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Title: New Perspectives on the Quatrefoil in Classic Maya Iconography; The Center and the Portal.
Creator: Egan, Rachel, Chase, Arlen, Barber, Sarah, Chase, Diane, University of Central Florida
Abstract / Description: The quatrefoil is a pan-Mesoamerican symbol with considerable time-depth. For the Maya, use of the symbol peaked during the Classic Period, reaching its highest frequency and largest geographical spread. Consequently, understanding its meaning has the potential to illuminate information about Precolumbian Maya worldview. While there have been several studies that focus on Preclassic Period quatrefoils, a similar study is lacking for Classic Period. Furthermore, the evaluations of the...
Show moreThe quatrefoil is a pan-Mesoamerican symbol with considerable time-depth. For the Maya, use of the symbol peaked during the Classic Period, reaching its highest frequency and largest geographical spread. Consequently, understanding its meaning has the potential to illuminate information about Precolumbian Maya worldview. While there have been several studies that focus on Preclassic Period quatrefoils, a similar study is lacking for Classic Period. Furthermore, the evaluations of the quatrefoil that do exist for the Classic Period are limited, often focusing on a select few examples. This thesis attempts to rectify the gap in extant research through an examination of the quatrefoil motif utilized by the Classic Period Maya. Specifically, the goal of the thesis was to determine whether the current interpretation of the quatrefoil as a cave is and also to investigate how the symbol communicated broader ideas about worldview and ideology. The approach that was utilized focuses on both archaeological and iconographic contexts. As an iconographic symbol, I attempt to understand the quatrefoil through the use of semiotics with particular emphasis on contextualization and analogy. The results of this study suggest that, while there were some patterns related to spatial distribution, the meaning of the quatrefoil motif was dependent on context and had considerable variations. I conclude that the analysis of the symbol, when based on specific usages and contexts, reveals that there is not enough evidence to support the current interpretation of quatrefoil as cave. Rather, the quatrefoil can be more accurately interpreted as a cosmogram that delineated information about how the Maya conceptualized, ordered, and accessed space that was appropriated by elites to reinforce and even legitimize political authority.
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Date Issued: 2011
Identifier: CFE0004105, ucf:49116
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004105

Title: Mirrors as Portals: Images of Mirrors on Ancient Maya Ceramics.
Creator: Rogers, Julie, Callaghan, Michael, Kovacevich, Brigitte, Reyes-Foster, Beatriz, University of Central Florida
Abstract / Description: The Maya believed there were multiple worlds in addition to the human world. Portals connected these worlds and allowed active engagement between the Maya and their gods. Without portals and the ability to communicate between the worlds the Maya belief system could not function. Evidence suggests the Maya believed reflective surfaces (-) mirrors and water surfaces (-) were portals to spiritual worlds. In this thesis, I examine the portrayal of mirrors as portals in Maya art, focusing on...
Show moreThe Maya believed there were multiple worlds in addition to the human world. Portals connected these worlds and allowed active engagement between the Maya and their gods. Without portals and the ability to communicate between the worlds the Maya belief system could not function. Evidence suggests the Maya believed reflective surfaces (-) mirrors and water surfaces (-) were portals to spiritual worlds. In this thesis, I examine the portrayal of mirrors as portals in Maya art, focusing on mirrors in scenes painted on ceramics. Combining archaeological, iconographical, and linguistic data I argue that mirrors functioned in service to ritual as an essential gateway between humans and the gods and were two-way portals between earthly and spiritual worlds. I specifically examine fifty-one scenes on painted ceramic vessels involving mirrors to interpret and document their function as portals between worlds, how they were used in courtly life and what they may have meant to the people who used them. This research contributes to a deeper understanding of the relationship between the Maya, their gods, and a particular aspect of material culture (-) mirrors (-) and how the elite used mirrors and their relationship with the gods as a source of power. I conclude that the gods are not omnipresent and that mirrors portals are always active and strategically placed for the gods to have the best view of the world of humans.
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Date Issued: 2019
Identifier: CFE0007857, ucf:52799
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0007857

