tag:blogger.com,1999:blog-77607632189659449992024-03-13T05:08:01.699-07:00Maya MythosMaya Mythos is a forum to share and exchange ideas about Ancient Maya Mythology * It provides descriptions comments and web links to all mythic aspects of Maya religion history and decipherment * Site Coordinator Carl Callaway at ajchich1@gmail.comUnknownnoreply@blogger.comBlogger28125tag:blogger.com,1999:blog-7760763218965944999.post-8178796817958590442022-12-31T22:04:00.007-08:002023-01-03T15:58:31.142-08:00A Resplendent Tree Hiding in the Forest: The ‘Maya Cross’ at Palenque<div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin85I1w_L7kSSvlIG6Qan7EDHmJ-PVqQgXuzpsiXu1VhogF3MIX9yDXgmpo5mOdu5PMq3uDw_f1NNcVNaS2asIOYK_KOfAMaBsAA84tC4PeC28YNwQ8mbxcv2R0VEW7wmRbRuSQ52gurw6bhATDCirKg8ShqoNVWPvacnFHBvyggFj7zoT5RomZTCmEQ/s643/Screen%20Shot%202022-12-04%20at%2011.43.48%20pm.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="643" data-original-width="587" height="359" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin85I1w_L7kSSvlIG6Qan7EDHmJ-PVqQgXuzpsiXu1VhogF3MIX9yDXgmpo5mOdu5PMq3uDw_f1NNcVNaS2asIOYK_KOfAMaBsAA84tC4PeC28YNwQ8mbxcv2R0VEW7wmRbRuSQ52gurw6bhATDCirKg8ShqoNVWPvacnFHBvyggFj7zoT5RomZTCmEQ/w328-h359/Screen%20Shot%202022-12-04%20at%2011.43.48%20pm.png" width="328" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black; color: #93c47d;">Cover Graphics by Jim Reed</span></td></tr></tbody></table><br /><span style="background-color: black; color: #04ff00; font-family: georgia;"><br /></span></div><span style="background-color: black; color: #93c47d; font-family: georgia;"><div><span style="background-color: black; font-family: georgia;"><br /></span></div><span style="font-size: medium;">My Aztlander presentation is now online, “A Resplendent Tree Hiding in the Forest: The ‘Maya Cross’ at Palenque” speaking to world trees, life, death and resurrection and Maya jade trees:</span></span><div><span style="background-color: black; color: #04ff00; font-family: georgia; font-size: medium;"><br /></span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;">https://youtu.be/70x3WLkfd7k </span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;"><br /></span></div><div><span style="background-color: black; font-family: georgia; font-size: medium;"><span style="background-color: rgba(0, 0, 0, 0.05); white-space: pre-wrap;"><span style="color: #93c47d;">This talk </span></span><span style="background-color: rgba(0, 0, 0, 0.05); white-space: pre-wrap;"><span style="color: #93c47d;">reevaluates one of the most famous images in Classic Maya art, the figure known as the Maya cross from Palenque, Mexico (250-900 CE). The cross is prominently displayed as the central motif on the sarcophagus lid from K'inich Janaab' Pakal I’s tomb and on the inner sanctuary panel of K'inich Kan B'alam II’s Temple of the Cross.
The presentation offers new findings that revise past ideas about the cross’ material identity, mythical origins, and proper name. Prior scholarship conceived the image to be a mythical tree, inhabiting the axis-mundi of the world. New iconographic, epigraphic, and archaeological evidence strongly suggests that the Maya identified Palenque’s cross as a tangible object, a jade tree that originated in the east, with the revered title, “Resplendent-Jade Jewel Tree.” </span></span></span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;"><br /></span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;">I also, I wrote a small two-part article for the Aztlander and Institute of Maya Studies December editions titled, “Of Sticks and Stones: Identifying Marks on the Palenque Cross”:</span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;"><br /></span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;">Part I:</span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;"><br /></span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;">https://aztlander.files.wordpress.com/2022/12/aztlander-v2-n12-1.pdf </span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;"><br /></span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;">Part II:</span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;"><br /></span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;"> https://aztlander.files.wordpress.com/2023/01/azt-v3-n1.pdf</span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;"><br /></span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;"> Enjoy, and Happy New Year!</span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;"><br /></span></div><div><span style="background-color: black; color: #93c47d; font-family: georgia; font-size: medium;"> Carl</span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-90948483875921117942017-08-21T12:22:00.000-07:002018-11-22T16:51:33.752-08:00How Maya Scribes Depicted a Solar Eclipse<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #6aa84f;">A Total Eclipse of the Sun,<br />image from Wikipedia</span></td></tr>
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On July 11th, 1991 I experienced a total solar eclipse of the sun at the ruins of Yagul in Oaxaca Mexico. Perched high above the valley floor, I remember seeing the shadow sweeping over the earth at totality like the flash of a giant a raven's wing travelling at 1600 mph. Cocks began to crow, dogs frantically barked and birds nervously returned to their nests. Bright stars and planets suddenly appeared in the sky; the air temperature dropped. Looking up, I saw giant curls of solar flares ringing a black sun face. It was a cosmic struggle between forces of light and the forces of dark; a battle between the powers of order and chaos. All was completely beyond my control. No wonder the Maya scribes sought understand the cosmic order of the skies; an order that arises out of the great mystery of the universe, the <i>mysterium tremendum</i> that partly reveals itself through the intricate machinations of the Maya calendar, its priestly divinations and mathematic calculus.<br />
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Today a total solar eclipse will pass over the United States on August 21, 2017. Unable to attend, I thought I would celebrate the celestial show by relating how ancient Maya scribes depicted a similar event in their Classic art and inscriptions and discuss a rediscovered record of a possible eclipse recording at the Olmec site of Tres Zapotes.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #6aa84f;">Drawing by Peter Mathews</span></td></tr>
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On the Maya date 9.17.19.13.16 5 Kib 14 Ch'en (15 July 790) a total solar eclipse appeared over Southern Mexico. The local ruler Yax Bahlam at the Chiapa site of Santa Elena/Poco Winik recorded the momentous occasion on Stela 3 using a hieroglyph that specifically depicts the dramatic moment when darkness cloaked the sun:<br />
