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Journal articles on the topic 'Guatemalan Sculpture'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2024

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1

Kaplan, Jonathan. "The Incienso Throne and Other Thrones From Kaminaljuyu, Guatemala. Late Preclassic examples of a Mesoamerican throne tradition." Ancient Mesoamerica 6 (1995): 185–96. http://dx.doi.org/10.1017/s0956536100002170.

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AbstractA “table altar,” perhaps one described by Cabrera (1822) almost 200 years ago and since unreported, is the only complete example of a class of four-legged sculptures known at present from Kaminaljuyu. Iconographic similarities between the monument and sculptures from southern piedmont and coastal centers and comparisons with other Kaminaljuyu sculptures suggest an early Late Preclassic date (Late Verbena-Early Arenal, approximately 300-200 B.C.). According to depictions on other southern-area monuments many “table altars” were formal, emblematic seats for rulers, or thrones, which had specific ideologies associated with them Review of monuments, including identification as a four-legged throne of the well-known sculpture, Stela 10, numbers the Kaminaljuyu corpus of thrones to date at a minimum of seven. The presence of thrones as a sculptural class at Kaminaljuyu in the Late Preclassic period provides more evidence of a long throne tradition reaching from Olmec times through the Maya Classic and into the Postclassic. Kaminaljuyu's thrones conceivably also add to other evidence of complex sociopolitics at the city during the Late Preclassic.

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2

Thompson, Lauri McInnis, and Fred Valdez. "POTBELLY SCULPTURE." Ancient Mesoamerica 19, no. 1 (2008): 13–27. http://dx.doi.org/10.1017/s0956536108000278.

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AbstractPrehistoric potbelly (boulder) sculpture has been of great interest for many decades. Most such sculptures occur in the highlands and piedmont of the Pacific Coast in Guatemala and El Salvador. The specific function and dating of the monuments has been of particular concern to researchers. This paper presents a summary of data in an attempt to place potbelly sculptures into recognizable stylistic groups that may in turn allow scholars to hypothesize their general function or functions. The excavation of a ceramic potbelly figure in northern Belize may provide hard evidence for the dating of certain potbelly styles and demonstrate the use of this style/manifestation in a mode beyond stone sculpture.

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3

Estrada-Belli, Francisco. "LIGHTNING SKY, RAIN, AND THE MAIZE GOD: The Ideology of Preclassic Maya Rulers at Cival, Peten, Guatemala." Ancient Mesoamerica 17, no. 1 (2006): 57–78. http://dx.doi.org/10.1017/s0956536106060068.

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Research in the northeastern Peten region at Holmul and nearest minor centers shows a complex history of public ritual activity from the Middle Preclassic onward. Patterns of public architecture, monumental sculpture, iconography, caches, and burials at sites such as Holmul and Cival document early development of the ideology of Maya kingship. Late Preclassic monumental sculptures adorning large pyramid temples provide immediate and elaborate metaphors for the ancestral patrons of emerging dynasts. Middle Preclassic architecture and caches are encoded with the ideological program of the earliest ruling institutions, incorporating themes of cosmological order; sun, water, and maize deities; the agricultural cycle; and ancestor veneration. All of these early remains are found in the sacred space of the first “E-group” plazas.

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4

Solari, A. "Engaging Ancient Maya Sculpture at Piedras Negras, Guatemala." Ethnohistory 60, no. 4 (2013): 784–86. http://dx.doi.org/10.1215/00141801-2314038.

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5

Lin, Wei-Cheng. "Megan E. O'Neil,Engaging Ancient Maya Sculpture at Piedras Negras, Guatemala." Art Bulletin 96, no. 2 (2014): 238–40. http://dx.doi.org/10.1080/00043079.2014.899418.

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6

Becker, Marshall. "Maya Rulersof Time: A Study of the Architectural Sculpture at Tikal, Guatemala." Latin American Anthropology Review 1, no. 1 (2009): 16. http://dx.doi.org/10.1525/jlca.1989.1.1.16.1.

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7

Love, Michael, and Julia Guernsey. "Monument 3 from La Blanca, Guatemala: a Middle Preclassic earthen sculpture and its ritual associations." Antiquity 81, no. 314 (2007): 920–32. http://dx.doi.org/10.1017/s0003598x00096009.

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Beside one of the earliest Preclassic pyramids in Guatemala the authors discovered a large basin fashioned in clay and shaped like a quatrefoil. The use of the quatrefoil theme on other carvings reveals its association with water and its symbolic role as the mouth of an underworld. Excavations in an adjacent mound exposed an affluent community, rich in figurines. This juxtaposition of monuments and residence at La Blanca shows a society of 900-600 BC in which ritual and the secular power were well integrated.

