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Fanning the Sacred Flame: Mesoamerican Studies in Honor of H. B. Nicholson contains twenty-two original papers in tribute to H. B. "Nick" Nicholson, a pioneer of Mesoamerican research. His intellectual legacy is recognized by Mesoamerican archaeologists, art historians, ethnohistorians, and ethnographers--students, colleagues, and friends who derived inspiration and encouragement from him throughout their own careers. Each chapter, which presents original research inspired by Nicholson, pays tribute to the teacher, writer, lecturer, friend, and mentor who became a legend within his own lifetime. Covering all of Mesoamerica across all time periods, contributors include Patricia R. Anawalt, Alfredo López Austin, Anthony Aveni, Robert M. Carmack, David C. Grove, Richard D. Hansen, Leonardo López Luján, Kevin Terraciano, and more. Eloise Quiñones Keber provides a thorough biographical sketch, detailing Nicholson's academic and professional journey.
Bureau of Indian Standards, Delhi made large number of changes and alterations in IS: 456-2000, Code of Practice for Plain and Reinforced concrete. Realizing the necessity and importance, authors have updated the complete text and presented this subject "Limit State Design of Concrete Structures". Ultimate Limit State (ULS- conditions to be avoided) and serviceability Limit State (SLS- limits undesirable cracks and deflections) are two main essential elements of this subject. ULS includes `Limit State of Collapse in compression, in flexure, in shear and in torsion as sub elements. Whereas, SLS includes Limit State of Serviceability for deflections, cracking, fatigue, durability and vibrations as sub-elements. Features: (i) Text for life of concrete structures, fire resistance and corrosion. (ii) For all those, who carry-out their design using computer-programme, authors have given procedures (developed by them) for determining the stress in Hysd-steel bars corresponding to strain developed in concrete.
First published in 1892, this classic explores the symbolism of classical architecture. A milestone in relating mysticism to design, it shows the correlation between mythology and the design of St. Paul's Cathedral, the Taj Mahal, the Palace of Versailles, and other architectural masterpieces. 30 black-and-white illustrations.
Archaeoastronomy and the Maya illustrates archaeoastronomical approaches to ancient Mayan cultural production. The book is contextualized through a history of archaeoastronomical investigations into Mayan sites, originating in the 19th century discovery of astronomical tables within hieroglyphic books. Early 20th century archaeological excavations revealed inscriptions carved into stone that also preserved astronomical records, along with architecture that was built to reflect astronomical orientations. These materials provided the basis of a growing professionalized archaeoastronomy, blossoming in the 1970s and expanding into recent years. The chapters here exemplify the advances made in the field during the early 21st century as well as the on-going diversity of approaches, presenting new perspectives and discoveries in ancient Mayan astronomy that result from recent studies of architectural alignments, codices, epigraphy, iconography, ethnography, and calendrics. More than just investigations of esoteric ancient sciences, studies of ancient Mayan astronomy have profoundly aided our understanding of Mayan worldviews. Concepts of time and space, meanings encoded in religious art, intentions underlying architectural alignments, and even methods of political legitimization are all illuminated through the study of Mayan astronomy.
“A prodigious work of unmatched interdisciplinary scholarship” on Maya astronomy and religion (Journal of Interdisciplinary History). Observations of the sun, moon, planets, and stars played a central role in ancient Maya lifeways, as they do today among contemporary Maya who maintain the traditional ways. This pathfinding book reconstructs ancient Maya astronomy and cosmology through the astronomical information encoded in Pre-Columbian Maya art and confirmed by the current practices of living Maya peoples. Susan Milbrath opens the book with a discussion of modern Maya beliefs about astronomy, along with essential information on naked-eye observation. She devotes subsequent chapters to Pre-Columbian astronomical imagery, which she traces back through time, starting from the Colonial and Postclassic eras. She delves into many aspects of the Maya astronomical images, including the major astronomical gods and their associated glyphs, astronomical almanacs in the Maya codices and changes in the imagery of the heavens over time. This investigation yields new data and a new synthesis of information about the specific astronomical events and cycles recorded in Maya art and architecture. Indeed, it constitutes the first major study of the relationship between art and astronomy in ancient Maya culture. “Milbrath has given us a comprehensive reference work that facilitates access to a very broad and varied body of literature spanning several disciplines.” ―Isis “Destined to become a standard reference work on Maya archeoastronomy . . . Utterly comprehensive.” —Andrea Stone, Professor of Art History, University of Wisconsin, Milwaukee
The first study devoted to a single sculptor in ancient America, as understood through four unprovenanced masterworks traced to a small sector of Guatemala. In 1950, Dana Lamb, an explorer of some notoriety, stumbled on a Maya ruin in the tropical forests of northern Guatemala. Lamb failed to record the location of the site he called Laxtunich, turning his find into the mystery at the center of this book. The lintels he discovered there, long since looted, are probably of a set with two others that are among the masterworks of Maya sculpture from the Classic period. Using fieldwork, physical evidence, and Lamb’s expedition notes, the authors identify a small area with archaeological sites where the carvings were likely produced. Remarkably, the vividly colored lintels, replete with dynastic and cosmic information, can be assigned to a carver, Mayuy, who sculpted his name on two of them. To an extent nearly unique in ancient America, Mayuy can be studied over time as his style developed and his artistic ambition grew. An in-depth analysis of Laxtunich Lintel 1 examines how Mayuy grafted celestial, seasonal, and divine identities onto a local magnate and his overlord from the kingdom of Yaxchilan, Mexico. This volume contextualizes the lintels and points the way to their reprovenancing and, as an ultimate aim, repatriation to Guatemala.