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The hieroglyph contains a K'IN or sun glyph in the centre that is flanked by two 'winged' elements. The round circles at the base of the glyph may indicate a -ma syllable for a phonetic compliment. The central glyph is a four-lobed portrait of sun or K'IN glyph with a central dot. A circular cartouche frames this sun portrait. The four-lobed partitions echo the four divisions/four solstice points of the year along the horizon created by the annual solar trek. The glyph acts a mandala-like cosmogram of the Maya universe with four sun points united by a fifth central point relating to solar zenith (Girard 1995:6). This connection between the sun and the numeral four is verified by Maya scribes with their rendering of number four as a portrait of the Sun God:</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1JmugnaddPLOuWDLt054OEqBbzv0WFWVVekQsO8ynCRyeyp3lc1cEVYxhNAsUqWyPYr6tKApkLIHuM2SdySAf-pn4Nkuy4IRuGkR6LjckhIGdvqhuEOPtn5aPSPKaFGTlAAz_tXRj7Fl1/s1600/Number+4+Head+Varient+anfter+Thompson.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="181" data-original-width="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1JmugnaddPLOuWDLt054OEqBbzv0WFWVVekQsO8ynCRyeyp3lc1cEVYxhNAsUqWyPYr6tKApkLIHuM2SdySAf-pn4Nkuy4IRuGkR6LjckhIGdvqhuEOPtn5aPSPKaFGTlAAz_tXRj7Fl1/s1600/Number+4+Head+Varient+anfter+Thompson.tiff" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #6aa84f;">Drawing of the Number Four after Thompson 1971 Fig. 24</span></td></tr>
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The god is typically depicted with a fat protruding nose, a buck-tooth incisor and a squinty crossed eyed stare. The face can carry a K'IN four-lobed cosmogram on its cheek. Caution 2017 eclipse revellers! Take a warning from the solar malady: you too will become cross-eyed by staring too long at the sun!</div>
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The eclipse glyph is also flanked by 'winged' liked elements that are inset with circular cartouches and crossed bands. What are we to make of these attributes? The crossed bands are found commonly in skybands that indicate a celestial realm or border:</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8UOXH8yxAZoky1vI1zLzdy1S8LTSi0aBvDzYVRnrjjc-iX8mN_oFsla-WqJys3e3I1KOYzhfEJqWCu5Y23YxSIRy2BsfI-ZTgp708gBuEebOhuJDEPxtUJT4zl5ccAWSQEGMNsg-1KsOe/s1600/Sky+Bands+from+Palenque.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="153" data-original-width="698" height="85" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8UOXH8yxAZoky1vI1zLzdy1S8LTSi0aBvDzYVRnrjjc-iX8mN_oFsla-WqJys3e3I1KOYzhfEJqWCu5Y23YxSIRy2BsfI-ZTgp708gBuEebOhuJDEPxtUJT4zl5ccAWSQEGMNsg-1KsOe/s400/Sky+Bands+from+Palenque.tiff" width="400" /></a></td></tr>
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<span style="color: #6aa84f;">Sky Bands from Janab Pakal's Sarcophagus Lid, Drawing by Merle Greene Robertson</span></div>
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Other easily recognisable celestial signs inset in the Palenque star bands above are K'IN (sun), AKB'AL (darkness), CHAN (sky), EK' (star) and UH (moon). Some scholars liken the crossed bands to the cross beams in the roof of a traditional Maya house since the bands often carry TE' signs indicating the poles are made of wood (also the frames of the starbands themselves carry the same TE' markings). So the roof of heaven is conceptualized like the framed roof of a house. </div>
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The same skybands take on the animated form of a celestial bird as seen from Palenque House E (this CHAN bird is also serves as the zoomorphic variant for the BAK'TUN or PIK sign):</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLipTyoWD5ri_4VqxergdunFRr2LKaxF1_uR2DTqE4XiGdNK_BA45qfXmg9StZtbHUpCq5OnlkVoLM-qHS8qSdz2x4xdPFEbfrfaiCLVgxjwAccmK7vj_LYkR-Y8yJVciFTM75RQK1yVCV/s1600/Bird+Sky+Band+From+Palenque+House+E+by+Linda+Schele.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="117" data-original-width="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLipTyoWD5ri_4VqxergdunFRr2LKaxF1_uR2DTqE4XiGdNK_BA45qfXmg9StZtbHUpCq5OnlkVoLM-qHS8qSdz2x4xdPFEbfrfaiCLVgxjwAccmK7vj_LYkR-Y8yJVciFTM75RQK1yVCV/s1600/Bird+Sky+Band+From+Palenque+House+E+by+Linda+Schele.tiff" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #6aa84f;">The Celestial Bird Drawing By Linda Schele</span></td></tr>
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It is very common to see celestial bird wings morphing into the sky bands, so there is a definite connection between bird wing and sky in the scribal mind. The same might be said for the Santa Elena eclipse glyph. It is possible that the sun glyph is being cloaked by a pair of stylized bird wings but since this glyphic collocation is so rare, it is difficult to make a firm identification. Other celestial birds like the Principle Bird Deity (AKA in the Post Classic as Seven Macaw from the Popol Vuh) show AKB'AL and K'IN signs emblazoned under its wing. A great example is found on Kerr Vase K3105c and K3105e:</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Wb6C9gmpz8t21uVGZUBGhGIjuVgnhrLF2ARPOgX24X4jK0zkDr9Egcgb5O83z62Xca0M8_JIUMM-erAolwoH3gVtIiFql1tj3QHNPc3h-K2lPd_hAW5p94RuWYYMwZp8oeMBuCFESFFJ/s1600/K3105c.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="433" data-original-width="300" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Wb6C9gmpz8t21uVGZUBGhGIjuVgnhrLF2ARPOgX24X4jK0zkDr9Egcgb5O83z62Xca0M8_JIUMM-erAolwoH3gVtIiFql1tj3QHNPc3h-K2lPd_hAW5p94RuWYYMwZp8oeMBuCFESFFJ/s320/K3105c.jpg" width="221" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #6aa84f;">The Principle Bird Deity on K3105c. Photo by Justin Kerr</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicZ2zdU0JGofGvZPsoD7C-_aPZkp44Bx9ylkjk6bM5CDuFPMQt5Lex_CTUv128nK1YxKExPAwlnztxKDh-7rkppyNA63i2FG1WZDpq6BCYIM8KJe-jRJcOWKaqsiZ0ltlFDbR4tkQoBsUz/s1600/Kerr+Vase+K3105e.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="532" data-original-width="407" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicZ2zdU0JGofGvZPsoD7C-_aPZkp44Bx9ylkjk6bM5CDuFPMQt5Lex_CTUv128nK1YxKExPAwlnztxKDh-7rkppyNA63i2FG1WZDpq6BCYIM8KJe-jRJcOWKaqsiZ0ltlFDbR4tkQoBsUz/s320/Kerr+Vase+K3105e.tiff" width="244" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #6aa84f;">The Principle Bird Deity on K3105e Photo by Justin Kerr</span></td></tr>
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In this instance is the left wing cloaking the night and the right wing cloaking the sun or both wings hiding a crescent moon shield? The Popol Vuh relates how the pride of Seven Macaw hide the sun and moon:</div>
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<i>. . . there was one who puffed himself up named Seven Macaw. There was sky and earth, but the faces of the sun and the moon were dim. He therefore declared himself to be the bright sign . . . "I am great. I dwell above the heads of the people who have been framed and shaped. I am their Sun. I am also their light. And I am Also their moon . . . (translated by Allen J. Christenson 2003: 91-92) .</i></div>
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Such a vainglorious bird. But those of you who own and care for Macaws, know how boisterous and cocky these birds can be!</div>
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Eclipse glyphs similar to the Santa Elena glyph are found in the Dresden Codex (pages 51-58):</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC2CoveHXL08wcgOqGC0JYl9kXU56F77b3ADmF0VVyzRi95iVEthvlcLdOKbX_57BLGWvLIQP2mE_GmPUrviR04-GNm9j5qYG-rj1AlYFh525rffEM3ZZB2acMXn6I8fc6ds4bAQugwUcI/s1600/Dresden+54B+Block+D2.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="98" data-original-width="111" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC2CoveHXL08wcgOqGC0JYl9kXU56F77b3ADmF0VVyzRi95iVEthvlcLdOKbX_57BLGWvLIQP2mE_GmPUrviR04-GNm9j5qYG-rj1AlYFh525rffEM3ZZB2acMXn6I8fc6ds4bAQugwUcI/s1600/Dresden+54B+Block+D2.tiff" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #6aa84f;">Dresden Codex, page 54b Block D2</span></td></tr>
