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El Material De Molienda De Chinkultic, Chiapas
65 EL MATERIAL DE MOLIENDA DE CHINKULTIC, CHIAPAS María Elena Ruiz Aguilar Keywords: Arqueología Maya, Chiapas, Chinkultic, lítica, piedra de moler, mano de moler, hachuela, pulidor, aspectos clasificatorios En el presente trabajo se da a conocer en forma general el material de molienda y sus derivados, procedente del Proyecto Arqueológico Chinkultic. El estudio forma parte de una investigación mayor, en la que se incluyen otras colecciones de molienda que corresponden a la región, con el objeto de elaborar una clasificación tipológica de los Altos Orientales de Chiapas. Esta región comprende fundamentalmente los valles de Comitán, La Trinitaria y la zona lacustre de Montebello (Navarrete 1975:11). Chinkultic, se localiza en los límites del Parque Nacional de Montebello, a 33 km de la carretera que va de Comitán a dicho centro turístico, en el municipio de La Trinitaria (Figura 1). Los artefactos analizados corresponden a diferentes temporadas de campo (1976 a 2002), y provienen del escombro de 11 estructuras, cuya ubicación se encuentra distribuida en tres conjuntos de la siguiente manera: • E-1 y E-4 en el Conjunto A, donde se asienta la parte alta del grupo. • E-13, E-14, E-16, E-17, E-19 y E-20 en el Conjunto B, que se sitúa en la parte baja y plana, ocupando la porción central, del otro lado del río Yubnaranjo. • Finalmente E-22 (Juego de Pelota), E-23, E-27 y el rancho El Rincón en el Conjunto C, en el extremo suroeste del sitio respectivamente (Figura 2). • El material del rancho El Rincón y de La Bolsa se tomó en cuenta a partir de una muestra de superficie conservada actualmente por sus propietarios. -
El Complejo Escenico De Chinkultic, Chiapas
Navarrete, Carlos 2007 El complejo escénico de Chinkultic, Chiapas. En XX Simposio de Investigaciones Arqueológicas en Guatemala, 2006 (editado por J. P. Laporte, B. Arroyo y H. Mejía), pp. 987-1006. Museo Nacional de Arqueología y Etnología, Guatemala. (Versión digital). 58 EL COMPLEJO ESCÉNICO DE CHINKULTIC, CHIAPAS Carlos Navarrete Palabras clave Arqueología Maya, México, Chiapas, Chinkultic, arquitectura, función, espacios útiles, plazas ceremoniales Abstract THE SCENIC COMPLEX AT CHINKULTIC, CHIAPAS The possible function of the great plazas in Maya architecture has given rise to many interpretations. They can be seen as public places where large concentrations of people can participate in religious activities, as meeting points during pilgrimages on specific dates in the ritual calendar, as well as places to celebrate commemorative politic or ideological acts and also as fields for tianguis or periodic markets. Architecturally, these are wide, open areas with room to accommodate multitudes of people. Some are open while others are enclosed by walls and flanked by long low structures, generally stepped, together with low mounds; all of these structures had a public nature: ballcourts, ceremonial water reservoirs, platforms for dance or orations, raised platforms with poles carrying symbols, and a sequential placement of commemorative monuments, stelae and altars. This paper highlights a perfectly designed square plaza, formed by stands on three sides, open on one end, with three low mounds spaced along the open end, and a small central platform. Groups with these characteristics are scarce and have been referred to as “scenic complexes” or theatrical stages. In this work, other examples of this complex from the Lowland Maya area are discussed. -
State Interventionism in the Late Classic Maya Palenque Polity: Household and Community Archaeology at El Lacandón
STATE INTERVENTIONISM IN THE LATE CLASSIC MAYA PALENQUE POLITY: HOUSEHOLD AND COMMUNITY ARCHAEOLOGY AT EL LACANDÓN by Roberto López Bravo Licenciado en Arqueología, Escuela Nacional de Antropología e Historia, 1995 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Roberto Lopez Bravo It was defended on April 18, 2013 and approved by Katheryn M. Linduff Robert D. Drennan Marc Bermann Olivier de Montmollin Dissertation Advisor ii Copyright © by Roberto López Bravo 2013 iii STATE INTERVENTIONISM IN THE LATE CLASSIC MAYA PALENQUE POLITY: HOUSEHOLD AND COMMUNITY ARCHAEOLOGY AT EL LACANDÓN Roberto López Bravo, PhD University of Pittsburgh, 2013 Archaeological materials from seven excavated households (three commoner, three elite and a super-elite) from El Lacandón, a rural settlement of the Ancient Maya Palenque polity in Chiapas, Mexico; are analyzed to examine how households and communities were articulated and later affected by incorporation into larger sociopolitical entities. The study spans El Lacandón’s foundation in the Late Preclassic period (300 B.C. -A.D. 150), its abandonment as part of its assimilation into the Palenque polity at the beginning of the Classic period (ca. A.D. 150), and its re-foundation as a 2nd level community in the political hierarchy of the Palenque polity at the end of the Late Classic (A.D. 750-850). Economic analyses consider patterns of production and consumption. -
