The Concept Of Divinity In Maya Art

An introduction to the complex stories of Mesoamerican divinity through the carvings, ceramics, and metalwork of the Maya Classic period Lives of the Gods reveals how ancient Maya artists evoked a pantheon as rich and complex as the more familiar Greco-Roman, Hindu-Buddhist, and Egyptian deities. Focusing on the period between A.D. 250 and 900, the authors show how this powerful cosmology informed some of the greatest creative achievements of Maya civilization.

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.

An authoritative study of the indigenous religion still practiced in Guatemala based on extensive original research and participant observation. Jean Molesky-Poz draws on in-depth dialogues with Maya Ajq’ijab’ (keepers of the ritual calendar), her own participant observation, and inter-disciplinary resources to offer a comprehensive, innovative, and well-grounded understanding of contemporary Maya spirituality and its theological underpinnings. She reveals significant continuities between contemporary and ancient Maya worldviews and spiritual practices. Molesky-Poz opens with a discussion of how the public emergence of Maya spirituality is situated within the religious political history of the Guatemalan highlands, particularly the pan-Maya movement. She investigates Maya cosmovision and its foundational principles, as expressed by Ajq’ijab’. At the heart of this work, Ajq’ijab’ interpret their obligation, lives, and spiritual work. Molesky-Poz then explores aspects of Maya spirituality, including sacred geography, sacred time, and ritual practice. She confirms contemporary Maya spirituality as a faith tradition with elaborate historical roots that has significance for individual, collective, and historical lives, reaffirming its own public space and legal right to be practiced.

Maya Imagery, Architecture, and Activity privileges art historical perspectives in addressing the ways the ancient Maya organized, manipulated, created, interacted with, and conceived of the world around them. The Maya provide a particularly strong example of the ways in which the built and imaged environment are intentionally oriented relative to political, religious, economic, and other spatial constructs. In examining space, the contributors of this volume demonstrate the core interrelationships inherent in a wide variety of places and spaces, both concrete and abstract. They explore the links between spatial order and cosmic order and the possibility that such connections have sociopolitical consequences. This book will prove useful not just to Mayanists but to art historians in other fields and scholars from a variety of disciplines, including anthropology, archaeology, geography, and landscape architecture.

Numerous archaeological projects have found substantial evidence of the military nature of Maya society, and warfare is a frequent theme of Maya art. Maya Gods of War investigates the Classic period Maya gods who were associated with weapons of war and the flint and obsidian from which those weapons were made. Author Karen Bassie-Sweet traces the semantic markers used to distinguish flint from other types of stone, surveys various types of Chahk thunderbolt deities and their relationship to flint weapons, and explores the connection between lightning and the ruling elite. Additional chapters review these fire and solar deities and their roles in Maya warfare and examine the nature and manifestations of the Central Mexican thunderbolt god Tlaloc, his incorporation into the Maya pantheon, and his identification with meteors and obsidian weapons. Finally, Bassie-Sweet addresses the characteristics of the deity God L, his role as an obsidian merchant god, and his close association with the ancient land route between the highland Guatemalan obsidian sources and the lowlands. Through analysis of the nature of the Teotihuacán deities and exploration of the ways in which these gods were introduced into the Maya region and incorporated into the Maya worldview, Maya Gods of War offers new insights into the relationship between warfare and religious beliefs in Mesoamerica. This significant work will be of interest to scholars of Maya religion and iconography.

The Ch’ol Maya who live in the western Mexican state of Chiapas are direct descendants of the Maya of the Classic period. Exploring their history and culture, volume editor Karen Bassie-Sweet and the other authors assembled here uncover clear continuity between contemporary Maya rituals and beliefs and their ancient counterparts. With evocative and thoughtful essays by leading scholars of Maya culture, The Ch’ol Maya of Chiapas, the first collection to focus fully on the Ch’ol Maya, takes readers deep into ancient caves and reveals new dimensions of Ch’ol cosmology. In contemporary Ch’ol culture the contributors find a wealth of historical material that they then interweave with archaeological data to yield surprising and illuminating insights. The colonial and twentieth-century descendants of the Postclassic period Ch’ol and Lacandon Ch’ol, for instance, provide a window on the history and conquest of the early Maya. Several authors examine Early Classic paintings in the Ch’ol ritual cave known as Jolja that document ancient cave ceremonies not unlike Ch’ol rituals performed today, such as petitioning a cave-dwelling mountain spirit for health, rain, and abundant harvests. Other essays investigate deities identified with caves, mountains, lightning, and meteors to trace the continuity of ancient Maya beliefs through the centuries, in particular the ancient origin of contemporary rituals centering on the Ch’ol mountain deity Don Juan. An appendix containing three Ch’ol folktales and their English translations rounds out the volume. Charting paths literal and figurative to earlier trade routes, pre-Columbian sites, and ancient rituals and beliefs, The Ch’ol Maya of Chiapas opens a fresh, richly informed perspective on Maya culture as it has evolved and endured over the ages.

The new perspective of the Maya Gods of Time reveals how animation embedded in Maya art portrays the motion of dance or dressing of a king. The authors reinterpret Maya thought and art, stressing the importance of the linked concepts of three, time and stone with stunning original photographs and illustrations, including the lost Santa Rita Murals.