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- Title
- ANCIENT MAYA AFTERLIFE ICONOGRAPHY: TRAVELING BETWEEN WORLDS.
- Creator
-
Wilson Mosley, Dianna, Chase, Arlen, University of Central Florida
- Abstract / Description
-
The ancient Maya afterlife is a rich and voluminous topic. Unfortunately, much of the material currently utilized for interpretations about the ancient Maya comes from publications written after contact by the Spanish or from artifacts with no context, likely looted items. Both sources of information can be problematic and can skew interpretations. Cosmological tales documented after the Spanish invasion show evidence of the religious conversion that was underway. Noncontextual artifacts are...
Show moreThe ancient Maya afterlife is a rich and voluminous topic. Unfortunately, much of the material currently utilized for interpretations about the ancient Maya comes from publications written after contact by the Spanish or from artifacts with no context, likely looted items. Both sources of information can be problematic and can skew interpretations. Cosmological tales documented after the Spanish invasion show evidence of the religious conversion that was underway. Noncontextual artifacts are often altered in order to make them more marketable. An example of an iconographic theme that is incorporated into the surviving media of the ancient Maya, but that is not mentioned in ethnographically-recorded myths or represented in the iconography from most noncontextual objects, are the "travelers": a group of gods, humans, and animals who occupy a unique niche in the ancient Maya cosmology. This group of figures is depicted journeying from one level or realm of the universe to another by using objects argued to bridge more than one plane of existence at a time. They travel by holding onto or riding objects familiar to the ancient Maya that held other-world or afterlife symbolic significance and that are connected to events related to birth, death, and leadership. This group of figures (the "travelers"), represented across time and space and on wide ranging media, provides insight and broadens what is currently understood about the ancient Maya view of life and death by indicating a persistent belief in the ability to move from one realm to another in the afterlife.
Show less - Date Issued
- 2006
- Identifier
- CFE0001258, ucf:46915
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0001258
- Title
- BALLCOURT ICONOGRAPHY AT CARACOL, BELIZE.
- Creator
-
Holden, Patsy, Chase, Arlen, University of Central Florida
- Abstract / Description
-
One of the more commonly known aspects of the ancient Maya culture is the ballgame. This ancient ballgame was played by most Mesoamerican cultures on a constructed ballcourt and many major Mesoamerican sites have at least one, if not more than one. Contemporary Mesoamericans still play versions of this ballgame today, but without the use of the ballcourts, questioning the importance and purpose of the ballcourt that is no longer the case today. After over a century of research, scholars have...
Show moreOne of the more commonly known aspects of the ancient Maya culture is the ballgame. This ancient ballgame was played by most Mesoamerican cultures on a constructed ballcourt and many major Mesoamerican sites have at least one, if not more than one. Contemporary Mesoamericans still play versions of this ballgame today, but without the use of the ballcourts, questioning the importance and purpose of the ballcourt that is no longer the case today. After over a century of research, scholars have yet to unravel all the cosmological and mythological mysteries of the ballcourt and its purpose to the ancient Maya. Although the archaeological record rarely supports the well-known Postclassic Hero Twin myth, most scholars continue to use this myth to interpret Classic ballgame iconography. In this study, I link Classic period ballcourt architecture and iconography at Caracol to Preclassic cache practices, to an Early Classic tomb, and to an elite Classic structure, demonstrating a widespread set of cosmological symbols that were not exclusively reserved for the ballcourt. I suggest that the four eroded figures on Caracol Ballcourt Markers 1 and 2 represent east, west, zenith, and nadir, and that the north-south alignment of Classic Southern Lowland ballcourts was the result of a vertical visualization of the three ballcourt markers. This study shows that the Maya ballcourt was a cosmogram, intended to delineate sacred space and demarcate a portal into the underworld.
Show less - Date Issued
- 2009
- Identifier
- CFE0002817, ucf:48140
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0002817