Codex Aubin: History in Reprint Arjun Sai Krishnan
Codex Aubin: History in Reprint Arjun Sai Krishnan I. Introduction The Codex Aubin, a post-conquest Nahuatl-language pictorial codex, is a valuable record of indigenous perspectives on historiography in the period immediately succeeding the Spanish conquest of the Valley of Mexico. A fascinating handwritten account of Mexica (Aztec) history and legend, it begins with a departure from Áztlan, the mythical homeland of the Mexica, and ending in the early seventeenth century with a depiction of indigenous life in early colonial Mexico. Clearly drawing from the Aztec cartographic and pictorial tradition, the codex contains primarily Nahuatl text transcribed in Roman script and printed on colonial octavo paper (Paxton & Cicero, 2017). The text represents a complex intersection of cultures, languages, and representational systems: an indigenous annal swathed in European conventions, unravelling the many competing traditions encompassed in the codex grants a unique window into the status of language and history in the nascent mestizo society of Mexico. A number of scholars have commented on the codex’s historiography (Rajagopalan, 2019), (Navarrete, 2000), most focusing on a subset of the original text’s narratorial and pictorial choices. An exploration of the tlacuilo’s intentions and audience becomes key; we see the creative re-telling of an ancient myth, illustrated with traditional imagery but written in Roman script and glossed in Spanish. What emerges is a clear picture of a cultural encounter; the Aubin codex is a demonstrative example of the post-Conquest European reformulation of indigenous conventions. This work will attempt to review some of the scholarship surrounding the Aubin codex, but most interestingly, we will also focus on the Princeton University manuscript copy of the codex. -
Latepostclassicperiodceramics Ofthewesternhighlands,Guatemala
Yaxchilan Us um a c G in r t ij a Maya Archaeology Reports a Bonampak R lv i a v R e iv r er LatePostclassicPeriodCeramics ChiapasHighlands AltardeSacrificios DosPilas of theWesternHighlands,Guatemala Greg Borgstede Chinkultic MEXICO GUATEMALA Cancuen HUEHUETENANGO Lagartero ELQUICHE ALTAVERAPAZ – SanMiguelAcatan HUISTA ACATECREGION Jacaltenango Cuchumatan Mountains NorthernHighlands SanRafaelPetzal Nebaj Zaculeu SierraMadre Tajumulco his report describes the ceramics of the Late Postclassic 1986, Culbert 1965, Ichon 1987, Nance 2003a, Nance 2003b, and BAJAVERAPAZ Utatlan/Chisalin or Protohistoric period (AD 1200 to 1500) uncovered in a Weeks 1983. recent archaeological investigation in the western Maya The Late Postclassic period remains one of the most intensely highlands. The Proyecto Arqueológico de la Región Huista- studied in the Maya highlands, in terms of archaeology and CentralHighlands MixcoViejo T Acateco, directed by the author, investigated the region in the ethnohistory. The existence of competing Maya kingdoms, Iximche Cuchumatan Mountains currently occupied by the Huista and including those of the K’iche’, the Kaqchikel, and the Mam, Acatec Maya (Figure 1), documenting 150 archaeological sites and coupled with the persistence of written documentation LakeAtitlan GuatemalaCity an occupation sequence spanning the Terminal Preclassic to Late immediately prior to, during, and after the Spanish invasion, Postclassic/Protohistoric periods, AD 100 to 1525 (see Borgstede provide the Protohistoric period with an abundance of 2004). The modern towns of Jacaltenango and San Miguel Acatan anthropological data for understanding this complex era. are the center of the region. Archaeological evidence, particularly ceramics, has played a The ceramics described here are from the Late Postclassic role in interpreting the cultures, histories, and structures of these Archaeologicalsites period, also known as the “Protohistoric” period in the societies. -
Terminal Classic Occupation in the Maya Sites Located in the Area of Triangulo Park, Peten, Guatemala
Prace Archeologiczne No. 62 Monographs Jarosław Źrałka Terminal Classic Occupation in the Maya Sites Located in the Area of Triangulo Park, Peten, Guatemala Jagiellonian University Press Kraków 2008 For Alicja and Elżbieta CONTENTS ACKNOWLEDGMENTS .................................................................................... 9 CHAPTER I: Introduction .................................................................................. 11 CHAPTER II: Triangulo Park – defi nition, geographical environment, history and methodology of research ............................................................. 19 CHAPTER III: Analysis of Terminal Classic occupation in the area of Triangulo Park ............................................................................................. 