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Covers human, natural, and cultural resources, history, rainforest management, and current problems in Maya lands.
This five-volume set presents some 1,000 comprehensive and fully illustrated histories of the most famous sites in the world. Entries include location, description, and site details, and a 3,000- to 4,000-word essay that provides a full history of the site and its condition today. An annotated further reading list of books and articles about the site completes each entry. The geographically organized volumes include: * Volume 1: The Americas * [1-884964-00-1] * Volume 2: Northern Europe * [1-884964-01-X] * Volume 3: Southern Europe * [1-884964-02-8] * Volume 4: Middle East & Africa * [1-884964-03-6] * Volume 5: Asia & Oceania * [1-884964-04-4]
Color-and the symbolic ways that the Maya of Mexico and Central America paint their homes, places of worship, and dwellings for their dead-is the focus of this breathtakingly beautiful and achingly poignant new book. No one who picks up this volume will ever again think of the region solely for its sunny beaches and ancient ruins, nor picture the Maya as a vanished people of the distant past. Through dazzling photographs, vivid travel tales, and the Mayas own poetic voices, readers will come to know the modern Maya as remarkable survivors who continue to sow their deified corn, commune with their gods, and paint life into their color-drenched village walls. Nearly a decade ago Jeffrey Becom (author and photographer of Mediterranean Color) turned his attention from the Old World to the New and together with his wife, Sally Jean Aberg, discovered a realm where color is not merely a matter of preference but a powerful statement of belief. Come along as the pair trek through a steamy jungle in search of ancient murals, join a highland shaman giving birth to the soul of a house, and crisscross the parched Yucatán Peninsula as villagers celebrate the Days of the Dead with dynamite, incense, flowers, rum, prayers, and paint. In the process they discover that the colors of a corn yellow house, a blood red altar, and a jade green tomb serve as a connective cord stretching back to the painted pyramids. Maya Color is a visual and verbal feast. New York Times critic Paul Goldberger calls Becoms images "poised between the making of art and the documentation of architecture. . . . He takes a tiny swath of the vernacular landscape and makes of it a composition with the brilliance and intensity of an abstract painting."
Critical urban theory and postcolonial approaches are brought together in this compelling book to explore the relationship between colonial legacies, urbanization, and global capitalism in southern Mexico. Investigates the boom-to-bust story of maquiladoras in the state of Yucatán to shed light on how the built environment was shaped by discourse, imaginaries, and everyday practices Examines the infrastructure constructed to support the maquiladora project and traces the attempts of the state to portray Yucatán as an exotic and business-friendly maquiladora paradise Reveals how these practices stand in contrast to the livelihood strategies and life stories of maquiladora workers and residents Draws on a wide range of sources to illustrate a central tension in capitalism: its tendency to homogenize while thriving in differentiation Provides important insights into an understudied location and urges us to understand urbanization in the global South in new ways
This pathbreaking work is a social and cultural history of the Maya peoples of the province of Yucatan in colonial Mexico, spanning the period from shortly after the Spanish conquest of the region to its incorporation as part of an independent Mexico. Instead of depending on the Spanish sources and perspectives that have formed the basis of previous scholarship on colonial Yucatan, the author aims to give a voice to the Maya themselves, basing his analysis entirely on his translations of hundreds of Yucatec Maya notarial documents—from libraries and archives in Mexico, Spain, and the United States—most of which have never before received scholarly attention. These documents allow the author to reconstruct the social and cultural world of the Maya municipality, or cah, the self-governing community where most Mayas lived and which was the focus of Maya social and political identity. The first two parts of the book examine the ways in which Mayas were organized and differentiated from each other within the community, and the discussion covers such topics as individual and group identities, sociopolitical organization, political factionalism, career patterns, class structures, household and family patterns, inheritance, gender roles, sexuality, and religion. The third part explores the material environment of the cah, emphasizing the role played by the use and exchange of land, while the fourth part describes in detail the nature and significance of the source documentation, its genres and its language. Throughout the book, the author pays attention to the comparative contexts of changes over time and the similarities or differences between Maya patterns and those of other colonial-era Mesoamericans, notably the Nahuas of central Mexico.
A kaleidoscopic exploration that traverses history, literature, art, and science to reveal humans' unique and vibrant relationship with color. We have an extraordinary connection to color—we give it meanings, associations, and properties that last millennia and span cultures, continents, and languages. In The World According to Color, James Fox takes seven elemental colors—black, red, yellow, blue, white, purple, and green—and uncovers behind each a root idea, based on visual resemblances and common symbolism throughout history. Through a series of stories and vignettes, the book then traces these meanings to show how they morphed and multiplied and, ultimately, how they reveal a great deal about the societies that produced them: reflecting and shaping their hopes, fears, prejudices, and preoccupations. Fox also examines the science of how our eyes and brains interpret light and color, and shows how this is inherently linked with the meanings we give to hue. And using his background as an art historian, he explores many of the milestones in the history of art—from Bronze Age gold-work to Turner, Titian to Yves Klein—in a fresh way. Fox also weaves in literature, philosophy, cinema, archaeology, and art—moving from Monet to Marco Polo, early Japanese ink artists to Shakespeare and Goethe to James Bond. By creating a new history of color, Fox reveals a new story about humans and our place in the universe: second only to language, color is the greatest carrier of cultural meaning in our world.
Can dreams be portals to different realities? Could they link the world of ancient Mayas to current times? Two women—a Maya priestess and modern spiritual seeker—are drawn together across centuries by Jana’s recurrent dream. Risking everything she holds dear and putting her marriage in jeopardy, Jana is compelled to journey to jungle-shrouded Maya ruins where she encounters mysterious forces linking her to Maya priestess Yalucha, who was mandated centuries before to hide her people’s mystical knowledge from the Conquistadors, to be revealed at a critical time. Jana’s reluctant husband Robert is swept along into unsettling experiences with his own Maya roots. What secret bond weaves their lives together with the ancient Maya through events during the height of Tikal, Uxmal and Chichen Itza? In the countdown to the Maya calendar ending in 2012, Jana is called to re-enact a ritual at Chichen Itza to revive hidden knowledge. Could her choice to fulfill this ancient Maya prophecy make a difference for the world? Jana must rediscover her own Maya powers to contend with dark shamanic forces bent on preventing her mission—and activates forces that can heal or destroy her deepest love.
Indexes kept up to date with supplements.