labores arqueólogos y estudiantes avanzados de universidades de EEUU y Guatemala, así como expertos en varias disciplinas como Heather Hurst, el conservador Alberto Semeraro (Italia) y el Dr. Gene Ware que es un experto de fotografía digital de pinturas murales. A estos profesionales se añade el Lic. Bernard Hermes quien nos proporcionó asesoría durante el análisis cerámico. Mas de 30 laborantes de la comunidad de Melchor de Mencos completaron el equipo técnico de Holmul. En esta temporada se enfocaron tres temas principales de nuestra investigación arqueológica en esta región. Estos se identifican con: El desarrollo de la arquitectura e ideología sagrada en el Preclásico y su transición al Clásico Temprano. Este tema se enfoco con excavaciones de pozos en la plaza mayor de Cival (Grupo E), el Grupo Triádico y un muro defensivo alrededor de Cival. -
What Maya Collapse? Terminal Classic Variation in the Maya Lowlands
J Archaeol Res (2007) 15:329–377 DOI 10.1007/s10814-007-9015-x ORIGINAL PAPER What Maya Collapse? Terminal Classic Variation in the Maya Lowlands James J. Aimers Published online: 17 August 2007 Ó Springer Science+Business Media, LLC 2007 Abstract Interest in the lowland Maya collapse is stronger than ever, and there are now hundreds of studies that focus on the era from approximately A.D. 750 to A.D. 1050. In the past, scholars have tended to generalize explanations of the collapse from individual sites and regions to the lowlands as a whole. More recent approaches stress the great diversity of changes that occurred across the lowlands during the Terminal Classic and Early Postclassic periods. Thus, there is now a consensus that Maya civilization as a whole did not collapse, although many zones did experience profound change. Keywords Maya Á Collapse Á Terminal Classic–Early Postclassic Introduction ‘‘Much has been published in recent years about the collapse of Maya civilization and its causes. It might be wise to preface this chapter with a simple statement that in my belief no such thing happened’’ (Andrews IV 1973, p. 243). More than three decades after Andrews made this statement, interest in the lowland Maya collapse is more intense than ever. Of the more than 400 books, chapters, or articles of which I am aware, over half were published in the last ten years. As always, speculation about the collapse follows contemporary trends (Wilk 1985), and widespread concern over war and the physical environment have made the lowland Maya into a cautionary tale for many (Diamond 2005; Gibson 2006; J. -
Leyenda De Los Soles) to Explain Maya Creations
Why we use the Aztec Myth (Leyenda de los Soles) to Explain Maya Creations The surviving accounts of the Maya Creation Myth are fragments, tatters. Much more is missing than is there. The earliest surviving fragments appear on the monuments of Izapa (and neighbors) and the newly‐ discovered Murals of San Bartolo (ca. 100 BCE). As if through a keyhole, we glimpse a rich, intricate cosmology connecting time, space and personalities. It relates the cardinal directions to colors, species of trees and game, the calendar, myths, and who knows what else. Eight centuries later, Classic Maya vase painters illustrate a few other Mythic scenes, some involving the Hero Twins. A few Classic stone inscriptions connect Creation with house‐building. Six centuries later, one of the curiosities Cortez presented to the Emperor, a book we call the Dresden Codex, recounts several arcane events which occurred on 4 Ajaw 8 Kumk’u. Later still, a Quiché Maya scribe in the impoverished and conquered Guatemalan highlands copied out the Popol Vuh, connecting his cacique’s ancestors back to the Creations of the World (ca. 1700). It dwells on the Hero Twins, who prepared the world for its final Creation ‐ our Creation. Though it is clear that the Maya conceived a dizzying, intricately interconnected cosmology, we have difficulty working out its details. This is partly due to the fragmentary nature of our evidence, but it is also increasingly clear that the stories varied substantially from city‐state to city‐state. (Not unlike the conflicting versions of Abraham’s Sacrifice: In the Biblical version, the son is Isaac, who goes on to father the Israelites. -
Physical Expression of Sacred Space Among the Ancient Maya