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In the codex the eclipse glyph is a bit scaled down from the Santa Elena example but still maintains the central K'IN portrait and is flanked by white and black 'wings' that infer the dramatic shift from of light to dark. The Dresden pages show not only several eclipse glyphs but large animated scenes of eclipsed sun or moon hanging from star bands:</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #6aa84f;">Dresden Codex, page 57b</span></td></tr>
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On page 57b, the codex shows a barbed serpent is about to take a bite out of the sun. The image illustrates what the Book of Chilam Balam of Chumayel records (Translator Ralph Roys 1967:76):</div>
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<i>. . . then the face of the sun was eaten;</i></div>
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<i> then the face of the sun was darkened;</i></div>
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<i> then its face was darkened . . . </i> </div>
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A similar image on page 56b has added graphics:</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf2-8REE1FAN2dU4g1hN7MGLCdkpJNrVtHszrcYFpVh-M8twV1ZGwxFws3zMdWjjgqNJqG25IIIQrMBLqQ3fhmZ0H6dQjUSzUxYY_fLxhuBm_mP2CIzWNRvOPEwDDB8fPp_aDfHsj8JSSu/s1600/Dresden+56B.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="561" data-original-width="317" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf2-8REE1FAN2dU4g1hN7MGLCdkpJNrVtHszrcYFpVh-M8twV1ZGwxFws3zMdWjjgqNJqG25IIIQrMBLqQ3fhmZ0H6dQjUSzUxYY_fLxhuBm_mP2CIzWNRvOPEwDDB8fPp_aDfHsj8JSSu/s320/Dresden+56B.tiff" width="180" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #6aa84f;">Dresden Codex, page 56b</span></td></tr>
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Not only is the sun being bitten into by the serpent, but it is also pierced by two barbed bone needles and the 'winged' elements are substituted with black and white optic-looking (your guess is as good as mine here) body parts? Are the bumps on the rim renditions of Baily’s Beads or 'jewels' of sunlight appearing along the rim of the eclipse just before Totality? What is obvious is that the Sun God is bitten and punctured and his shining face darkened.</div>
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I will end with a possible eclipse recording on Stela C, from the Late Olmec site of Tres Zapotes with a Long Count date of (584285 GMT) 7.16.6.16.18. 6 Etznab 1 Wo = September 3, 32 B.C.E. Interestingly the monument looks like it is recording a 7 Etznab rather than a calculated 6 Etznab and so it could be signalling the period when the Tzolk'in or the Haab are not yet in sync. with one another. As Maelstrom (1997: 140-142) states the monument may record a stunning dawn eclipse that:<br />
<br />
<i>. . . is one whose path of of centrality passed right over the Olmec ceremonial centre of Tres Zapotes at dawn on the morning of August 31, 32 B.C. A more frightening celestial event can scarcely be imagined, for the sun rose totally out of the Gulf of Mexico totally black except for a ring of light around its outer edges. Oppolzer described it as an annular, or ringlike, eclipse, and subsequent calculations at the US Naval Observatory (p.c.). Surley, a 'day without a sunrise' is not likely to have gone unnoticed by the Olmecs!" </i>(Malmstrom 1997:142)<br />
<br />
A dawn annular eclipse (when the moon covers the Sun's center, but leaves the sun's visible outer edges exposed to form a “ring of fire”) over the Gulf of Mexico would have looked something like this:<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH42EmDieE6rlAxfZMhylIIl9N2seMJ7en5RPXAQQdYuHrRz_K5IyDI2ng631whLKXns5j69yNvj2CaRnHD2myte2BhbOWANciYToS5MJVXOUjgd1SPZLI9gEo0Yo8jcERYNWJdTEsgnLc/s1600/11.jpg.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="1280" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH42EmDieE6rlAxfZMhylIIl9N2seMJ7en5RPXAQQdYuHrRz_K5IyDI2ng631whLKXns5j69yNvj2CaRnHD2myte2BhbOWANciYToS5MJVXOUjgd1SPZLI9gEo0Yo8jcERYNWJdTEsgnLc/s320/11.jpg.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #38761d;">A Dawn Annular Eclipse</span></td></tr>
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What a frightening ring of fire rising out of the sea! Take note that the recorded Long Count date is offset 2-3 days from the actual eclipse date, so a direct correspondence is not present and is only approximate. There is more than just the date to suggest an eclipse connection. Although Malmstrom discusses the Long Count on Stela C in depth, he does not describe the iconography the reverse of the monument:</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNKgOza42QzEGCrD1mxy3YHRbTmrHL8s3BewAv-gYO9MOUy8LvCStxyCz8v5AAd6zz-s_jSDsmq38RAmJ62sFfAykXSK9dDv4lJGF0F6RMtuBhd9u_ow7FOy93DUpNCrtx0NIMCRRzRSTc/s1600/Tres+Zapotes+Stela+C+Reverse+.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="179" data-original-width="281" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNKgOza42QzEGCrD1mxy3YHRbTmrHL8s3BewAv-gYO9MOUy8LvCStxyCz8v5AAd6zz-s_jSDsmq38RAmJ62sFfAykXSK9dDv4lJGF0F6RMtuBhd9u_ow7FOy93DUpNCrtx0NIMCRRzRSTc/s320/Tres+Zapotes+Stela+C+Reverse+.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #38761d;">Tres Zapotes Stela 3, Front and Back,</span><br />
<span style="color: #38761d;">image from http://www.elministerio.org.mx</span><br />
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There is a low relief carving of what seems to be of an anthropomorphized solar disk rising out the cleaved forehead of an Olmec god, very much in the same way the sun sign for east rises above the head of the aquatic god GI from the Maya Classic Period. Also note the wings of a giant bird cloaking the head of the figure, wings that are reminiscent of Seven Macaw outstretch feathers hiding the sun and the moon. The parallels to Classic Maya imagery are striking indeed. Is this an animated portrait of an eclipsed Olmec Sun God? There is a lot more iconography on Stela C to discern and I welcome more input from readers.<br />
<br />
Good luck to those viewing the 2017 total solar eclipse<br />
<br />
Its 'Totality or Bust' for many of you!<br />
<br />
Best,<br />
<br />
Carl Callaway<br />
<br />
<br />
<br />
<div style="text-align: center;">
Works Cited</div>
<br />
<br />
Christenson, Allen J. 2003 Popol Vuh The Sacred Book Of The Maya. Winchester, UK and New <br />
York: O Books. <br />
<br />
<br />
Girard, Raphael 1995 People Of The Chan. Bennett Preble, translator. Chino Valley, Arizona: Continuum Foundation. <br />
<br />
Malmström, Vincent H. (continued) 1997 Cycles of the Sun, Mysteries of the Moon: The Calendar in Mesoamerican Civilization. Austin: University of Texas Press.<br />
<br />
<br />
Roys, Ralph L. 1967 The Book of Chilam Balam of Chumayel. The Civilization of The American Indian Series. Oklahoma: University of Oklahoma Press. <br />
<br />
