Mitolog A Maya

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.

Presents an introduction to Mayan civilization, discussing its history, politics, art, religion, literature, philosophy, military, gods, and heroes.

In Maya Narrative Arts, authors Karen Bassie-Sweet and Nicholas A. Hopkins present a comprehensive and innovative analysis of the principles of Classic Maya narrative arts and apply those principles to some of the major monuments of the site of Palenque. They demonstrate a recent methodological shift in the examination of art and inscriptions away from minute technical issues and toward the poetics and narratives of texts and the relationship between texts and images. Bassie-Sweet and Hopkins show that both visual and verbal media present carefully planned narratives, and that the two are intimately related in the composition of Classic Maya monuments. Text and image interaction is discussed through examples of stelae, wall panels, lintels, benches, and miscellaneous artifacts including ceramic vessels and codices. Bassie-Sweet and Hopkins consider the principles of contrast and complementarity that underlie narrative structures and place this study in the context of earlier work, proposing a new paradigm for Maya epigraphy. They also address the narrative organization of texts and images as manifested in selected hieroglyphic inscriptions and the accompanying illustrations, stressing the interplay between the two. Arguing for a more holistic approach to Classic Maya art and literature, Maya Narrative Arts reveals how close observation and reading can be equally if not more productive than theoretical discussions, which too often stray from the very data that they attempt to elucidate. The book will be significant for Mesoamerican art historians, epigraphers, linguists, and archaeologists.

Telling Maya Tales offers an experimental ethnographic portrait of the San Juan Chamula, the largest and most influential Maya community of Highland Chiapas, in the late twentieth century--the era of the Zapatistas. In this collection of essays, the author, whose field work in the area spans two generations of anthropological thought, explores several expressions of Tzotzil ethnic affirmation, ranging from oral narrative to ritual drama and political action. His work covers the current era, when the Chamula Tzotzils mingle chaotically and sometimes violently with the social and political space of modern Mexico--most recently, in the context of the Maya Zapatista movement of 1994.

In Rewriting Maya Religion Garry Sparks examines the earliest religious documents composed by missionaries and native authors in the Americas, including a reconstruction of the first original, explicit Christian theology written in the Americas—the nearly 900-page Theologia Indorum (Theology for [or of] the Indians), initially written in Mayan languages by Friar Domingo de Vico by 1554. Sparks traces how the first Dominican missionaries to the Maya repurposed native religious ideas, myths, and rhetoric in their efforts to translate a Christianity and how, in this wake, K’iche’ Maya elites began to write their own religious texts, like the Popol Vuh. This ethnohistory of religion critically reexamines the role and value of indigenous authority during the early decades of first contact between a Native American people and Christian missionaries. Centered on the specific work of Dominicans among the Highland Maya of Guatemala in the decades prior to the arrival of the Catholic Reformation in the late sixteenth century, the book focuses on the various understandings of religious analyses—Hispano-Catholic and Maya—and their strategic exchanges, reconfigurations, and resistance through competing efforts of religious translation. Sparks historically contextualizes Vico’s theological treatise within both the wider set of early literature in K’iche’an languages and the intellectual shifts between late medieval thought and early modernity, especially the competing theories of language, ethnography, and semiotics in the humanism of Spain and Mesoamerica at the time. Thorough and original, Rewriting Maya Religion serves as an ethnohistorical frame for continued studies on Highland Maya religious symbols, discourse, practices, and logic dating back to the earliest documented evidence. It will be of great significance to scholars of religion, ethnohistory, linguistics, anthropology, and Latin American history.

3,000 Years of War and Peace in the Maya Lowlands presents the cutting-edge research of 25 authors in the fields of archaeology, biological anthropology, art history, ethnohistory, and epigraphy. Together, they explore issues central to ancient Maya identity, political history, and warfare. The Maya lowlands of Guatemala, Belize, and southeast Mexico have witnessed human occupation for at least 11,000 years, and settled life reliant on agriculture began some 3,100 years ago. From the earliest times, Maya communities expressed their shifting identities through pottery, architecture, stone tools, and other items of material culture. Although it is tempting to think of the Maya as a single unified culture, they were anything but homogeneous, and differences in identity could be expressed through violence. 3,000 Years of War and Peace in the Maya Lowlands explores the formation of identity, its relationship to politics, and its manifestation in warfare from the earliest pottery-making villages through the late colonial period by studying the material remains and written texts of the Maya. This volume is an invaluable reference for students and scholars of the ancient Maya, including archaeologists, art historians, and anthropologists.

Mexico’s indigenous people speak a number of rich and complex languages today, as they did before the arrival of the Spanish. Yet a common misperception is that Mayas have no languages of their own, only dialectos, and therefore live in silence. In reality, contemporary Mayas are anything but voiceless. Chiapas Maya Awakening, a collection of poems and short stories by indigenous authors from Chiapas, Mexico, is an inspiring testimony to their literary achievements. A unique trilingual edition, it presents the contributors’ works in the living Chiapas Mayan languages of Tsotsil and Tseltal, along with English and Spanish translations. As Sean S. Sell, Marceal Méndez, and Inés Hernández-Ávila explain in their thoughtful introductory pieces, the indigenous authors of this volume were born between the mid-1970s and the mid-1990s, a time of growing cultural awareness among the native communities of Chiapas. Although the authors received a formal education, their language of instruction was Spanish, and they had to pursue independent paths to learn to read and write in their native tongues. In the book’s first half, devoted to poetry, the writers consciously speak for their communities. Their verses evoke the quetzal, the moon, and the sea and reflect the identities of those who celebrate them. The short stories that follow address aspects of modern Maya life. In these stories, mistrust and desperation yield violence among a people whose connection to the land is powerful but still precarious. Chiapas Maya Awakening demonstrates that Mayas are neither a vanished ancient civilization nor a remote, undeveloped people. Instead, through their memorable poems and stories, the indigenous writers of this volume claim a place of their own within the broader fields of national and global literature.