Bibliografías temáticas / Guatemalan Sculpture

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Literatura académica sobre el tema "Guatemalan Sculpture"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 27 de julio de 2024

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Artículos de revistas sobre el tema "Guatemalan Sculpture"

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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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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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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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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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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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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Tesis sobre el tema "Guatemalan Sculpture"

1

Perrot-Minnot, Sébastien. "Définition archéologique de l'entité culturelle de Cotzumalguapa (Guatemala-El Salvador)." Paris 1, 2006. http://www.theses.fr/2006PA010635.

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L'idée d'une culture de Cotzumalguapa avait parfois été évoquée -essentiellement sur la base de sculptures au style particulier, découvertes dans le sud du Guatemala et dans l'ouest du Salvador- mais n'avait jamais fait l'objet d'une recherche approfondie. Après une présentation des antécédents de la recherche sur la postulée culture de Cotzumalguapa, des travaux conduits dans le cadre de la thèse et de la géographie de l'aire d'étude, nous procédons à une description et à une analyse des différents types de vestiges des 82 sites du corpus. Nous nous apercevons que même si le style lapidaire constitue le principal fossile directeur, des caractéristiques intéressantes sont observables dans la peinture rupestre, le lithique, la céramique, l'organisation spatiale des sites et l'architecture. On conclut à l'existence d'une culture de Cotzumalguapa, au caractère mésoaméricain et dont l'apogée se situe entre 600 et 1000 après J. -C.
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2

Jacinto, Aeleen. "Mes-ti-zo." CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/915.

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Meztiso is an exploration of the artist’s identity as an individual born and raised in Guatemala; which is a country rich in natural resources where the majority of the population is native Maya yet the ruling class is majority white and poverty is widespread. The artist takes on this stunning contradiction using her own influences and views which were shaped by the political and economic upheaval and instability of her youth in Guatemala. The artist comments on her own identity as a person of mixed ancestry, a Meztiso, and because of her own family’s involvement in the capitalist government that has marginalized the Maya indigenous to this day.
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3

Henderson, Lucia. "Bodies politic, bodies in stone : imagery of the human and the divine in the sculpture of Late Preclassic Kaminaljuyú, Guatemala." 2013. http://hdl.handle.net/2152/21977.

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Bulldozed, effaced, and paved over by the buildings and winding streets of Guatemala City, the vast majority of the archaeological remains of Kaminaljuyú are now lost to us. This early site, which reached its peak during the Late Preclassic period (ca. 300BC-250AD), was once the largest and most influential site of the Maya highlands and one of the most important sites of early Mesoamerica. This dissertation, begun as an art historical salvage project, is at once documentary and analytical. It not only focuses on recording and preserving the Late Preclassic bas-relief stone sculptures of Kaminaljuyú through accurate technical drawings, but also provides cautious and detailed analyses regarding what this iconography can tell us about this ancient site. In essence, the following chapters approach, flesh out, and describe the bodies of Late Preclassic Kaminaljuyú---the stone bodies, the divine bodies, and the human bodies that interacted with them across the built landscape. They discuss topics like human sacrifice, the Principal Bird Deity, and the myriad supernatural forms related to water and wind at Kaminaljuyú. They consider the noisiness of performance, the sensory impact of costumed rulers, and the ways in which these kings utilized the mythical, supernatural, and divine to sustain their rule. In addition to untangling the complex iconography of these early sculptures, these chapters give voice to the significance of these stones beyond their carved surfaces. They contemplate the materiality of stone and the ways in which the kingly body and sculpted monuments were inscribed, made meaningful, and performed to establish and maintain ideological, socio-political, and economic structures. In essence, then, these chapters deal with the interwoven themes of stone and bone and flesh and blood; with the structuring of human, sculpted, and divine bodies; and with the performative role these bodies shared as transformative spaces where extraordinary things could happen. In other words, this dissertation not only addresses stone carvings as crucial points of access into the belief structures and political strategies of Kaminaljuyú, but as active participants in the social, economic, and ideological processes that shaped human history at this ancient site.<br>text
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Libros sobre el tema "Guatemalan Sculpture"

1

Arévalo, Miguel Alvarez. Iconografía aplicada a la escultura colonial de Guatemala. Fondo Editorial "La Luz,", 1990.

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Leiva, Max. Max Leiva. [publisher not identified], 2012.

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3

Dennis, Leder, and González Pérez Luisa Fernanda, eds. Roberto González Goyri. Editorial Antigua, 2003.

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editor, Solórzano Mariana, and Fundación Rozas-Botrán La Galería, eds. Los ángeles de Pepo Toledo. Fundación Rozas-Botrán, 2013.

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5

Cuevas, Museo José Luis, ed. Esculturas peligrosas. Praxis, 2012.

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6

Calderón, Mario Alfredo Ubico. Datos históricos de Jesus Sepultado y otras imágenes de la Escuela de Cristo: La Antigua Guatemala. Instituto de Investigaciones Históricas, Antropológicas y Arqueológicas, Escuela de Historia, Universidad de San Carlos de Guatemala, 2001.

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Gustavo, Curiel, Universidad Nacional Autónoma de México. Instituto de Investigaciones Estéticas., Museo Nacional del Virreinato (Mexico), and Seminario de Escultura Esplendor Virreinal: Guatemala y México (1987 : Tepotzotlán, México), eds. Imaginería virreinal: Memorias de un seminario. Instituto de Investigaciones Estéticas, UNAM, 1990.

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8

Castañeda, Alenka. Los santos en las fachadas-retablo de Antigua. Casa del Sol, 2002.

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9

Isabel, Paiz de Serra, and Museo Franz Mayer (Mexico City, Mexico), eds. Teoxché: Madera de Dios : imaginería colonial guatemalteca. Embajada de Guatemala en México, 1997.

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10

Consuelo, Maquívar María del, and Museo Franz Mayer (Mexico City, Mexico), eds. Corpus aureum: Escultura religiosa. Museo Franz Mayer : Artes de México, 1995.

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Capítulos de libros sobre el tema "Guatemalan Sculpture"

1

Michelet, Dominique. "Arqueología del valle medio del río Chixoy (Baja Verapaz, Guatemala): 40 años después." In Les Sculptures de La Lagunita. Centro de estudios mexicanos y centroamericanos, 2021. http://dx.doi.org/10.4000/books.cemca.9473.

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