Thompson, J. Eric S. 1971 Maya Hieroglyphic Writing: An Introduction. Norman: University of Oklahoma Press.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-17522836015314421902015-04-05T18:52:00.000-07:002015-04-05T21:34:30.652-07:00The 'Bone Codex' of Jasaw Chan K'awiil I of Tikal<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCP_djAwVPSw9iHRxSVPlFH9H78yJBFTulZcNWjL0pFK9mKWMOw20R1TsmMx8hDN16ODs23gNp8tpnH82b1Ss5kMPlVJFRuDQtlG3brvkTQx402Cn_jx0Fw-41SN8NFHG4IsjOLGzdyhdQ/s1600/MT-38A_PJ_2010.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCP_djAwVPSw9iHRxSVPlFH9H78yJBFTulZcNWjL0pFK9mKWMOw20R1TsmMx8hDN16ODs23gNp8tpnH82b1Ss5kMPlVJFRuDQtlG3brvkTQx402Cn_jx0Fw-41SN8NFHG4IsjOLGzdyhdQ/s1600/MT-38A_PJ_2010.JPG" height="85" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #38761d; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Bone MT-38A from Temple I, Burial 116 Tikal</span><br />
<span style="color: #38761d;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Photo by Paul Johnson</span> </span></td></tr>
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<span style="color: #38761d;">Hi All,</span><br />
<span style="color: #38761d;"><br />
</span><span style="font-family: Georgia, Times New Roman, serif;"><span style="color: #38761d;">In co-authorship with <span style="line-height: 150%;">P</span><span style="line-height: 150%;">é</span><span style="line-height: 150%;">ter
Bir</span><span style="line-height: 150%;">ó, I will be giving on April10-11 of 2015 </span><span style="line-height: 150%;">the following presentation at the CSU Los Angeles Mesoamerican Symposium-</span></span><span style="color: blue; line-height: 150%;"> </span><a href="https://ahscsula.wordpress.com/2015/02/12/in-the-realm-of-the-vision-serpent-decipherments-and-discoveries-in-mesoamerica/" rel="bookmark" sl-processed="1" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; line-height: 1.3em; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><span style="color: #3d85c6;">In the Realm of the Vision Serpent: Decipherments and Discoveries in Mesoamerica. A Symposium in Homage to Linda Schele</span></a></span><br />
<span style="color: #6aa84f;"><span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
</span><br />
<div align="CENTER" class="western" style="line-height: 150%; margin-bottom: 0in;">
<b><span style="color: #38761d; font-family: Georgia, Times New Roman, serif;">The 'Bone Codex' of Jasaw Chan K'awiil I</span></b></div>
<div align="CENTER" class="western" style="line-height: 150%; margin-bottom: 0in;">
<b><span style="color: #38761d; font-family: Georgia, Times New Roman, serif;">by</span></b></div>
<div align="CENTER" class="western" style="line-height: 150%; margin-bottom: 0in;">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><b>Carl D. Callaway & P</b><b>é</b><b>ter
Bir</b><b>ó</b></span></div>
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<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><br />
</span></div>
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<b><span style="color: #38761d; font-family: Georgia, Times New Roman, serif;">Abstract</span></b></div>
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</span><br />
<div align="LEFT" class="western" style="line-height: 150%; margin-bottom: 0in;">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;">As a leader in the field, Linda Schele opened new lines
of inquiry into Maya art and epigraphy by posing bold new questions.
In honor of her influential research, this paper examines a
remarkable burial cache of inscribed bones from the royal tomb of
Jasaw Chan K'awiil I (682-734 AD) from Tikal Temple I, cataloged as
Burial 116. Aubrey S. Trik the excavator of Burial 116, first
speculated if this cache was a 'bone codex'. Trik's collaborator
Linton Satterthwaite deduced that several bones could be aligned
vertically, side-by-side in single columns, and their respective
texts linked via corresponding dates. Advances in Maya epigraphy now
allow for a fuller reading of the bones in question. Some texts
reveal subjects and themes like-in-kind to those found in existing
Maya codices while others are unique in character. Death scenes and
texts connecting Jasaw Chan K'awiil I to the sinking of the Maize
God's canoe presage the king's own the death journey. Additionally,
drawings on several bone 'pointers' allude to the mythic origins of
hieroglyphs and display patron deities of writing. While not a
continual series of unified texts from a single manuscript, the bones
do display select passages and scenes, that were no doubt sourced
from specialized hand books containing: astronomical almanacs, god
histories, family rites and royal obituaries—information that Jasaw
Chan K'awiil I utilized for his own scribal practice.</span></div>
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<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div align="LEFT" class="western" style="line-height: 150%; margin-bottom: 0in;">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;">Hope to see many of you there.</span></div>
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<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;">Carl</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLlrxrOnC7wLe6YQ3tEl_rEl3tHvgKSkp0mg_9ohK-eCD9cUdLJC3kOycgrc7TcGhEsxYxJ8O6mzTOZlyRYezy1iWIzWZifjsbn9rI6Mp2vQcMmzw91e-NwT_CWsBG2uTH3kLqswmAS9-B/s1600/Chaak+Fishing+Final.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLlrxrOnC7wLe6YQ3tEl_rEl3tHvgKSkp0mg_9ohK-eCD9cUdLJC3kOycgrc7TcGhEsxYxJ8O6mzTOZlyRYezy1iWIzWZifjsbn9rI6Mp2vQcMmzw91e-NwT_CWsBG2uTH3kLqswmAS9-B/s1600/Chaak+Fishing+Final.JPG" height="140" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div>
<span style="color: #38761d; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">MT-51A from Temple I, Burial 116 Tikal</span></div>
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<span style="color: #38761d; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"> Photo by Paul Johnson</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-28427215848980884832014-09-03T19:43:00.000-07:002014-09-03T20:10:32.047-07:00Photos of the Le Plongeon Expedition to the Yucatan (1883-1875) are available via the L.A. Getty Center Digital archives<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxpygzcO7gcfohcmEHWCnA4M2mk-txd1klmxfIYVFrlHWZ5vOLgaYEKt668d-182dYFiDgc-H2Lw3u4JOTU8w3CCfr17S7UfoST9AJPm2Qvy4-6O5YYlHWIDzxUXZfyFhQpbDG2deAS868/s1600/Serpent+Sculptures+Le+Plongeon_gri_2004_m_18_b13_14_recto.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxpygzcO7gcfohcmEHWCnA4M2mk-txd1klmxfIYVFrlHWZ5vOLgaYEKt668d-182dYFiDgc-H2Lw3u4JOTU8w3CCfr17S7UfoST9AJPm2Qvy4-6O5YYlHWIDzxUXZfyFhQpbDG2deAS868/s1600/Serpent+Sculptures+Le+Plongeon_gri_2004_m_18_b13_14_recto.jpg" height="264" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif; font-size: 12px; line-height: 16.799999237060547px; text-align: start;">Digital image courtesy of the Getty's Open Content Program</span></td></tr>
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Recently, I had the chance to go to the new impressive Getty Center in L.A. With help from their research librarian, I was able to navigate a maze of links to access the online photos of Le Plongeon Expedition (1883-1875) of the Yucatan. The online photos are quite good resolution. There is lots of archaeological and art historical data to be mined since most photos are still unpublished.</span></div>
<div>
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div>
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Here is the link to the Getty Research Archives:</span></div>
<div>
