The K’iche’ Maya creation story preserved in the sixteenth-century manuscript Popol Vuh describes the origin of the world and its people in a setting long assumed to be the Guatemalan central highlands. Now a scholar with a deep knowledge of Maya history shows that all of these mythological events occurred at specific locations and that this landscape was the template for the Maya worldview. Examining the primary Maya deities, Karen Bassie-Sweet links geographic features to gods and beliefs. She reconstructs key elements of the Popol Vuh to argue that the three volcanoes around Lake Atitlan were the three thunderbolt gods and that the lake was the center of the world. She also shows that the Maya view of the creation of humans is centered on corn and examines core beliefs about the corn cycle to propose that the creation myth was established much earlier in Maya history than previously supposed. Generously illustrated, Maya Sacred Geography and the Creator Deities is a detailed ethnohistorical analysis of Maya religion, cosmology, and ritual practice that convincingly links mythology to the land. A comprehensive treatment of Maya religion, it provides an essential resource for scholars and will fascinate any reader captivated by these ancient beliefs.

"This monograph is a hist ...

In Maya Narrative Arts, authors Karen Bassie-Sweet and Nicholas A. Hopkins present a comprehensive and innovative analysis of the principles of Classic Maya narrative arts and apply those principles to some of the major monuments of the site of Palenque. They demonstrate a recent methodological shift in the examination of art and inscriptions away from minute technical issues and toward the poetics and narratives of texts and the relationship between texts and images. Bassie-Sweet and Hopkins show that both visual and verbal media present carefully planned narratives, and that the two are intimately related in the composition of Classic Maya monuments. Text and image interaction is discussed through examples of stelae, wall panels, lintels, benches, and miscellaneous artifacts including ceramic vessels and codices. Bassie-Sweet and Hopkins consider the principles of contrast and complementarity that underlie narrative structures and place this study in the context of earlier work, proposing a new paradigm for Maya epigraphy. They also address the narrative organization of texts and images as manifested in selected hieroglyphic inscriptions and the accompanying illustrations, stressing the interplay between the two. Arguing for a more holistic approach to Classic Maya art and literature, Maya Narrative Arts reveals how close observation and reading can be equally if not more productive than theoretical discussions, which too often stray from the very data that they attempt to elucidate. The book will be significant for Mesoamerican art historians, epigraphers, linguists, and archaeologists.

Numerous archaeological projects have found substantial evidence of the military nature of Maya society, and warfare is a frequent theme of Maya art. Maya Gods of War investigates the Classic period Maya gods who were associated with weapons of war and the flint and obsidian from which those weapons were made. Author Karen Bassie-Sweet traces the semantic markers used to distinguish flint from other types of stone, surveys various types of Chahk thunderbolt deities and their relationship to flint weapons, and explores the connection between lightning and the ruling elite. Additional chapters review these fire and solar deities and their roles in Maya warfare and examine the nature and manifestations of the Central Mexican thunderbolt god Tlaloc, his incorporation into the Maya pantheon, and his identification with meteors and obsidian weapons. Finally, Bassie-Sweet addresses the characteristics of the deity God L, his role as an obsidian merchant god, and his close association with the ancient land route between the highland Guatemalan obsidian sources and the lowlands. Through analysis of the nature of the Teotihuacán deities and exploration of the ways in which these gods were introduced into the Maya region and incorporated into the Maya worldview, Maya Gods of War offers new insights into the relationship between warfare and religious beliefs in Mesoamerica. This significant work will be of interest to scholars of Maya religion and iconography.

Making sense of our universe...It's an age-old practice that transcends cultures and generations. From our vantage point, the larger than life Maya civilization grappled with the urge in a grand scale. Join us as we take a voyage to understand the ways of the Maya. Inside you will read about... ✓ Who Made Contact? Early Explorers and their Impact ✓ How the Maya Wanted to Be Represented - History Written by the Victors ✓ Different Periods of Maya History ✓ Larger Than Life ✓ New Findings We'll learn what they held as sacred, how the sacred manifested itself in their lives, and about efforts to accurately portray them, despite romanticized versions. This eBook provides a deeper look at their pre-Columbian battling dynasties and their highly-structured approach to religion, science and society, as we explore their glories and misfortunes.

