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In Chilam Balam of Ixil Laura Caso Barrera translates for the first time a Yucatec Maya document that resulted from the meticulous reading by the Colonial Maya of various European texts such as the Bible and the Poem of the Mío Cid, as well as various studies on astronomy, astrology, calendars, and medicine. The Maya, showing considerable astuteness and insight, appropriated this knowledge. With this study and facsimile, experts can further their knowledge of Mayan calendars or traditional medicine; and Mayan enthusiasts can discover more about the culture’s world view and history. En el Chilam Balam de Ixil Laura Caso Barrera traduce por primera vez un documento en maya yucateco, que resultó de la minuciosa lectura que realizaron los mayas coloniales de distintos textos europeos como la Biblia o el Cantar del Mío Cid, así como de diversos estudios de astronomía, astrología, calendarios y medicina. Con astucia y perspicacia, los mayas hicieron propio ese saber. Con esta edición, los expertos podrán ahondar en las anotaciones calendáricas o la medicina tradicional maya; y los amantes de esta cultura conocerán otros aspectos de su pensamiento e historia.
An illuminating look at the myriad communities who have engaged with the ancient Maya over the centuries. This book reveals how the ancient Maya—and their buildings, ideas, objects, and identities—have been perceived, portrayed, and exploited over five hundred years in the Americas, Europe, and beyond. Engaging in interdisciplinary analysis, the book summarizes ancient Maya art and history from the preclassical period to the Spanish invasion, as well as the history of outside engagement with the ancient Maya, from Spanish invaders in the sixteenth century to later explorers and archaeologists, taking in scientific literature, visual arts, architecture, world’s fairs, and Indigenous activism. It also looks at the decipherment of Maya inscriptions, Maya museum exhibitions and artists’ responses, and contemporary Maya people’s engagements with their ancestral past. Featuring the latest research, this book will interest scholars as well as general readers who wish to know more about this ancient, fascinating culture.
This book is a collective effort to investigate and problematise notions of time and temporality in European travel writing from the late medieval period up to the late nineteenth century. It brings together nine researchers in European travel writing and covers a wide range of areas, travel genres, and languages, coherently integrated around the central theme of time and temporalities. Taken together, the contributions consider how temporal aspects evolve and change in regard to spatial, historical, and literary contexts. In a chapter-by-chapter account this volume thus offers various case studies that address the issue of temporality by showing, for example, how time is inscribed in landscape, how travellers’ encounters with other temporalities informed other disciplines; it interrogates the idea of "cultural temporalities" in regard to a tension between past and future, passivity and progression; and focuses on how time is entangled in identity construction proper to travelogues.
The first study of Christian murals created by indigenous artists in sixteenth and seventeenth century Yucatán. In the sixteenth and seventeenth centuries, Maya artists painted murals in churches and conventos of Yucatán using traditional techniques to depict iconography brought from Europe by Franciscan friars. The fragmentary visual remains and their placement within religious structures embed Maya conceptions of sacredness beyond the didactic imagery. Mobilizing both cutting-edge technology and tried-and-true analytical methods, art historians Amara Solari and Linda K. Williams reexamine the Maya Christian murals, centering the agency of the people who created them. The first volume to comprehensively document the paintings, Maya Christian Murals of Early Modern Yucatán collects new research on the material composition of the works, made possible by cutting-edge imaging methods. Solari and Williams investigate pigments and other material resources, as well as the artists and historical contexts of the murals. The authors uncover numerous local innovations in form and content, including images celebrating New World saints, celestial timekeeping, and ritual processions. Solari and Williams argue that these murals were not simply vehicles of coercion, but of cultural “grafting,” that allowed Maya artists to shape a distinctive and polyvocal legacy in their communities.
The Books of Chilan Balam are a series of sacred texts from the Yucatan peninsula in southeastern Mexico. Compiled by Mayan scribes in the 16th and 17th centuries, these manuscripts contain a wealth of historical, cosmological, and religious information about the ancient Maya. In this groundbreaking study, Daniel Garrison Brinton provides the first English translation of the Books of Chilan Balam, along with extensive commentary and analysis. This book is an indispensable resource for anyone interested in the ancient Maya and their culture. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Only nine documents of the "Chilam Balam" survive. These documents of the Chilam Balam describe the native Yucatec Mayan worldview from at least the time of the arrival of the Spaniards five hundred years ago. Since 1975, Dr. Richard N. Luxton became fascinated by and worked toward understanding the Books of Chilam Balam. He spent years translating and annotating the Tizimin, and the Chumayal before it, diligently going line-by-line over a facsimile copy of the original Tizimin in Roman script, but in the language of the Yucatec Maya. Richard N. Luxton worked with his Mayan friends in the Yucatan, both Don Pablo Canche Balam--their friendship is retold in an earlier work, The Mysteries of the Mayan Hieroglyph, and Don Valentino Vargas Chulin, on both translations. Without their contributions, the Mayan gospels of the Chilam Balam would have continued to be opaque and hidden. Dr. Richard Luxton's book, The Mayan Book of the Chilam Balam of Tizimin, is a connection back to the Mayan hieroglyphic tradition in the way a single metaphor and phrase represents a long process of thought admirably captured in a form of Roman script shorthand. The "Chilam Balams" were not written for outsiders, and that is their greatest value. The Tizimin has been translated into English twice before, but never as Dr. Richard N. Luxton has done, transcribed line-by-line from the original, and then meticulously adhered to by a line-by-line translation, like he did in the Chumayal.