Trinity University Digital Commons @ Trinity Sociology & Anthropology Faculty Research Sociology and Anthropology Department 1-2004 Models of Cosmic Order: Physical Expression of Sacred Space Among the Ancient Maya Jennifer P. Mathews Trinity University, [email protected] J. F. Garber Follow this and additional works at: https://digitalcommons.trinity.edu/socanthro_faculty Part of the Anthropology Commons, and the Sociology Commons Repository Citation Mathews, J. P., & Garber, J. F. (2004). Models of cosmic order: Physical expression of sacred space among the ancient Maya. Ancient Mesoamerica, 15(1), 49-59. doi: 10.1017/S0956536104151031 This Article is brought to you for free and open access by the Sociology and Anthropology Department at Digital Commons @ Trinity. It has been accepted for inclusion in Sociology & Anthropology Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Ancient Mesoamerica, 15 (2004), 49–59 Copyright © 2004 Cambridge University Press. Printed in the U.S.A. DOI: 10.1017/S0956536104151031 MODELS OF COSMIC ORDER Physical expression of sacred space among the ancient Maya Jennifer P. Mathewsa and James F. Garberb aDepartment of Sociology and Anthropology, Trinity University, One Trinity Place, San Antonio, TX 78212, USA bDepartment of Anthropology, Texas State University, San Marcos, TX 78666, USA Abstract The archaeological record, as well as written texts, oral traditions, and iconographic representations, express the Maya perception of cosmic order, including the concepts of quadripartite division and layered cosmos. The ritual act of portioning and layering created spatial order and was used to organize everything from the heavens to the layout of altars. -
Chapter Eight: the Bladen Management Consortium
Chapter Eight: The Bladen Management Consortium Introduction The Bladen Nature Reserve inspires passion among its many advocates and frustration among residents of the communities that it borders. Called “the jewel in the crown of Belize’s protected area system,” for its exceptional biodiversity, dramatic topography, and archeological treasures, the 97,000-acre reserve is afforded Belize’s highest level of protection (Pinelo 2002). Only education and research are allowed in Bladen: hunting, fishing, logging, harvesting of plant materials for food, fiber, or medicine, removal of artifacts, tourism, and trespass of any sort without a permit are all prohibited. While these restrictions exist “on the books,” until recently the under-resourced Government agencies and thinly stretched non-governmental organizations tasked with enforcing them have implemented little real on the ground management in the reserve. With growing population and mounting development pressure, illegal activities in the reserve have continued to increase in the last several years, threatening both the natural and archeological resources that have made the Bladen Nature Reserve famous. The Bladen Management Consortium was born out of its founders’ conviction that the Bladen Nature Reserve was a unique resource in dire need of management and their recognition that the management challenges were beyond the capacity of any one organization. As a case study in collaboration, it highlights the many difficulties associated with initiating and sustaining an multi-stakeholder management body, particularly with regard to funding, staffing, representation, and legitimacy. It also illustrates how a few committed individuals can drive a collaborative process forward despite such challenges. Significantly, several of the key individuals and organizations involved in the Bladen Management Consortium also interact in the broader landscape of the Toledo District. -
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. -
Installments 1-10
ThePARIJournal A quarterly publication of the Pre-Columbian Art Research Institute Volume XIII, No. IV, Summer 2013 The Further Adventures of Merle1 MERLE GREENE ROBERTSON In This Issue: The Further Adventures of Merle by Merle Greene Robertson PAGES 1-7 • A Late Preclassic Distance Number by Mario Giron-Ábrego PAGES 8-12 Joel Skidmore Editor [email protected] Marc Zender Associate Editor [email protected] Figure 1. On the Usumacinta River on the way to Yaxchilan, 1965. The PARI Journal 202 Edgewood Avenue “No! You can’t go into the unknown wilds birds, all letting each other know where San Francisco, CA 94117 of Alaska!” That statement from my moth- they are. Evening comes early—dark by 415-664-8889 [email protected] er nearly 70 years ago is what changed my four o’clock. Colors are lost in pools of life forever. I went to Mexico instead, at darkness. Now the owls are out lording it Electronic version that time almost as unknown to us in the over the night, lucky when you see one. available at: U.S. as Alaska. And then later came the But we didn’t wait for nightfall to www.mesoweb.com/ pari/journal/1304 jungle, the jungle of the unknown that I pitch our camp. Champas made for our loved, no trails, just follow the gorgeous cooking, champas for my helpers, and a guacamayos in their brilliant red, yellow, ISSN 1531-5398 and blue plumage, who let you know where they are before you see them, by 1 Editor’s note: This memoir—left untitled by their constant mocking “clop, clop, clop.” the author—was completed in 2010, in Merle’s 97th Mahogany trees so tall you wonder if, year.