Title: Reevaluating the Late Classic Lu-bat Glyphic Phrase: The Artist and the Underworld.
Creator: Carroll, Patrick, Chase, Arlen, Chase, Diane, Barber, Sarah, University of Central Florida
Abstract / Description: The study of hieroglyphic texts is vital to the interpretation of the ancient Maya and how their worldview contributed to their daily lives. Hieroglyphic decipherment has been an arduous undertaking and a wide variety of the Late Classic Maya writing styles has also been documented. When specific hieroglyphic phrases are not fully understood it has been necessary to utilize other sources of information to help increase the understanding of these texts. The (")lu-bat(") glyphic phrase has been...
Show moreThe study of hieroglyphic texts is vital to the interpretation of the ancient Maya and how their worldview contributed to their daily lives. Hieroglyphic decipherment has been an arduous undertaking and a wide variety of the Late Classic Maya writing styles has also been documented. When specific hieroglyphic phrases are not fully understood it has been necessary to utilize other sources of information to help increase the understanding of these texts. The (")lu-bat(") glyphic phrase has been utilized in multiple mediums throughout the Late Classic period and is described as an artist's signature. This artist signature is directly related to specific iconographic elements and themes that represent a cosmological view of the ancient Maya. This thesis demonstrates the connection between the lu-bat glyphic phrase and iconographic themes indicative of liminal powers exercised by the social elites in terms of the underworld. This connection is strengthened through the evaluation of the associated texts and iconographic analysis. While interpretations of the lu-bat glyphic phrase have suggested that it represented an artist's signature, a concise articulation of the hieroglyphic values for the lu-bat glyphic phrase has not yet be achieved. The iconographic imagery involved with this glyph demonstrates an interactive level between the conduit being and liminal actions. This interaction depicts the individual involved as a direct medium for the ritual activities of the elites in terms of the underworld.
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Date Issued: 2013
Identifier: CFE0004981, ucf:49572
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004981

Title: TRENDS IN GRAVE MARKER ATTRIBUTES IN GREENWOOD CEMETERY: ORLANDO, FLORIDA.
Creator: Martin, Erin K, Schultz, John, Toyne, Marla, University of Central Florida
Abstract / Description: Grave markers represent a significant amount of highly important information related to the cultural patterns of a society, as well as how these patterns have changed over time. Although, cemetery studies are popular in other regions of the United States, few studies regarding grave marker attributes have been conducted in Florida. The purpose of this research was to analyze and interpret temporal and demographic changes in grave marker attributes in Greenwood Cemetery in Orlando, Florida....
Show moreGrave markers represent a significant amount of highly important information related to the cultural patterns of a society, as well as how these patterns have changed over time. Although, cemetery studies are popular in other regions of the United States, few studies regarding grave marker attributes have been conducted in Florida. The purpose of this research was to analyze and interpret temporal and demographic changes in grave marker attributes in Greenwood Cemetery in Orlando, Florida. Another aspect of this research focused on the possible correlation between the age and inferred sex of the deceased individual in relation to the type of epitaph and iconography chosen to represent them in their mortuary context. Data was collected from 925 headstones within Greenwood Cemetery; these headstones further represent 1,102 individuals. Attributes analyzed include marker material, marker type, iconographic images, epitaph, memorial photographs, footstones and curbs. These attributes will be analyzed and compared to trends noted within a similar study conducted by Meyers and Schultz (2016), to allow for better interpretation of trends in grave marker attributes across a range of Florida cemeteries. Results indicate multiple trends. The popularity of marble headstones decreased greatly from 51% in Pre-1900 to only 8% from 2000 to 2017. Furthermore, the prevalence of epitaph and iconography categories vary greatly on both a temporal and demographic basis. Male infants are more likely than any other demographic group to be represented by a genealogical epitaph, at 41% representation. Ultimately, these trends illustrate important aspects of cultural changes related to mortuary practice and individual mortuary contexts within Orlando, Florida.
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Date Issued: 2018
Identifier: CFH2000371, ucf:45790
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFH2000371