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8

Chinchilla Mazariegos, Oswaldo. "HUMAN SACRIFICE AND DIVINE NOURISHMENT IN MESOAMERICA: THE ICONOGRAPHY OF CACAO ON THE PACIFIC COAST OF GUATEMALA." Ancient Mesoamerica 27, no. 2 (2016): 361–75. http://dx.doi.org/10.1017/s0956536116000201.

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AbstractThis article explores the sacrificial symbolism of cacao (Theobroma sp.) on the Pacific coast of Guatemala, manifest in the iconography of ceramic objects and stone sculptures from the Classic period, in textual references from the colonial period, and in contemporary ethnographic data from the southern highlands. The iconographic and textual metaphors contained in these sources linked cacao pods with dead warriors, captives, and sacrificial victims. As interpreted in this article, the harvest of cacao was equated with the acquisition of sacrificial victims, and both were conceived as precious sources of nourishment for the gods. Changes in artistic representations are discernible from Early Classic Teotihuacan-style censers to Early Postclassic Plumbate ceramic effigies. Cacao and other fruits from the Pacific coastal piedmont are still related to the symbolism of war and sacrifice in contemporary rituals from the Tz'utujil town of Santiago Atitlán. Data from southern Guatemala may be relevant to understand the sacrificial symbolism of cacao throughout Mesoamerica.

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9

Becker, Marshall. "Maya Rulers of Time:Maya Rulersof Time: A Study of the Architectural Sculpture at Tikal, Guatemala." Latin American Anthropology Review 1, no. 1 (1989): 16. http://dx.doi.org/10.1525/jlat.1989.1.1.16.1.

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10

O'Neill, Kevin Lewis. "I Want More of You: The Politics of Christian Eroticism in Postwar Guatemala." Comparative Studies in Society and History 52, no. 1 (2009): 131–56. http://dx.doi.org/10.1017/s0010417509990351.

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The image appeared on the cover of a Sunday bulletin, produced and distributed by one of Guatemala City's most conservative neo-Pentecostal mega-churches. The picture presented the face of a young teenage girl, her eyes closed, lips wet, and skin kissed by a soft, transcendent light; the young woman's head was even tilted to the side in what Jacques Lacan would call jouissance (1998). Across her pink lips read Psalm 4:6: “In peace, I lay myself down.” This image, stitched together by the church's media relations department, makes a sly reference to Gian Lorenzo Bernini's sculpture, St. Teresa in Ecstasy (1652). The statue in Rome presents one of Teresa of Ávila's (1515–1582) mystical experiences of God, which the sixteenth-century Spanish saint narrates with unblinkingly erotic imagery. In her autobiography, St. Teresa writes how “the great love of God” often left her “utterly consumed,” “penetrated to [her] entrails,” and made her “utter several moans” for both the “intense pain” and its “sweetness” (Peers 1927: 197). With St. Teresa in mind, my own reaction to the church bulletin parroted Jacques Lacan's response to Bernini's statue. “She's coming,” Lacan commented, “There's no doubt about it” (1998: 76).

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11

Saccarello, M. V., P. Bensi, and E. Pedemonte. "Problems of adhesion between support and ground layers in polychrome wooden sculptures in Guatemala." Studies in Conservation 37, no. 1 (1992): 135–39. http://dx.doi.org/10.1179/sic.1992.37.1.135.

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12

Saccarello,, M. V., P. Bensi, and E. Pedemonte. "PROBLEMS OF ADHESION BETWEEN SUPPORT AND GROUND LAYERS IN POLYCHROME WOODEN SCULPTURES IN GUATEMALA." Studies in Conservation 37, sup1 (1992): 135–39. http://dx.doi.org/10.1179/sic.1992.37.s1.029.

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13

Palka, Joel W. "Reconstructing Classic Maya Socioeconomic Differentiation and the Collapse at Dos Pilas, Peten, Guatemala." Ancient Mesoamerica 8, no. 2 (1997): 293–306. http://dx.doi.org/10.1017/s0956536100001747.

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AbstractThree field seasons of extensive residential archaeology at Dos Pilas, Peten, Guatemala, provide important data for the examination of ancient Maya social structure and the Classic Period collapse in the Petexbatun region. A sampling strategy guiding excavations in structures of different size and architectural configuration enables us to reconstruct the multifaceted, segmented nature of Maya social inequalities and helps to elucidate the effects of the collapse on the lives of people of various socioeconomic ranks and statuses. Other significant findings of the project include hieroglyphic vessels and stone sculptures in nonroyal elite domestic compounds, postcollapse occupation in the settlement, as well as continued craft production and interregional trade into Terminal Classic times and after elite abandonment of the site. The results of household archaeology at Dos Pilas, which demonstrate that elites were affected first and foremost during the collapse, support theories of intensified elite competition, socio-political instability, and warfare for the Maya downfall in the Petexbatun Region, and not environmental degradation or breakdowns in interregional trade.