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div>
<a href="http://rosettaapp.getty.edu:1801/delivery/DeliveryManagerServlet?dps_pid=IE467956" target="_blank"><span style="background-color: black; color: blue; font-family: Georgia, Times New Roman, serif;">http://rosettaapp.getty.edu:<wbr></wbr>1801/delivery/<wbr></wbr>DeliveryManagerServlet?dps_<wbr></wbr>pid=IE467956</span></a></div>
<div>
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div>
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Use the files on the left of the page to access the photos. Click on the term "Recto" under each photo to enlarge each print.</span></div>
<div>
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Happy Hunting,</span></div>
<div>
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Carl</span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-27777653181088542322014-08-21T00:41:00.002-07:002014-08-21T00:54:21.161-07:00Maya God Profiles: The “Principal Bird Deity”<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Georgia, Times New Roman, serif;">The Maya “Principal Bird Deity” (a.k.a. </span><span style="font-family: Georgia, 'Times New Roman', serif;">PBD) is depicted often sitting perched atop celestial “sky bands” and the branches of world trees in Maya iconography as seen on Palenque’s Temple of the Cross (Bardawil 1976; Cortez 1986) where it stands atop a stylised Ceiba Tree.</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://research.famsi.org/uploads/schele/hires/01/_tn_IMG0074.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://research.famsi.org/uploads/schele/hires/01/_tn_IMG0074.jpg" height="373" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #274e13;">Palenque Temple of the Cross, Central Sanctuary Panel. Drawing by Linda Schele courtesy of David Schele and FAMSI.</span><br />
<span style="color: #38761d;"><br /></span></td></tr>
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<span style="font-family: Georgia, Times New Roman, serif;">The bird is very much the avian counterpart of Itzamnaj (God D) and often wears the same diadems and necklace of this God (Boot 2008; Stone and Zender 2011:47). The bird is seen morphing into God D on a codex style vase published by Hellmuth (1987:268, figs. 578 and 579). At Tonina (Monument p48) a glyphic portrait of the PBD is rendered with the head of Itzamnaj.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_hNp2oLoGOli7Xt2gsnRDwjVUnrr-3EOYujj0SEVL3tWcW5hdUpruSN0pCVatuNO7Y3bXhmWGUuBZ-7argxfK1Ik9J8KWsF8gqy93ocqyyw4tea7dAVD3R2r0uAdrh9320X5LjJCh4aVW/s1600/Its_Muut.bmp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_hNp2oLoGOli7Xt2gsnRDwjVUnrr-3EOYujj0SEVL3tWcW5hdUpruSN0pCVatuNO7Y3bXhmWGUuBZ-7argxfK1Ik9J8KWsF8gqy93ocqyyw4tea7dAVD3R2r0uAdrh9320X5LjJCh4aVW/s1600/Its_Muut.bmp" height="320" width="289" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #274e13;"><span style="font-size: x-small;">Tonina Monument p48, a Portrait of the Principle Bird Deity with the</span><span style="font-size: x-small;"> head of Itzamnaaj. Drawing By Simon Martin.</span></span></td></tr>
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<span style="font-family: Georgia, Times New Roman, serif;">So fused are these two gods that their combined portraits glyphs serve as a theonym for God D on the “Yax Wayib” Mask (blocks C4-D4) as well as on Xcalumkin, Column 5 (A2) and Column 3 (A5) and Kerr Vessel No. 7727 (Boot 2008:18).</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0hQ1SqVk7Do_YneXS71Kr7f0cekUZ8gCBamdaUD3qT7-SgS_E21xRzoFZgwDRWx8GvzszL36veSUlsg9T60YUZXc-LokHR0qJFifcvgH4LJyCh0jFpwQDwsiVd-EEhQEdCYi_xtKf8hEm/s1600/God+D+title.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0hQ1SqVk7Do_YneXS71Kr7f0cekUZ8gCBamdaUD3qT7-SgS_E21xRzoFZgwDRWx8GvzszL36veSUlsg9T60YUZXc-LokHR0qJFifcvgH4LJyCh0jFpwQDwsiVd-EEhQEdCYi_xtKf8hEm/s1600/God+D+title.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia, 'Times New Roman', serif; text-align: left;"><span style="color: #274e13; font-size: x-small;">God D title on the “Yax Wayib” Mask (blocks C4-D4). Drawing by Carl Callaway.</span><span style="color: lime; font-size: x-small;"> </span></span></td></tr>
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<br /><span style="font-family: Georgia, Times New Roman, serif;">There is little doubt that when God D is present the “Principal Bird Deity” is somewhere close at hand and vice versa. The new God D Court Vessel analyzed by Erik Boot (2008) depicts the bird standing atop the head of the “CHAN bird head” (with an axe in its eye) that is the substitute for the T561 “CHAN” sky glyph. As Boot (2008:24-25) astutely points out that this small axe is the diagnostic element in the head variant of the number six and it identifies the bird head with an axe infix to be a representation for the 6-SKY location WAK CHAN. This being the case, the “Principal Bird Deity” literally stands aloft the celestial realm of the WAK CHAN, a place where not only resides the court of God D but by proxy the WAK CHAN AJAW gods who oversee era day events on 13.0.0.0.0 4 Ajaw 8 Kumk'u (as noted on block D5 of the “Yax Wayib” Mask and Quirigua Stela C east, block B26).</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">Works Cited</span></div>
<span style="font-family: Georgia, Times New Roman, serif;">Bardawil, Lawrence W.</span><br />
<span style="font-family: Georgia, 'Times New Roman', serif;">1976 The Principal Bird Deity in Maya Art: An Iconographic Study of Form and Meaning. In: Proceedings of the Second Palenque Round Table, M. G. Robertson, ed., vol. III, pp. 195–209. Robert Louis Stevenson School, Pebble Beach: Pre–Columbian Art Research Institute.</span><span style="font-family: Georgia, Times New Roman, serif;"></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Boot, Erik </span><br />
<span style="font-family: Georgia, Times New Roman, serif;">2008 At the Court of Itzam Nah Yax Kokaj Mut: Preliminary Iconographic and Epigraphic Analysis of a Late Classic Vessel. On-line at: http://www.mayavase.com/God-D-Court-Vessel.pdf.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Cortez, Constance</span><br />
<span style="font-family: Georgia, 'Times New Roman', serif;">1986 The Principal Bird Deity in Preclassic and Early Classic Maya Art. M.A. Thesis, Department of Art and Art History, Austin: University of Texas at Austin.</span><span style="font-family: Georgia, Times New Roman, serif;"></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Hellmuth, Nicholas M.</span><br />
<span style="font-family: Georgia, 'Times New Roman', serif;">1987 Monsters and Men in Maya Art. Verlagsanstalt Graz, Austria: Akademische Druck.</span><span style="font-family: Georgia, Times New Roman, serif;"></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">Stone, Andrea, and Mark Zender</span><br />