Title: The Quadripartite Badge: Narratives of Power and Resurrection in Maya Iconography.
Creator: Ingalls, Victoria, Chase, Arlen, Chase, Diane, Barber, Sarah, University of Central Florida
Abstract / Description: Ancient Maya iconography primarily depicted elite individuals in idealized states of being and rationalized their power and authority through ideological concepts and otherworld beings. This study aims to reexamine previous assumptions made concerning the Quadripartite Badge. This motif is examined based on iconographic associations and contexts, as well as temporal and spatial distributions. The dataset was created from currently identified examples of the Quadripartite Badge, although only...
Show moreAncient Maya iconography primarily depicted elite individuals in idealized states of being and rationalized their power and authority through ideological concepts and otherworld beings. This study aims to reexamine previous assumptions made concerning the Quadripartite Badge. This motif is examined based on iconographic associations and contexts, as well as temporal and spatial distributions. The dataset was created from currently identified examples of the Quadripartite Badge, although only a select group is extensively examined. The spread of this motif is demonstrated through time and its spatial dispersals are noted for their political consequences. Indicating the liminal status of its user, the Badge is frequently placed in scenes of transformation, accompanying rites of passage. It is also established that as elite women became more prominent, women from Tikal and Calakmul circulated this iconography through marriage alliances, as seen in the number of newly 'arrived' women carrying the Badge. Other iconographic associations of the Badge revealed strong ties with the Maize God and the cyclical nature of agriculture. For the continuation of the maize cycle and renewal of universal forces, sacrifice was required; the completion of ritual sacrifice was demonstrated through the depiction of the Quadripartite Badge. This one expression of power simultaneously validated earthly and otherworldy authority, ensuring the continuation of the cosmos and the perpetuation of the sun and maize cycles.
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Date Issued: 2012
Identifier: CFE0004552, ucf:49227
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004552

Title: With the Protection of the Gods: An Interpretation of the Protector Figure in Classic Maya Iconography.
Creator: Lindley, Tiffany, Chase, Arlen, Chase, Diane, Barber, Sarah, University of Central Florida
Abstract / Description: Iconography encapsulates the cultural knowledge of a civilization. The ancient Maya of Mesoamerica utilized iconography to express ideological beliefs, as well as political events and histories. An ideology heavily based on the presence of an Otherworld is visible in elaborate Maya iconography. Motifs and themes can be manipulated to convey different meanings based on context. An example of this mutability can be witnessed in the depiction of Otherworld gods. Maya gods were not like Old World...
Show moreIconography encapsulates the cultural knowledge of a civilization. The ancient Maya of Mesoamerica utilized iconography to express ideological beliefs, as well as political events and histories. An ideology heavily based on the presence of an Otherworld is visible in elaborate Maya iconography. Motifs and themes can be manipulated to convey different meanings based on context. An example of this mutability can be witnessed in the depiction of Otherworld gods. Maya gods were not like Old World pantheons; gods were fluid and could function in multiple roles. Protector gods are an example of the fluidity of Maya deities. Scenes of protector gods are closely related, indicative of a specific theme and meaning. This thesis aims to define a specific iconographic theme, centered around a (")protector,(") based on the similarities of the composition of each scene in the sample set of images found on monuments. In conjunction with archaeological evidence and epigraphy, I suggest the protector theme depicts deities in the role of a protector.
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Date Issued: 2012
Identifier: CFE0004220, ucf:49010
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004220