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14

Fu, Roger R., Joseph L. Kirschvink, Nicholas Carter, et al. "Knowledge of magnetism in ancient Mesoamerica: Precision measurements of the potbelly sculptures from Monte Alto, Guatemala." Journal of Archaeological Science 106 (June 2019): 29–36. http://dx.doi.org/10.1016/j.jas.2019.03.001.

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15

MacLeod, Barbara. "The God's Grand Costume Ball: a Classic Maya prophecy for the close of the thirteenth Bakˈtun". Proceedings of the International Astronomical Union 7, S278 (2011): 231–39. http://dx.doi.org/10.1017/s1743921311012658.

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AbstractIn the favored correlation between the Mayan and Gregorian calendars, a time period of a little over 5125 solar years will be completed on the winter solstice of 2012. While numerous Classic Maya hieroglyphic texts feature the previous closing of this era in 3114 BCE, only one text—Monument Six of Tortuguero, Tabasco, Mexico—mentions the future event. The portion of the monument describing the event is damaged, and previous attempts to decipher this part of the text have been inconclusive. These have inadvertently led to popular and far-flung millenniarian speculations about ancient esoteric knowledge. The whole of Tortuguero Monument Six—an exquisite piece of Classic sculpture and literature—addresses the fundamental relationship between royal charter, warfare, captive sacrifice, appeasement of the gods, the ordering of time, and the stability of society for posterity. The author and her colleagues—employing high-resolution photos and great attention to script detail—have brought to light a more accurate interpretation of the damaged text. The results of this effort suggest a distant future ceremony of investiture for a deity of deep-time transitions whose reflexes can be seen in indigenous community celebrations of highland Guatemala.

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16

Kosakowsky, Laura J., Francisco Estrada Belli, and Paul Pettitt. "PRECLASSIC THROUGH POSTCLASSIC." Ancient Mesoamerica 11, no. 2 (2000): 199–215. http://dx.doi.org/10.1017/s0956536100112027.

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Ceramic and radiometric data from the three seasons of survey and excavations, 1995–1997, conducted in the coastal districts of Santa Rosa and Jutiapa in southeastern Guatemala are used to construct a chronological sequence for this previously little-known 1000-km2 region. Patterns of local ceramic manufacture and interregional trade are identified through the use of type-variety classification methods coupled with neutron-activation analysis. The resulting 3000-year-long uninterrupted chronological sequence, beginning in the Early Preclassic, shows patterns of continuity in manufacturing techniques, as well as evolving styles and shifting networks of interregional interactions that span much of the Pacific Coast and the highlands and lowlands of southeastern Mesoamerica, from the Gulf of Mexico to Copan, Honduras. These interactions indicate the southeastern Pacific Coast participated in exchange systems that brought together different ethnic groups whose cultural manifestations included Maya ceramics in the Preclassic and Classic periods, and ceramic, architectural, and sculptural evidence suggesting the southeastern Pacific Coast was actively involved in the Cotzumalguapa Nuclear Zone that stretched to the west into Escuintla and to the east into Pacific El Salvador during the Classic period.

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17

Schreiber, Rebecca M. "Visions of Refuge: The Central American Exodus and the Floating Ladder." American Literary History 34, no. 3 (2022): 1015–40. http://dx.doi.org/10.1093/alh/ajac076.

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Abstract This essay focuses on two performative acts. The first is the fall 2018 caravan, a work of political performance, which involved thousands of Central American migrants/refugees fleeing their countries in response to structural and other forms of violence. These caravaneros (caravaners) traveled collectively through Honduras, Guatemala, and Mexico to protect themselves from being targeted by state and nonstate actors en route to the US–Mexico border. The second performative act, which took place in Tijuana in January 2019, involved an artistic collaboration between Caleb Duarte and a group of caravaneros temporarily residing at El Barretal, a heavily guarded Mexican government-run refugee camp. Together, Duarte and the caravaneros co-authored a sculptural performance, creating a fabric ladder tied to helium balloons, which the wind lifted above the camp. I argue that Floating Ladder enacts how these caravaneros imagine their movement and mobility, as it challenges the regional immigration regime aiming to block migrants/refugees from making asylum claims in the US. Both the fall 2018 caravan and Duarte’s collaborative artwork with caravaneros are political acts by migrants/refugees that entailed the construction of social and political imaginaries beyond the constraints and violence of national borders. Both the fall 2018 caravan and Duarte’s collaborative artwork with caravaneros (caravaners) are political acts by migrants/refugees that entailed the construction of social and political imaginaries beyond the constraints and violence of national borders.