<span style="font-family: Georgia, 'Times New Roman', serif;">2011 Reading Maya Art. London: Thames and Hudson Ltd.</span><span style="font-family: Georgia, Times New Roman, serif;"></span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-61923360450293598232014-01-09T05:47:00.001-08:002014-01-09T05:53:18.648-08:00Lords of Time 2014 Maya Calendar<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><span style="color: #38761d; font-size: 13px; line-height: 24px; text-decoration: none;"><span style="background-color: black;">The</span><span style="background-color: black;"> Lords of Time Maya Calendar </span></span><span style="background-color: black; font-size: 13px; line-height: 24px;">is now available in two formats! This is the best Maya Calendar I have seen offered that integrates and presents ancient Maya and modern European calendars together on one page. The Maya glyphs are accurately and beautifully rendered. As an added benefit, the maker offers an introduction to the Maya calendar with a great series of graphics that display the inner workings of the Maya's sacred (260 day) and solar (365 day) calendars. For more information Click on the following link:</span></span><br />
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><span style="background-color: black; font-size: 13px; line-height: 24px;"><br /></span></span>
<a href="http://www.lordsoftimemayacalendar.com/Lords-of-Time-Maya-Calendar-2.html">http://www.lordsoftimemayacalendar.com/Lords-of-Time-Maya-Calendar-2.html</a><br />
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Carl</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-66067517922745657572013-12-02T23:32:00.002-08:002014-01-09T05:38:46.415-08:00A Modern Maya Creation Inscription Just in Time for the 13th Bak'tun Celebration<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="color: #38761d;"> Modern Maya epigraphers at Mani and Iximche have documented via two carved stelae the history of their communities. The Iximche Stela anticipates the celebration of the 13th Bak'tun in December of 2012. To read the full story click on the following link below:</span><br />
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<a href="http://discovermam.org/2013/11/6-ajaw-18-kej-november-26-2013-two-stelae-two-maya-languages/"><span style="color: #3d85c6;">http://discovermam.org/2013/11/6-ajaw-18-kej-november-26-2013-two-stelae-two-maya-languages/</span></a><br />
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The Iximche inscription recounts Maya history in the Kaqchikel language using Classic Maya glyphs. The text opens with the era day Long Count on 13.0.0.0.0 4 Ajaw 8 Kumk'u:</span><br />
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<tr><td style="text-align: center;"><a href="http://discovermam.org/wp-content/uploads/2013/11/8-and-9.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: #38761d;"><img border="0" src="http://discovermam.org/wp-content/uploads/2013/11/8-and-9.jpg" height="294" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #38761d;">The new Iximche stela. Photo courtesy of the MAM Web Blog:<br />http://discovermam.org/wp-content/uploads/2013/11/8-and-9.jpg</span></td></tr>
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<span style="color: #38761d;"><br />Modern scribes designed their opening Long Count after one carved on Quirigua Stela C with a few modifications to fit the hight and width of their new composition. Here is a partial illustration of the original Quirigua text:</span><br />
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<tr><td style="text-align: center;"><a href="http://research.famsi.org/uploads/schele/hires/09/IMG0043.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: #38761d;"><img border="0" src="http://research.famsi.org/uploads/schele/hires/09/IMG0043.jpg" height="320" width="161" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #38761d;">Quirigua Stela C. Drawing by Linda Schele courtesy of FAMSI.</span></td></tr>
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<span style="color: #38761d;">Interestingly, the Iximche creation account is abridged from the Quirigua text and mentions only the planting of the three "celestial" stones/thrones of creation. The modern Kaqchikel scribes then add a few new interpretive words. They say that the three stones were<i> creados los contadores de la cuenta vigesimal del tiempo.</i></span><br />
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<tr><td style="text-align: center;"><a href="http://discovermam.org/wp-content/uploads/2013/11/101.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://discovermam.org/wp-content/uploads/2013/11/101.jpg" height="202" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #38761d;">Drawing of the new Iximche stela. Photo courtesy of the MAM Web Blog:</span><br />
<span style="color: #38761d;">http://discovermam.org/wp-content/uploads/2013/11/101.jpg</span></td></tr>
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<span style="color: #38761d;">This interpretation is in agreement with what we know about the era day story as recorded in ancient inscriptions when time stood at the very heart of the cosmogonic act.</span><br />
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<span style="color: #38761d;">According to ancient scribes, the gods of time (<i>los contadore</i>s--the gods of the Pik, Winikhaab, Haab, Winik and K'in time periods) gathered together with the gods of 0, 4 and 8 (the Aj Mih K'in, K'inich Ajaw, and the Aj Ixim) to reset the orderly motion the vigesimal count--the basis of all Maya counting. In fact, the Dresden Codex records that the God of Number Twenty (the Aj Winik) had to be born into the world shortly before creation (Callaway 2009). Winik is also a name for man himself (Barrera Vásquez 1980) who counts with twenty fingers and toes. So, his birth signalled the birth of man's consciousness and ability to chart the heavens and measure time (Brotherston 1992). In this way, the gods reaffirm at the close and start of each cycle a cosmic order that was set down at foundation of the cosmos and given to man to maintain. How wonderful it is to see the Modern Maya maintaining this sacred count with the planting of new stones for a new era!</span></div>
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<span style="color: #38761d;">Works Cited</span></div>
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<span style="color: #38761d;">Barrera Vásquez, Alfredo</span></div>
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<span style="color: #38761d;">1980 Diccionario Maya Cordemex. Mexico: Ediciones Cordemex.</span></div>
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<span style="color: #38761d;">Brotherston, Gordon</span></div>
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<span style="color: #38761d;">1992 The Book Of The Fourth World: Reading Native Americans Through Their Literature. Cambridge: The Press Syndicate Of The University Of Cambridge.</span><br />
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<span style="color: #38761d;">Callaway, Carl D.</span></div>
<div>
