3 the Rise of Maya Civilization
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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. -
Chichen Itza Coordinates: 20°40ʹ58.44ʺN 88°34ʹ7.14ʺW from Wikipedia, the Free Encyclopedia
Chichen Itza Coordinates: 20°40ʹ58.44ʺN 88°34ʹ7.14ʺW From Wikipedia, the free encyclopedia Chichen Itza ( /tʃiːˈtʃɛn iːˈtsɑː/;[1] from Yucatec Pre-Hispanic City of Chichen-Itza* Maya: Chi'ch'èen Ìitsha',[2] "at the mouth of the well UNESCO World Heritage Site of the Itza") is a large pre-Columbian archaeological site built by the Maya civilization located in the northern center of the Yucatán Peninsula, in the Municipality of Tinúm, Yucatán state, present-day Mexico. Chichen Itza was a major focal point in the northern Maya lowlands from the Late Classic through the Terminal Classic and into the early portion of the Early Postclassic period. The site exhibits a multitude of architectural styles, from what is called “In the Mexican Origin” and reminiscent of styles seen in central Mexico to the Puuc style found among the Country Mexico Puuc Maya of the northern lowlands. The presence of Type Cultural central Mexican styles was once thought to have been Criteria i, ii, iii representative of direct migration or even conquest from central Mexico, but most contemporary Reference 483 (http://whc.unesco.org/en/list/483) interpretations view the presence of these non-Maya Region** Latin America and the Caribbean styles more as the result of cultural diffusion. Inscription history The ruins of Chichen Itza are federal property, and the Inscription 1988 (12th Session) site’s stewardship is maintained by Mexico’s Instituto * Name as inscribed on World Heritage List. Nacional de Antropología e Historia (National (http://whc.unesco.org/en/list) Institute of Anthropology and History, INAH). The ** Region as classified by UNESCO. -
The Political, Ideological, and Economic Significance of Ancient Maya Iron-Ore Mirrors
SURFACES AND BEYOND: THE POLITICAL, IDEOLOGICAL, AND ECONOMIC SIGNIFICANCE OF ANCIENT MAYA IRON-ORE MIRRORS A Thesis Submitted to the Committee on Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Faculty of Arts and Science TRENT UNIVERSITY Peterborough, Ontario, Canada © Copyright by Marc Gordon Blainey Anthropology M.A. Program June 2007 ABSTRACT Surfaces and Beyond: The Political, Ideological, and Economic Significance of Ancient Maya Iron-ore Mirrors Marc Gordon Blainey This thesis examines archaeological evidence pertaining to composite lithic artifacts of the ancient Maya termed “mirrors.” These objects, typically consisting of flat, shiny iron-ore fragments fitted in a mosaic to a backing of stone, ceramic, or wood, are assessed concerning their political, ideological, and economic implications within ancient Maya society. The evidence, including detailed archaeological proveniences and instances of mirrors in iconography, epigraphy, and ethnohistory, is considered from the theoretical standpoints of cognitive archaeology, from the perspectives of shamanism, and a renewed conjunctive approach. Endeavouring to reveal the emic significance mirrors held for the ancient Maya who made and used them, the role of these mirrors is situated within the broader ideological framework of a reflective surface complex. Although prior interpretations are largely correct in designating mirrors as implements for “divinatory scrying,” it is concluded that the evidence allows for a much more refined elucidation than has heretofore been provided. Keywords: ancient Maya, mirrors, iron-ore, archaeology, shamanism, scrying, prestige goods ii ACKNOWLEDGEMENTS First and foremost, I would like to thank my family, particularly my parents, John and Sue Blainey. -
Download La Corona Notes 2
