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Landmark classic interprets Maya symbolism, estimates styles, covers ceramics, architecture, murals, stone carvings as art forms. Over 750 illustrations.
Challenging the distinctions between “old” and “new” media and narratives about the deprecation of orality in favor of inscribed forms, The Maya Art of Speaking Writing draws from Maya concepts of tz’ib’ (recorded knowledge) and tzij, choloj, and ch’owen (orality) to look at expressive work across media and languages. Based on nearly a decade of fieldwork in the Guatemalan highlands, Tiffany D. Creegan Miller discusses images that are sonic, pictorial, gestural, and alphabetic. She reveals various forms of creativity and agency that are woven through a rich media landscape in Indigenous Guatemala, as well as Maya diasporas in Mexico and the United States. Miller discusses how technologies of inscription and their mediations are shaped by human editors, translators, communities, and audiences, as well as by voices from the natural world. These texts push back not just on linear and compartmentalized Western notions of media but also on the idea of the singular author, creator, scholar, or artist removed from their environment. The persistence of orality and the interweaving of media forms combine to offer a challenge to audiences to participate in decolonial actions through language preservation. The Maya Art of Speaking Writing calls for centering Indigenous epistemologies by doing research in and through Indigenous languages as we engage in debates surrounding Indigenous literatures, anthropology, decoloniality, media studies, orality, and the digital humanities.
This introduction to Maya art is based on study of one of the most important collections in the United States, assembled by Robert Woods Bliss between 1935 and 1962. The catalogue, written by leading Maya scholars, contains detailed analyses of specific works of art along with thematic essays situating them within the context of Maya culture.
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.
A study of Maya art, its subject matter and historical development ... 1975.
“In addition to serving as an introduction to Maya art, the book communicates enthusiasm for the art’s aesthetic power and grace.” —Choice Rewritten and updated to include the discoveries and new theories from the past decade and a half, this classic guide to the art of the ancient Maya is now illustrated in color throughout. World expert Mary Miller and her co-author Megan O’Neil take the reader through the visual world of the Maya, explaining how and why they created the paintings, sculpture, and monuments that intrigue and compel people the world over. With an array of new material, including the newly found La Corona panels, Waka’ figurines, and the Dz’ibanche’ staircase; studies of the monuments at Palenque, Zotz, and elsewhere; and paintings discovered in recent years; this new edition will be essential reading for students and scholars—and for travelers to the cities of this mysterious civilization.
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.
To the four great calligraphic traditions - ancient Egyptian, East Asian, Islamic, and western European - is now added a fifth: that of the ancient Maya. Long known but little understood, Maya writing has now largely been deciphered, leading to a new understanding of the Maya scribes and the society in which they lived. This volume is the first to make full use of the latest research and the first to consider Maya writing both aesthetically and in terms of its meaning. Michael D. Coe begins by examining the origins and character of the script. He then explores the world of the scribes and "keepers of the holy books, " decoding their depiction in Maya art and describing the mediums in which they worked, their tools, and techniques.