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18

Fash, William L. "Maya Rulers of Time, A Study of Architectural Sculpture at Tikal, Guatemala. Arthur G. Miller. University Museum, University of Pennsylvania, Philadelphia, 1986. 96 pp., illustrations, appendix, biblio. $24.95 (paper)." American Antiquity 54, no. 1 (1989): 211. http://dx.doi.org/10.2307/281354.

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19

Coggins, Clemency Chase. "The Origins of Maya Art: Monumental Stone Sculpture of Kaminaljuyú, Guatemala, and the Southern Pacific Coast. Lee Allen Parsons. Studies in Pre-Columbian Art and Archaeology, No. 28. Dumbarton Oaks Research Library and Collection, Washington, D.C., 1986. ix + 134 pp., tables, maps, figures, biblio. $30.00 (paper)." American Antiquity 53, no. 2 (1988): 428–29. http://dx.doi.org/10.2307/281035.

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20

"Engaging ancient Maya sculpture at Piedras Negras, Guatemala." Choice Reviews Online 50, no. 03 (2012): 50–1552. http://dx.doi.org/10.5860/choice.50-1552.

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21

Hansen, Eric F., Arie Wallert, and Michele Derrick. "An Organic Colorant used in Painted Ancient Maya Architectural Sculpture at Nakbe, Peten, Guatemala." MRS Proceedings 462 (1996). http://dx.doi.org/10.1557/proc-462-287.

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ABSTRACTThe ancient Lowland Maya are generally considered to have used a limited number of inorganic colorants in their polychrome reliefs due to the lack or inaccessibility of mineral resources, especially during the Late Preclassic period (300 B.C. – 300 A.D.). A notable exception is the manufacture of a blue pigment from indigo and specific types of clay, known as Maya blue, from the Classic Period (300 – 900 A.D.) through Colonial times. Another exception is a recently analyzed cream (or reddish-yellow) colored paint found on exceptionally large architectural polychrome stuccoed sculpture dating to the early Late Preclassic at the site of Nakbe, Petén, Guatemala. The cream paint layer exhibits a dramatic peach-colored fluorescence upon exposure to ultraviolet light. An organic material, extracted with organic solvents from the acid hydrolyzed lime-based plaster surface, was characterized by means of visible light microspectroscopy, FT-IR microspectroscopy and three-dimensional fluorescence spectroscopy. Analysis of the spectra obtained from the cream colorant and comparison with spectra of reference organic materials suggests that anthraquinone derivatives may be responsible for the color, and that these compounds are similar to some of those present in organic red dyes. The cream paint was applied as a single layer with good hiding power overlying the stucco ground. The cream paint is of the same thickness (averaging 15 microns) as the only other paint present on the sculpture, a red paint pigmented with red iron oxide. The presence of organic colorants on exposed architectural features raises particular preservation problems in relation to the increased possibility and rate of deterioration due to environmental exposure of this type of organic colorant in comparison with most inorganic colorants.

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22

Spencer, Kaylee. "Kaylee R. Spencer. Review of "Engaging Ancient Maya Sculpture at Piedras Negras, Guatemala" by Megan E. O'Neil and "Space and Sculpture in the Classic Maya City" by Alexander Parmington." caa.reviews, June 28, 2017. http://dx.doi.org/10.3202/caa.reviews.2017.91.

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23

Carter, Nicholas P., Samantha Krause, and Jacob Lozano. "Striking distance: Investigating the epigraphy and geography of a Late Classic Maya war." Ancient Mesoamerica, June 26, 2023, 1–15. http://dx.doi.org/10.1017/s095653612300010x.

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Abstract We present a photogrammetric model and new line drawing of Sacul Stela 3 at the ancient Maya site of Sacul 1, Guatemala. Although virtually illegible in person and from photographs, the inscription on the eroded stela can largely be read or reconstructed in the 3D model. Our reading confirms a previous argument that the kingdom based at Sacul 1 was attacked in A.D. 779 by forces from the site of Ucanal. Traveling by night, warriors from Sacul retaliated with a raid at dawn next day on an unidentified site and, months later, followed up with an attack on Ucanal itself. The same narrative appears substantially on a well-known monument, Ixkun Stela 2, but there are differences between the two texts which suggest that Sacul and Ixkun had their own sculptors and record-keepers and which offer insights into the implications of verbs (pul, “to burn” and ch'ak, “to chop”) commonly attested in Classic Maya accounts of war. We then present the results of GIS analysis which suggests that the site area of El Rosario (between Sacul 1 and Ucanal) is an appealing candidate for the unidentified site mentioned in the stela text.

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