La Corona Notes 1(2) The Nomenclature of La Corona Sculpture1 David Stuart Marcello A. Canuto Tomás Barrientos Q. For their relatively small size the ruins of La Corona, Labels and Categories Guatemala, once had a remarkably large quantity What factors go into determining a designation of sculpted and inscribed monuments. The corpus system for monuments and sculptures in the of hieroglyphic texts known to be from La Corona first place? At Maya sites where stelae and altars in fact rivals and in some cases surpasses those of predominate, this issue seldom presents any great many larger, more powerful centers of the central challenge. Of course the basic topological terms Peten region. As is well known, looters removed were established long ago by early explorers a great many of these sculptures in the 1960s, such as Alfred Maudslay and Teobert Maler, who leaving only meager remnants of once-imposing developed the categories we commonly use today monuments scattered among the structures and — stelae, altars, lintels, and so forth. Archaeological plazas of the site. The looted stones themselves, projects from the early twentieth century continued of various types and styles, eventually made this trend with little modification. When the their way into museum and private collections Corpus of Maya Hieroglyphic Inscriptions was around the world, and a great many others still first formulated in the early 1970s, Ian Graham remain unaccounted for. Recently, archaeological laid the groundwork for a more systematic set of investigations at La Corona have unearthed a designation categories (Graham 1975:25). He was number of other sculptures, many clearly related well aware that certain sites presented unusual, to those removed from the ruins decades ago. -
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. -
Adela Breton and the Temple of the Jaguar
Adela Breton and the Temple of the Jaguar A Victorian perspective on the art of Chichén Itzá. Student no. 1419645 Department of Archaeology and Anthropology University of Bristol 2017 This dissertation is submitted in part fulfilment of the requirements for a degree of Bachelor of Arts in Archaeology. Cover Image: Watercolour quarter-scale copy of wall painting from south end of west wall, Upper Temple of the Jaguars, Chichén Itzá, Mexico (Adela Breton, n.d.) Abstract This study has three aims: to assess the archaeological significance of Adela Breton’s work; to explore the relationship between Breton’s perspective and her paintings; and to evaluate the research potential of the Breton collection in light of this evidence. To date, no investigation has considered the value of the Breton collection in relation to Breton’s own ideals and experiences. This thesis therefore seeks to extend prior work to approach this gap in the literature, putting visual culture theories into practice that have yet to be applied to a Western case. The study uses a qualitative approach, analysing key elements of interdisciplinary research to evaluate how far Breton’s perspective influences the significance of her work. To illustrate these ideas, reproductions of murals from a specific temple at Chichén Itzá is used as a case study to tangibly develop the thesis argument. Following this method of approach, the findings reveal that Breton’s subjective experience of Mesoamerica as a Victorian, woman, artist and traveller is imperative to the importance and understanding of her work. The culmination of this thesis prompts a re-thinking of how visual culture theory can be used to further archaeological knowledge, and there is significant potential for future study. -
Volume 29, Issue 2
History of Anthropology Newsletter Volume 29 Issue 2 December 2002 Article 1 January 2002 Volume 29, Issue 2 Follow this and additional works at: https://repository.upenn.edu/han Part of the Anthropology Commons, and the History of Science, Technology, and Medicine Commons Recommended Citation (2002) "Volume 29, Issue 2," History of Anthropology Newsletter: Vol. 29 : Iss. 2 , Article 1. Available at: https://repository.upenn.edu/han/vol29/iss2/1 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/han/vol29/iss2/1 For more information, please contact [email protected]. H istory of A' nthropology N ewsletter XXIX:2 2002 History of Anthropology Newsletter VOLUME XXIX, NUMBER 2 DECEMBER 2002 TABLE OF CONTENTS CLIO'S FANCY: DOCUMENTS TO PIQUE THE IDSTORICAL IMAGINATION British Colonialists, Ibo Traders. and Idoma Democrats: A Marxist Anthropologist Enters "The Field" in Nigeria, 1950-51 ..•.•... 3 SOURCES FOR THE IDSTORY OF ANTHROPOLOGY .....•.....•..•.....12 RESEARCH IN PROGRESS ..•••.•.•..•...••.•.•...•..•....•....•..... 12 BI6LIOGRAPIDCA ARCANA L American Anthropologist Special Centennial Issue . • . 13 ll. Recent Dissertations .......................................... 13 IlL Recent Work by Subscribers .•••....•..........•..••......•.. 