<span style="color: #38761d;">2009 The Birth of the Number Twenty in the Dresden Codex. In: The Maya and their Sacred Narratives: Text and Context in Maya Mythologies. Le Fort, Geneviève, Raphaël Gardiol, Sebastian Matteo & Christophe Helmke (eds.): Acta Mesoamericana, Vol. 20, pp. 75-87. Markt Schwaben: Verlag Anton Saurwein.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-83568523663281968342013-11-11T18:51:00.001-08:002013-11-14T04:28:26.134-08:00Maya God Profiles: The "Paddler Gods"<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: black; color: #38761d;"><span style="font-family: Georgia, Times New Roman, serif;">Back from a long break after completing my PhD thesis, I thought I would start things off by featuring a list over the next few months of several Maya God profiles and include some new readings and interpretations. A short commentary on each god will be given along with its “activity profile” that tries to ascertain the identity of the god and its particular duties. The commentaries are by no means a complete or final word on the nature of each god and are only meant to serve as referential descriptions. Their profiles will no doubt change and expand in the coming years with each new investigation as their activities are mapped across Maya myth, ritual and art. I am starting off with an enigmatic set of Gods nicked-named the </span><span style="font-family: Georgia, 'Times New Roman', serif;">“</span><span style="font-family: Georgia, Times New Roman, serif;">Paddler Gods</span><span style="font-family: Georgia, 'Times New Roman', serif;">”</span><span style="font-family: Georgia, 'Times New Roman', serif;">.</span></span><br />
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<tr><td style="text-align: center;"><a href="http://research.famsi.org/uploads/schele/hires/04/IMG0096.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><img border="0" height="267" src="http://research.famsi.org/uploads/schele/hires/04/IMG0096.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Tikal Bones from Burial 116</span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Drawings by Linda Schele Courtesy of FAMSI</span></td></tr>
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br />
The “Paddler Gods” first identified by Mathews (2001:394) are paired deities seen often ferrying gods in a dugout canoe. The portrait heads of each aged god bear wrinkled jowls, jutting toothless jaws. The “Jaguar Paddler” displays the ear, canine and spots of a jaguar and the “Stingray Paddler” wears a pierced bone (stingray spine) through the septum of his nose (Mathews 2001:394). Variant logographs night (<b>AK’AB</b>) and day (<b>K’IN</b>) substitute for their respective names (Villela 1991) revealing their dualistic nature representing night and day. Their role as paddlers are best known from Tikal Burial 116 bones MT38a and MT38b that show them at the bow and stern of a boat transporting a deceased Maize god through the underworld waters (Stone and Zender 2011:51). Yet, they are also depicted on various ceramics as the boatmen who carry the Maize God to his place of rebirth (Quenon and Le Fort1997).</span><br />
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<tr><td style="text-align: center;"><a href="http://research.mayavase.com/uploads/mayavase/hires/3033.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><img border="0" height="182" src="http://research.mayavase.com/uploads/mayavase/hires/3033.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Kerr Vase 3033</span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"> Photo by Justin Kerr Courtesy of mayavase.com</span></td></tr>
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<span style="background-color: black; color: #38761d;"><span style="font-family: Georgia, 'Times New Roman', serif;">As Jimbal Stela 1 and Ixlu Stela 2 attest, </span><span style="font-family: Georgia, 'Times New Roman', serif;"> <b>MUYAL</b> cloud scrolls coil around these gods as they float above rulers performing various rites; Jimbal Stela 1 reinforces this cloud-rain association by adding to their appellatives the title of the rain god<b> NAH JO’ CHAN CHAAK</b>; in some cases the “Paddler Gods” might perform possible rites of “bathing” (<b>AT</b>) (Stuart et al. 1999).</span><span style="font-family: Georgia, 'Times New Roman', serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://research.famsi.org/uploads/schele/hires/05/_tn_IMG0011.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://research.famsi.org/uploads/schele/hires/05/_tn_IMG0011.jpg" width="267" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black;"><span style="color: #38761d;">Jimbal Stela 1</span></span><br />
<span style="background-color: black;"><span style="color: #38761d;">Drawing by Linda Schele Courtesy of FAMSI</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="http://research.famsi.org/uploads/schele/hires/05/_tn_IMG0032.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><img border="0" height="320" src="http://research.famsi.org/uploads/schele/hires/05/_tn_IMG0032.jpg" width="237" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Ixlu Stela 2</span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Drawing by Linda Schele Courtesy of FAMSI</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVv-JLXVsyGq5W1U12x6fKoibFg_tjVSTqVJpECpHrrc9IK1inKja_49s0m0eLpjahlWCz-044M1b0ijJ1pSQF1AOJZ_Kl7jZTAEMXNRduwVdy1eQyanQthCeMlwPVjWY_ot9BSQoVD_K1/s1600/Night_Jag_Ixlu_Stela_2-REDUCED.tif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVv-JLXVsyGq5W1U12x6fKoibFg_tjVSTqVJpECpHrrc9IK1inKja_49s0m0eLpjahlWCz-044M1b0ijJ1pSQF1AOJZ_Kl7jZTAEMXNRduwVdy1eQyanQthCeMlwPVjWY_ot9BSQoVD_K1/s1600/Night_Jag_Ixlu_Stela_2-REDUCED.tif" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">The Jaguar Paddler God from Ixlu Stela 2. Photo by Carl Callaway 2010.</span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigq2wQYRW3L8lD1PxYXmKlYcB37ngwElOSDP1WB2g0WAHytQbOEQMtkL481Ux2u1yFTyMAFsXW8MOat6ZdVe3l0Rr2s8303cs_s00QpQIXskd0Ey7O76wi_wFxaAZ5972BhPrAnAmYqjit/s1600/Stingray_Paddler_Ixlu_Stela_2-REDUCED.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigq2wQYRW3L8lD1PxYXmKlYcB37ngwElOSDP1WB2g0WAHytQbOEQMtkL481Ux2u1yFTyMAFsXW8MOat6ZdVe3l0Rr2s8303cs_s00QpQIXskd0Ey7O76wi_wFxaAZ5972BhPrAnAmYqjit/s320/Stingray_Paddler_Ixlu_Stela_2-REDUCED.tif" width="260" /></a></div>
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<span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif; font-size: 13px;">The Stingray Paddler God from Ixlu Stela 2. Photo by Carl Callaway 2010.</span></div>
<span style="background-color: black; color: #38761d;"><span style="font-family: Georgia, 'Times New Roman', serif;"><br /></span><span style="font-family: Georgia, 'Times New Roman', serif;">Finally on Quirigua Zoomorph G, East side (N2) the “Paddler Gods” carry the <b>MUYAL-li</b> cloud logograph (a neat head variant of the sign) in their title reinforcing the cloud/mist connection.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitKQ3ecP_TdUKdR036YhNDyKjbwyUgENkqB2Yx93DysCM2G0zMkHqnxniAQSXqkiGsPOoydMMo2yGbiEXqKQqSMBf2wggslBHXoJrN8KK7S7dl6f_ANH34So_Bm2SqERhHixZONo8ZJmUi/s1600/ZooG_E1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitKQ3ecP_TdUKdR036YhNDyKjbwyUgENkqB2Yx93DysCM2G0zMkHqnxniAQSXqkiGsPOoydMMo2yGbiEXqKQqSMBf2wggslBHXoJrN8KK7S7dl6f_ANH34So_Bm2SqERhHixZONo8ZJmUi/s320/ZooG_E1.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Quirigua Zoomorph G Initial Text, Blocks A-P<br /> Drawing by Matthew Looper</span></td></tr>
</tbody></table>
<span style="background-color: black; color: #38761d;"><span style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="font-family: Georgia, 'Times New Roman', serif;">On era day 13.0.0.0.0 4 Ajaw 8 Kumk'u, these gods are related to three actions: Quirigua Stela C records that they erect the first of three stones in a sacred locale named <b>NAH JO’ CHAN “JAGUAR THRONE”</b>; Piedras Negras Altar 1 associates them directly to the “changing of the altar/pedestal” event; while “Tila” Stela A relates the pair to a possible “bathing” event.</span></span><br />
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Works Cited</span></div>