When the Maya kings of Tikal dedicated their first carved monuments in the third century A.D., inaugurating the Classic period of Maya history that lasted for six centuries and saw the rise of such famous cities as Palenque, Copan and Yaxchilan, Maya civilization was already nearly a millennium old. Its first cities, such as Nakbe and El Mirador, had some of the largest temples ever raised in Prehispanic America, while others such as Cival showed even earlier evidence of complex rituals. The reality of this Preclassic Maya civilization has been documented by scholars over the past three decades: what had been seen as an age of simple village farming, belatedly responding to the stimulus of more advanced peoples in highland Mesoamerica, is now know to have been the period when the Maya made themselves into one of the New World's most innovative societies. This book discusses the most recent advances in our knowledge of the Preclassic Maya and the emergence of their rainforest civilization, with new data on settlement, political organization, architecture, iconography and epigraphy supporting a contemporary theoretical perspective that challenges prior assumptions.

This nuanced account explores Maya mythology through the lens of art, text, and culture. It offers an important reexamination of the mid-16th-century Popol Vuh, long considered an authoritative text, which is better understood as one among many crucial sources for the interpretation of ancient Maya art and myth. Using materials gathered across Mesoamerica, Oswaldo Chinchilla Mazariegos bridges the gap between written texts and artistic representations, identifying key mythical subjects and uncovering their variations in narratives and visual depictions. Central characters—including a secluded young goddess, a malevolent grandmother, a dead father, and the young gods who became the sun and the moon—are identified in pottery, sculpture, mural painting, and hieroglyphic inscriptions. Highlighting such previously overlooked topics as sexuality and generational struggles, this beautifully illustrated book paves the way for a new understanding of Maya myths and their lavish expression in ancient art.

This is the first volume to bring together archaeology, anthropology, and art history in the analysis of pre-Columbian pottery. While previous research on ceramic artifacts has been divided by these three disciplines, this volume shows how integrating these approaches provides new understandings of many different aspects of Ancient American societies. Contributors from a variety of backgrounds in these fields explore what ceramics can reveal about ancient social dynamics, trade, ritual, politics, innovation, iconography, and regional styles. Essays identify supernatural and humanistic beliefs through formal analysis of Lower Mississippi Valley "Great Serpent" effigy vessels and Ecuadorian depictions of the human figure. They discuss the cultural identity conveyed by imagery such as Andean head motifs, and they analyze symmetry in designs from locations including the American Southwest. Chapters also take diachronic approaches—methods that track change over time—to ceramics from Mexico’s Tarascan State and the Valley of Oaxaca, as well as from Maya and Toltec societies. This volume provides a much-needed multidisciplinary synthesis of current scholarship on Ancient American ceramics. It is a model of how different research perspectives can together illuminate the relationship between these material artifacts and their broader human culture. Contributors: | Dean Arnold | George J. Bey III | Michael Carrasco | David Dye | James Farmer | Gary Feinman | Amy Hirshman | Yumi Park Huntington | Johanna Minich | Shelia Pozorski and Thomas Pozorski | Jeff Price | Sarahh Scher | Dorothy Washburn | Robert F. Wald

Maya Imagery, Architecture, and Activity privileges art historical perspectives in addressing the ways the ancient Maya organized, manipulated, created, interacted with, and conceived of the world around them. The Maya provide a particularly strong example of the ways in which the built and imaged environment are intentionally oriented relative to political, religious, economic, and other spatial constructs. In examining space, the contributors of this volume demonstrate the core interrelationships inherent in a wide variety of places and spaces, both concrete and abstract. They explore the links between spatial order and cosmic order and the possibility that such connections have sociopolitical consequences. This book will prove useful not just to Mayanists but to art historians in other fields and scholars from a variety of disciplines, including anthropology, archaeology, geography, and landscape architecture.

Rather than view the contours of Late Classic Maya social life solely from towering temple pyramids or elite sculptural forms, this book considers a suite of small anthropomorphic, zoomorphic, and supernatural figurative remains excavated from household refuse deposits. Maya Figurines examines these often neglected objects and uses them to draw out relationships between the Maya state and its subjects. These figurines provide a unique perspective for understanding Maya social and political relations; Christina T. Halperin argues that state politics work on the microscale of everyday routines, localized rituals, and small-scale representations. Her comprehensive study brings together archeology, anthropology, and art history with theories of material culture, performance, political economy, ritual humor, and mimesis to make a fascinating case for the role politics plays in daily life. What she finds is that, by comparing small-scale figurines with state-sponsored, often large-scale iconography and elite material culture, one can understand how different social realms relate to and represent one another. In Maya Figurines, Halperin compares objects from diverse households, archeological sites, and regions, focusing especially on figurines from Petén, Guatemala, and comparing them to material culture from Belize, the northern highlands of Guatemala, the Usumacinta River, the Campeche coastal area, and Mesoamerican sites outside the Maya zone. Ultimately, she argues, ordinary objects are not simply passive backdrops for important social and political phenomena. Instead, they function as significant mechanisms through which power and social life are intertwined.