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Every once in while, a work comes along that breaks through convention and fuses worlds and cultures. The Serpent and the Jaguar is one such work: it transcends the conventional interpretations of the Mayan Tzolk’in calendar and fuses the worlds of traditional Mayan cosmovision, scholarly research, and modern-day needs and concerns. The result is a book that enables virtually anyone anywhere in the world living in industrialized society to apply the Tzolk’in to their lives on a daily basis. For the first time, The Serpent and the Jaguar brings you the Tzolk’in and all of its 260 days interpreted in the context of modern life and modern challenges. The book is the cornerstone in a suite of related tools that include mobile applications, webinars and a strong social media platform designed to help you redefine your relationship with sacred, cyclical time in the face of our demanding, stressful schedules that force us to operate on linear time. Included in the book are: • The full set of the 260 Energies of the Day of the Tzolk’in calendar. • Detailed descriptions of the 20 trecenas and their ruling day signs. • Detailed descriptions of the 13 numbers. • Introductory sections on the Mayan Calendar, the day signs, trecenas, and the numbers. • A guide to living with sacred time • Mayan Calendar tables to calculate dates manually or offline. • Original day sign illustrations by New Zealand painter and artist Maree Gifkins (along with the traditional Maya day sign and number glyphs).
Drawing on secondary works in archaeology, art history, folklore, ethnohistory, ethnography, and literature, the authors maintain that the mask is the central metaphor for the Mesoamerican concept of spiritual reality. Covers the long history of the use of the ritual mask by the peoples who created and developed the mythological tradition of Mesoamerica. Chapters: (1) the metaphor of the mask in Pre-Columbian Mesoamerica: the mask as the God, in ritual, and as metaphor; (II) metaphoric reflections of the cosmic order; and (III) the metaphor of the mask after the conquest: syncretism; the Pre-Columbian survivals; the syncretic compromise; and today's masks. Over 100 color and black-&-white photos.
This series is inspired by Mayan mythology, specifically followers of the jaguar. In this third book of the series, an old story draws out Cali's nemesis, "Le Gato" in search of six relics left thousands of years ago. When joined, they reveal the origins of our humanity. Cali and friends join the search, seemingly one step behind a consortium of powerful men, Church leaders, multi-national corporations and assassins.
A survey of North American native art, and an hypothesis of its history.
An important new way of viewing the prehistoric art of the Americas, The Jaguar Within demonstrates that understanding a work of art’s connection with shamanic trance can lead to an appreciation of it as an extremely creative solution to the inherent challenge of giving material form to nonmaterial realities and states of being. Shamanism—the practice of entering a trance state to experience visions of a reality beyond the ordinary and to gain esoteric knowledge—has been an important part of life for indigenous societies throughout the Americas from prehistoric times until the present. Much has been written about shamanism in both scholarly and popular literature, but few authors have linked it to another significant visual realm—art. In this pioneering study, Rebecca R. Stone considers how deep familiarity with, and profound respect for, the extra-ordinary visionary experiences of shamanism profoundly affected the artistic output of indigenous cultures in Central and South America before the European invasions of the sixteenth century. Using ethnographic accounts of shamanic trance experiences, Stone defines a core set of trance vision characteristics, including enhanced senses; ego dissolution; bodily distortions; flying, spinning, and undulating sensations; synaesthesia; and physical transformation from the human self into animal and other states of being. Stone then traces these visionary characteristics in ancient artworks from Costa Rica and Peru. She makes a convincing case that these works, especially those of the Moche, depict shamans in a trance state or else convey the perceptual experience of visions by creating deliberately chaotic and distorted conglomerations of partial, inverted, and incoherent images.