13 ill. Suggested by Our Readers .••..•••........••.•.• o ••••• o ••••••• 15 The Editorial Committee Robert Bieder Regna Darnell Indiana University University of Western Ontario Curtis Hinsley Dell Hymes Northern Arizona University University of Virginia George W. Stocking William Sturtevant University of Chicago Smithsonian Institution Subscription rates (Each volume contains two numbers: June and December) Individual subscribers (North America) $6.00 Student subscribers 4.00 Institutional subscribers 8.00 Subscribers outside North America 8.00 Checks for renewals, new subscriptions or back numbers should be made payable (in United States dollars only) to: History of Anthropology Newsletter (or to HAN). -
Exhibition Handout
24 May - 14 July 2013 TALKS & EVENTS Tuesday 11 June, 9-10.30am A coffee morning and special viewing of Mariana Castillo Deball’s exhibition. Cakes are generously provided by the East End Women’s Institute. Saturday 15 June, 2-4pm A walk in Victoria Park looking at the diverse range of trees led by tree specialist Richard Lambert from ‘Trees for Cities’, an environmental charity working with local people to improve urban landscapes. The tree walk will set out from Chisenhale Gallery at 2pm and end at The Pavilion Café. Thursday 20 June, 7pm Mariana Castillo Deball in conversation with Professor Chris Gosden of the Institute of Archaeology, University of Oxford, about her exhibition, What we caught we threw away, what we didn’t catch we kept. Saturday 22 June, 2pm A tour of Mariana Castillo Deball’s exhibition for young people led by Offsite and Education Trainee, Razia Begum. Thursday 4 July, 7pm A tour of Mariana Castillo Deball’s exhibition led by Vanessa Boni, Public Programmes Curator, Liverpool Biennial. All events are free but booking is strongly advised. Please contact [email protected] or ask at the front desk to make a reservation. Mariana Castillo DEball ‘What we caught we threw away, what we didn’t catch we kept’ Chisenhale Gallery presents a solo exhibition by Mariana Castillo Deball: What we caught we threw away, what we didn’t catch we kept. A co-commission by Chisenhale Gallery, Cove Park, Scotland – where the artist undertook a residency in 2012-13 – and CCA Glasgow, who presented the exhibition from 6 April to 18 May 2013. -
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. -
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. -
A Distinctive Maya Architectural Format: the Lamanai Temple
8 A Distinctive Maya Architectural Format: The Lamanai Temple . H. Stanley Loten Introduction At Lamanai, as at Tikal, the ancient Maya maintained and repeated the same distinctive temple form over a Towering pyramidal temples, arresting dynastic significantly long time span at different locations portraits, fantastic.mythological figures; they leap to within the site. This review outlines the Lamanai our eyes from the forest canopy, from incised stelae example and considers comparable patterns of and from sculptured mask panels. 1l1ese are the great variation in architectural forms of pyramid-temples at signature pieces of Maya artistic production. They other sites in the Maya area. cap the ruins that initially attracted archaeological attention, and they continue to draw world-class As a secondary theme I am concerned with the con tourism to the Maya area. A constant· stream of ceptual role played by the pyramid, and with the vacationers shuffles past these great works, now underlying reasons that impelled the Maya to include cleared and restored. But they are seen merely as such costly and time-consuming features as prominent curiosities touted to sell excursions from Caribbean parts oftheir major temples. It is generally taken more resorts. In ancient times, however, they were certainly or less for granted that Maya pyramids were employed not for holiday amusement; they .were central to the to raise the "temples" at their summits to a civic and political life of Maya communities. Over commanding position of height (see, for example, centuries the Maya invested an enormous amount of Stierlin 1968:96). This view of the structures is time, energy, skill and resources in their production, certainly correct, and the idea has obvious value; I and their functioning is generally acknowledged to suspect, however, that it may not be the whole story.