Title: WORLDVIEW, IDEOLOGY, AND CERAMIC ICONOGRAPHY: A STUDY OF LATE TERMINAL FORMATIVE GRAYWARES FROM THE LOWER RIO VERDE VALLEY OF OAXACA, MEXICO.
Creator: Brzezinski, Jeffrey, Barber, Sarah, University of Central Florida
Abstract / Description: This study investigates worldview and ideology during the late Terminal Formative period (A.D. 100 250) in the lower Rio Verde Valley of Oaxaca, Mexico, through an analysis of iconography found on grayware ceramic serving vessels. The sample includes 457 vessels and sherds from 17 lower Verde sites obtained through excavations and surface collections between 1988 and 2009. Drawing upon theories of semiotics and style, this thesis identifies a suite of icons suggesting that ceramics were a...
Show moreThis study investigates worldview and ideology during the late Terminal Formative period (A.D. 100 250) in the lower Rio Verde Valley of Oaxaca, Mexico, through an analysis of iconography found on grayware ceramic serving vessels. The sample includes 457 vessels and sherds from 17 lower Verde sites obtained through excavations and surface collections between 1988 and 2009. Drawing upon theories of semiotics and style, this thesis identifies a suite of icons suggesting that ceramics were a medium for expressing regionally shared beliefs. Chatino potters carved common Formative period Mesoamerican themes into the walls of graywares, such as depictions of maize and climatic phenomena, which may have been part of a religious worldview rooted in the belief that humans and non-human deities shared a reciprocal relationship. People at Rio Viejo, including elites, may have attempted to exploit this relationship, thought of as a "sacred covenant" or agreement between humans and deities, to create a more centralized political entity during the late Terminal Formative Chacahua phase. By using iconographic graywares in socially and politically significant ritual activities such as feasting and caching events, elites imbued graywares with a powerful essence that would have facilitated the spread of the coded messages they carried. Based on statistical analyses of the diversity of iconographic assemblages from various sites, I argue that the assemblage of icons at Rio Viejo, a late Terminal Formative political center in the lower Verde, indicates ideas likely originated at or flowed through this site.
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Date Issued: 2011
Identifier: CFE0003728, ucf:48786
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003728

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.
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Date Issued: 2006
Identifier: CFE0001258, ucf:46915
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001258

Title: THE EMERGENCE OF THE MAYA TLALOC: A LATE CLASSIC RELIGIOUS ICON.
Creator: Groff, Amanda, Chase, Arlen, University of Central Florida
Abstract / Description: Iconography has the capability to memorialize and guarantee one's place in history; iconography can also provide powerful insight into human culture, and explore social and cultural values in a visual manner. Iconography can incorporate information about group identities, allegiances, religious affiliations, propaganda, and acceptance within both modern and ancient societies. By studying a specific iconographic figure, the Central Mexican god Tlaloc, as a visual representation of a belief...
Show moreIconography has the capability to memorialize and guarantee one's place in history; iconography can also provide powerful insight into human culture, and explore social and cultural values in a visual manner. Iconography can incorporate information about group identities, allegiances, religious affiliations, propaganda, and acceptance within both modern and ancient societies. By studying a specific iconographic figure, the Central Mexican god Tlaloc, as a visual representation of a belief or identity, we can glean a greater understanding of the cultural transmission of iconographic symbols. The substantial use of this icon, in both Central Mexico and the Maya region, reveals iconography as capable of being catalogued and traced over space and time to interpret meaning. With these goals in mind, this research project focuses on the iconographic representations of the Central Mexican god Tlaloc in the Maya region. It was during the Early Classic Period (A.D. 250-550) that Tlaloc transcended the boundaries of Central Mexico and was adopted into Maya ideology. During the Late Classic Period (A.D.550-900), a 'Maya Tlaloc' was established and used to express ideologies depicting warfare and ritual activity. The adoption of Tlaloc imagery among the ancient Maya ultimately holds significant value to understanding Maya ideology and religion as well as facilitates an understanding of wide-scale interactions with Central Mexico.
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Date Issued: 2007
Identifier: CFE0001861, ucf:47403
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001861

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.
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Date Issued: 2009
Identifier: CFE0002817, ucf:48140
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002817