27 – Nakum ............................................................................................................ 27 – Naranjo ........................................................................................................... 135 – Yaxha .............................................................................................................. 146 – Minor sites ...................................................................................................... 175 – Intersite areas .................................................................................................. 187 CHAPTER IV: Summary and conclusions ......................................................... 191 – The Terminal Classic period in the Southern Maya Lowlands: an -
Public Space and a Marketplace at Tenam Puente, Chiapas, Mexico La Construcción De Una Plaza: Espacios Públicos Y Áreas De Mercado En Tenam Puente, Chiapas, México
ESTUDIOS DE CULTURA MAYA LVIII: 45-83 (OTOÑO-INVIERNO 2021) The Making of a Plaza: Public Space and a Marketplace at Tenam Puente, Chiapas, Mexico La construcción de una plaza: espacios públicos y áreas de mercado en Tenam Puente, Chiapas, México ELIZABETH H. PARIS Universidad de Calgary, Canadá RobeRto López bRavo Universidad de Ciencias y Artes de Chiapas, México GabRieL LaLó Jacinto Instituto Nacional de Antropología e Historia, Centro Chiapas, México ABSTRACT: This study investigates the shifting meanings and practices inscribed on the Main Plaza at the ancient Maya city of Tenam Puente. Plazas are fundamental features of ancient Mesoamerican cities that were important sites for civic activities such as mass spectacles, ceremonies, private rituals, feasting. More recently, certain plazas have also been documented as permanent or periodic marketplaces. New radiocarbon dates and stratigraphic test excavations provide evidence for several important transformations in the built landscape of Tenam Puente’s Main Plaza, including renovations to the site’s principal ballcourt, a large filling and resurfacing event, and a significant addition to the plaza’s volume for the purpose of building a semi-enclosed marketplace plaza. These results provide insight into the evolving nature of public space at the site, from a focus on private rituals and dynastic rule, to an emphasis on mass spectacle, commercial activity, and civic engagement. KEY WORDS: Chiapas; Maya; Tenam Puente; chronology; plaza; marketplace. RESUMEN: El presente estudio investiga los cambiantes significados y prácticas ins- critas en la Plaza Principal de la antigua ciudad maya de Tenam Puente. Las plazas son elementos arquitectónicos fundamentales en las antiguas ciudades mesoame- PARIS, LÓPEZ Y LALÓ / THE MAKING OF A PLAZA AT TENAM PUENTE 45 ricanas que fueron sitios importantes para actividades cívicas como espectáculos, ceremonias, rituales privados y banquetes. -
Maya Hieroglyphic Writing
MAYA HIEROGLYPHIC WRITING Workbook for a Short Course on Maya Hieroglyphic Writing Second Edition, 201 1 J. Kathryn Josserandt and Nicholas A. Hopkins Jaguar Tours 3007 Windy Hill Lane Tallahassee, 32308-4025 FL (850) 385-4344 [email protected] This material is based on work supported in partby Ihe NationalScience Foundation (NSF) under grants BNS-8305806 and BNS-8520749, administered by Ihe Institute for Cultural Ecology of Ihe Tropics (lCEr), and by Ihe National Endowment for Ihe Humanities (NEH), grants RT-20643-86 and RT-21090-89. Any findingsand conclusions or recommendationsexpressed in this publication do not necessarily reflect Ihe views of NSF, NEH, or ICEr. Workbook © Jaguar Tours 2011 CONTENTS Contents Credits and Sources for Figures iv Introductionand Acknowledgements v Bibliography vi Figure 1-1. Mesoamerican Languages x Figure 1-2. The Maya Area xi Figure 1-3. Chronology Chart for tbe Maya Area xii P ART The Classic Maya Maya Hieroglypbic Writing 1: and Figure 14. A FamilyTree of Mayan Languages 2 Mayan Languages 3 Chronology 3 Maya and Earlier Writing 4 Context and Content S Tbe Writing System 5 Figure 1-5. Logographic Signs 6 Figure 1-6. Phonetic Signs 6 Figure 1-7. Landa's "Alphabet" 6 Figure 1-8. A Maya Syllabary 8 Figure 1-9. Reading Order witbin tbe Glyph Block 10 Figure 1-10. Reading Order of Glypb Blocks 10 HieroglyphicTexts II Word Order II Figure 1-11. Examples of Classic Syntax 12 Figure 1-12. Unmarked and Marked Word Order 12 Figure 1-13. Backgrounding and Foregrounding 12-B Figure 1-14. -
An Annotated Overview of “Tikal Dancer” Plates * by Erik Boot (E-Mail: [email protected])