Title: The Crossed Bands Motif: What does it mean?.
Creator: Luther, Brittany, Barber, Sarah, Chase, Arlen, Walker, John, Callaghan, Michael, University of Central Florida
Abstract / Description: The crossed bands motif is an iconographic symbol that appears among many Mesoamerican cultures' art including Olmec, Izapan and Maya spanning from the Early Pre-Classic to the Classic periods in Mesoamerica. Pierce explains in his theory on signs that icons, symbols and indices all contain meaning. This meaning was given to the signs by the one who commissioned the medium on which the sign is placed; therefore it is important to understand the meaning of these signs to learn more about the...
Show moreThe crossed bands motif is an iconographic symbol that appears among many Mesoamerican cultures' art including Olmec, Izapan and Maya spanning from the Early Pre-Classic to the Classic periods in Mesoamerica. Pierce explains in his theory on signs that icons, symbols and indices all contain meaning. This meaning was given to the signs by the one who commissioned the medium on which the sign is placed; therefore it is important to understand the meaning of these signs to learn more about the person or people who built them. The crossed bands motif has previously been studied based on individual pieces but never looked at as a symbol throughout geographical space and temporal existence. In this paper, I catalogue pieces of art in Olmec, Izapan and Maya sites that show the crossed bands motif. I delineated them based on what they represented, where the icon was present on the piece of art and when it was made. I found that in the Early Preclassic sites, the icon represented the existence of a deity and the sacred essence that the deity depicted on the stone monuments held. It transitioned in the Middle to Late Preclassic sites to signify the a connection between the deity and the human as a sort of transference of divinity. In the Classic Period, among Maya iconography, the meaning shifted again to represent the legitimacy of a ruler. The results of this research allow us to better understand the importance and relevance that these cultures placed on their deities not only in ritual life but in the legitimacy of their rulers and their right to rule. It allows us to understand that it was necessary for the rulership at these sites to publically state and show the ritual acts or the proof that their rule was sacred and had been legitimized by a deity.
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Date Issued: 2016
Identifier: CFE0006137, ucf:51179
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0006137

Title: Making An Impression: A Formal Analysis of the Contextual and Iconographic Characteristics of Ancient Mexican Ceramic Stamps.
Creator: Peabody, Elizabeth, Barber, Sarah, Callaghan, Michael, Williams, Lana, Starbuck, John, University of Central Florida
Abstract / Description: Ceramic stamps are a rare, yet widely distributed, artifact class within ancient Mexico. However, there has only been limited scholarly research on these objects and much current research is minimally supported. Depicting a wide range of iconography, including metaphysical, floral, and faunal designs, the function and meaning of these stamps, also known as estampias, pintaderas, and sellos, in ancient Mexican life remain an archaeological mystery. This paper examines the contextual,...
Show moreCeramic stamps are a rare, yet widely distributed, artifact class within ancient Mexico. However, there has only been limited scholarly research on these objects and much current research is minimally supported. Depicting a wide range of iconography, including metaphysical, floral, and faunal designs, the function and meaning of these stamps, also known as estampias, pintaderas, and sellos, in ancient Mexican life remain an archaeological mystery. This paper examines the contextual, chronological, and iconographic characteristics of ancient Mexican ceramic stamps as well as the distributional trends of those characteristics. This study is comprised of 83 stamps of varying design that date to between 1600 B.C.E. and 1520 C.E.: 19 found by the Rio Verde Project in Southern Oaxaca, Mexico, 5 found by Michael Coe in San Lorenzo, and 59 central Mexican stamps with credible, detailed provenience residing in the collection of the American Museum of Natural History and Robert S. Peabody Museum of Archaeology. Examined through the lens of culture history, processual, and postprocessual theory, comparative statistical analysis was conducted to assist the identification of significant trends. These analyses have revealed that stamp use shifted from mainly public to household spaces over time and that stamps predominantly depict nature and metaphysical themed motifs. I have also found that stamps were likely multipurpose artifacts whose use transcended social status. This research greatly expands on the limited literature about Mesoamerican ceramic stamps and provides valuable insight into ancient Mexican household, identity, and possibly religious, practices.
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Date Issued: 2018
Identifier: CFE0007411, ucf:52699
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0007411

Title: Doubting Thomas: The Testaments.
Creator: Riascos, Ivan, Price, Mark, Raimundi-Ortiz, Wanda, Lotz, Theo, Kovach, Keith, University of Central Florida
Abstract / Description: This paper will discuss the creation of my artwork, which has been inspired by my experiences and understandings of Catholicism and its icons. I will consider how iconography works in art, its influence, and how and why I have created this artwork dealing with my beliefs. I will also refer to the works of contemporary artists Duane Michals and Michael Wesely to help explain my exhibition, which I have titled (")Doubting Thomas: The Testaments.(")
Date Issued: 2014
Identifier: CFE0005237, ucf:50575
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0005237

Title: TEMPORAL TRENDS IN GRAVE MARKER ATTRIBUTES: AN ANALYSIS OF HEADSTONES IN FLORIDA.
Creator: Reynolds, Patrisha, Schultz, Ph.D., John J., University of Central Florida
Abstract / Description: Grave markers reflect a wealth of information and collectively epitomize society's historic, social, and economic patterns over time. Despite an abundance of cemetery research in other parts of the country, little research has been undertaken to evaluate grave marker attributes in Florida. The purpose of this research was to determine how grave marker attributes have changed over time in north-central, central, and southeast Florida. Data were collected from ten cemeteries in five counties in...
Show moreGrave markers reflect a wealth of information and collectively epitomize society's historic, social, and economic patterns over time. Despite an abundance of cemetery research in other parts of the country, little research has been undertaken to evaluate grave marker attributes in Florida. The purpose of this research was to determine how grave marker attributes have changed over time in north-central, central, and southeast Florida. Data were collected from ten cemeteries in five counties in Florida, representing the grave markers of over 1,100 individuals. Data collection involved visiting each cemetery, photographing markers, and cataloging grave marker attributes. Attributes analyzed included marker type, marker material, epitaphs, iconographic images, memorial photographs, footstones, and kerbs. A number of important trends were noted. Marker material exhibited the clearest example of a temporal trend, shifting over time from 73% marble to 73% granite. Marker type varied greatly from upright and flat ground markers to a variety of customized markers and vaults. Cultural differences were also noted with in-ground vaults dominating traditionally black cemeteries. There were clear differences in marker style between affluent and less affluent cemeteries, with numerous hand-cast cement markers observed in less prosperous areas. Furthermore, beginning in the early 1980's there is an increase in customized laser engraved markers. Overall, Florida's cemeteries offer a rich history of the state's mortuary practices and further research should be conducted to preserve this history.
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Date Issued: 2012
Identifier: CFH0004240, ucf:44918
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFH0004240

Maya (7)	+ -
iconography (7)	+ -
Iconography (5)	+ -
Anthropology (2)	+ -
Archaeology (2)	+ -

cosmology (2)	+ -
worldview (2)	+ -
Art (1)	+ -
Catholic iconography (1)	+ -
Cemeteries (1)	+ -
Classic Period (1)	+ -
Crossed Bands (1)	+ -
Cultural Contact (1)	+ -
Epitaph (1)	+ -
Florida History (1)	+ -
Footstone (1)	+ -
GI (1)	+ -
Grave Marker Attributes (1)	+ -
Grave Marker Material (1)	+ -
Grave Marker Type (1)	+ -
Iconographic Images (1)	+ -
Ideology (1)	+ -
Kerb (1)	+ -
Liminality (1)	+ -
Lower Rio Verde Valley (1)	+ -
MFA thesis (1)	+ -
May (1)	+ -
Memorial Photography (1)	+ -
Mesoamerica (1)	+ -
Mesoamerican Iconography (1)	+ -

ETD Collection (12)	+ -
Honors Collection (2)	+ -

University of Central Florida (14)	+ -
Chase, Arlen (8)	+ -
Barber, Sarah (7)	+ -
Chase, Diane (4)	+ -
Callaghan, Michael (3)	+ -

Brzezinski, Jeffrey (1)	+ -
Carroll, Patrick (1)	+ -
Egan, Rachel (1)	+ -
Groff, Amanda (1)	+ -
Holden, Patsy (1)	+ -
Ingalls, Victoria (1)	+ -
Kovacevich, Brigitte (1)	+ -
Kovach, Keith (1)	+ -
Lindley, Tiffany (1)	+ -
Lotz, Theo (1)	+ -
Luther, Brittany (1)	+ -
Martin, Erin K (1)	+ -
Peabody, Elizabeth (1)	+ -
Price, Mark (1)	+ -
Raimundi-Ortiz, Wanda (1)	+ -
Reyes-Foster, Beatriz (1)	+ -
Reynolds, Patrisha (1)	+ -
Riascos, Ivan (1)	+ -
Rogers, Julie (1)	+ -
Schultz, John (1)	+ -
Schultz, Ph.D., John J. (1)	+ -
Starbuck, John (1)	+ -
Toyne, Marla (1)	+ -
Walker, John (1)	+ -
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