An Annotated Overview of “Tikal Dancer” Plates * by Erik Boot (e-mail: [email protected]) ***************************************************************************** This essay presents twenty-seven ceramic plates painted in the well-known “Tikal Dancer” style or tradition (Reents-Budet 1994: 339). Originally, the “Tikal Dancer” plates were nicknamed “Uaxactun Dancer” plates (Hellmuth, cited in Coe 1982: 88), after the fact that the first identified example was excavated archaeologically at Uaxactun. Subsequently other such plates have been excavated at Tikal (Culbert 1993: Figure 43a & Figure 48c). The remaining “Tikal Dancer” plates are generally without any indication of provenance, having been removed illegally from their original context (note 1). The plates in this tradition are painted in different shades of orange, red, green, and black on a cream or sometimes tawny background. Most of the plates have an outflaring wall and a slightly accentuated exterior flange. The majority of the plates originally stood on three hollow (rattle) pedestals. The design on the bottom of the plate depicts an anthropomorphic male figure. In most of the examples the figure has been executed in a powerful fine black line drawing, while the body and costume have been colored in orange, red, and green. In most of the examples his arms are stretched out, while the hands are turned down with the thumbs parallel to the surface of the hands and fingers. The positioning of the legs is indicative of a dancing movement (cf. Grube 1992). The posture of the figure, his elongated head, headdress, and costume identify the male figure as the dancing resurrected Young Maize God (Reents-Budet 1994: 197-198, 339, Figs. -
63.02-Ramzy-Barrois-En-PDF.Pdf
Barrois, Ramzy R. 2003 Las esculturas asociadas al Juego de Pelota en las Tierras Altas y la Costa del Pacífico. En XVI Simposio de Investigaciones Arqueológicas en Guatemala, 2002 (editado por J.P. Laporte, B. Arroyo, H. Escobedo y H. Mejía), pp.728-742. Museo Nacional de Arqueología y Etnología, Guatemala. 63 LAS ESCULTURAS ASOCIADAS AL JUEGO DE PELOTA EN LAS TIERRAS ALTAS Y LA COSTA DEL PACÍFICO Ramzy R. Barrois Mesoamérica se define por un conjunto de características, entre ellas las canchas de Juego de Pelota. Encontramos manifestaciones de este rasgo cultural en todas las regiones que constituyen el área mesoamericana: Área Maya (Tierras Bajas y Altas), Costa del Pacífico, Golfo de México, Cuenca de México y en el Occidente. Podemos preguntarnos entonces ¿en qué medida la existencia del Juego de Pelota podría definir la “mesoamericanidad” de un sitio determinado? En 1981, Eric Taladoire publicó su tesis sobre el Juego de Pelota, que constituye el primer trabajo sobre este tipo de estructura en lo que se refiere a toda Mesoamérica (Taladoire 1981). En ese entonces, Taladoire define 12 tipos arquitectónicos distintos e intenta una clasificación de todos los terrenos conocidos hasta esa fecha. Este autor dedica un capítulo completo al análisis de las esculturas vinculadas con las canchas (estelas, anillos, etc), es decir, a los elementos arquitectónicos dispuestos en la cancha, en las cercanías o con una iconografía asociada al juego (cuando la escultura se encontró aislada). Estos tipos diferentes de esculturas no siempre aparecen en todos los terrenos. Los elementos en asociación (paneles y anillos), o las exclusiones (anillos y espigas), nos indican que muy probablemente, en el interior del área mesoamericana, había diferentes conjuntos de reglas de juego. -
Mythological Emblem Glyphs of Ancient Maya Kings
Contributions in New World Archaeology 3: 91–126 MYTHOLOGICAL EMBLEM GlyPHS OF Ancient Maya KINGS CHristopHe Helmke University of Copenhagen, Denmark Abstract Heinrich Berlin’s identification of Emblem Glyphs in 1958 has rightly been hailed as one of the major breakthroughs in the decipherment of ancient Maya writing. Although their exact function and meaning was unclear at the time, these are now recognized to serve as exalted regal titles that incorporate toponyms, or place names. However, what interests me here is not so much the geo-political importance of Emblem Glyphs, but the toponyms that are used to form these. Many of the toponyms that are the basis of Emblem Glyphs can now be read and can be matched up with corresponding places. In pairing off the Emblem Glyphs with their earthly referents, one is left with a peculiar group of toponyms that are clearly otherworldly. It is these supernatural Emblem Glyphs that I would like to discuss here and the role they played in legitimizing the monarchs that bore these, as titles that hark back to great antiquity in deep mythic time. The importance of these place names stems from the pivotal mythological events that are said to have transpired there, which sheds light not only on the origin of these titles, but also on the permanence and legacy of emic conceptions of deep-time. Resumen La identificación de los glifos emblema efectuada por Heinrich Berlin en 1958 ha sido justamente aclamada como uno de los mayores progresos en el desciframiento de la escritura maya. A pesar de que en aquel entonces su función y significado exacto no eran del todo claros, se ha reconocido que estos funcionaron como títulos reales exaltados que incorporaron topónimos o nombres de lugares.