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br />
Mathews, Peter </span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">2001(1977) The Inscription on the Back of Stela 8, Dos Pilas, Guatemala. In: TheDecipherment of Maya Hieroglyphic Writing, edited by S. D. Houston, D. Stuart, and O. Chinchilla M., pp. 394-415. Norman, University of Oklahoma Press.</span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br />
Quenon, Michel, and Genevieve Le Fort</span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">1997 Rebirth And Resurrection In Maize God Iconography. In: The Maya Vase Book: Vol. 5, Justin Kerr and Barbara Kerr (eds.), pp. 884–902. New York: Kerr & Associates.</span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br />
Stone, Andrea, and Mark Zender</span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">2011 Reading Maya Art. London: Thames and Hudson Ltd.</span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br />
Stuart, David, Stephen Houston, and John Robertson</span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">1999 Recovering the Past: Classic Maya Language and Classic Maya Gods. In: Notebook for the XXIIIrd Maya Hieroglyphic Forum at Texas. Austin: Texas.</span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br />
Villela, Khristaan D</span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">1991 Early Notices on the Maya Paddler Gods. In: Texas Notes on Precolumbian Art, Writing, and Culture, 17, University of Texas at Austin. Austin : Center of the History and Art of Ancient American Culture.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-26053018915713005552013-03-17T01:28:00.003-07:002013-11-11T19:57:28.156-08:00Rubbings of Ancient Maya Sculpture by Joan W. Patten is now available!<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEcjACryRnOh43CZ1lM1nFgPpdlesjjw9JR8Z8lzF6yezy-dy89_OY6wXe50v-APYHT09UrLrRQ00BJu_kcvMid3bh3TNamI9ms_h3lzqtUYpzsx4LC8i7blU3meqJzblj7IIMwav20FVY/s1600/Kindel+Cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEcjACryRnOh43CZ1lM1nFgPpdlesjjw9JR8Z8lzF6yezy-dy89_OY6wXe50v-APYHT09UrLrRQ00BJu_kcvMid3bh3TNamI9ms_h3lzqtUYpzsx4LC8i7blU3meqJzblj7IIMwav20FVY/s1600/Kindel+Cover.jpg" width="243" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #38761d; font-family: Georgia, Times New Roman, serif;">Cover Design By Paul Johnson</span><br />
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Hello Everyone,</span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">My book <i>Rubbings of Ancient Maya Sculpture by Joan W. Patten</i> is now in print. The book Includes a short ten page biography along with a compilation of Maya Rubbings by the Late Joan W. Patten. While working for the Guatemalan Government in the '60's and '70's, she fashioned a large corpus of over 900 Maya Rubbings as well as replicas of ancient Maya sculpture:</span><br />
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<i><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">American Sculptor Joan W. Patten (1924-2005) lived and traveled extensively throughout Guatemala from <a href="tel:1965-1982" target="_blank" value="+6119651982">1965-1982</a>. The Guatemalan Government granted Joan official, carte blanche permission to make molds, casts and replicas of ancient Preclassic (1500 BC-250 AD) and Classic (250-900 AD) Maya relief sculpture. Her replicas of Maya stelae currently stand in Guatemala’s Museo Nacional de Arqueología y Etnología, the National Zoo and at the Museo Popol Vuh gardens at Francisco Marroquín University. In addition to the replicas, she executed hundreds of rubbings in oils on colored fabric. With a sculptor’s touch and infinite patience, she rendered images onto cloth that are remarkably sharp in detail and line. The rubbings include images that preserve an abundance of information about Maya sculptural traditions, iconography, hieroglyphic writing, mythology and history.</span></i></div>
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<i><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></i></div>
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">A selection of these rubbings can be viewed at the <a href="http://mayawebart.com/home.htm" target="_blank">Mayaweb Art</a> site under the 'rubbings' tab:</span></div>
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<a href="http://mayawebart.com/list-of-patten-rubbings-htm.htm" target="_blank"><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">http://mayawebart.com/list-of-<wbr></wbr>patten-rubbings-htm.htm</span></a></div>
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<i><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></i></div>
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">A preview of the book and book list is also available at:</span></div>
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<a href="http://mayawebart.com/publications.htm" target="_blank"><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">http://mayawebart.com/<wbr></wbr>publications.htm</span></a></div>
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">I met Joan Patten toward the Autumn of her life in 1997 at a Bill Davies dinner party in San Luis Obispo, California. The connection was electric and we talked of all things Maya deep into the night. I later visited her apartment in San Francisco to assess her cast and rubbing collection that numbered over nine hundred images. I was stunned how well she captured the details of the glyphic writing that chronicled of the deeds of ancient gods and heroic kings. As I read the glyphic texts, she was equally impressed by how far Maya studies had advanced in breaking the Maya Code and reclaiming lost history. In the months that followed, I and my friends Jeff Buechler and Paul Johnson worked to document and preserve this unique record of Maya monumental sculpture. While attending the University of Texas in 2004, Joan called telling me she was diagnosed with cancer and we spoke of the beauty and brevity of life and how best to preserve her work for future study and scholarly access. Upon her passing, I received a letter from her son Keith Patten stating that Joan had asked that a portion of her rubbing collection be left to me along with her small library of Maya books. I was deeply touched and always knew I would return this gift with a publication on Joan’s work. </span><br />
<span style="color: #38761d;"><span style="background-color: black; font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="background-color: black; font-family: Georgia, Times New Roman, serif;">If any of you know of any rubbings made by Joan send me an email so I can reference them and add them to the inventory.</span></span></div>
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Best,</span></div>
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<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">Carl</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-17077474984611950242012-12-16T23:48:00.001-08:002015-01-27T17:15:29.618-08:00What Time of Day Does the Ancient Maya Calendar Commence?<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<div class="MsoNormal" style="line-height: 150%; text-align: center; text-indent: 36pt;">
<b><span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><span lang="EN-US">A Hypothesis on the start times of the </span><span style="text-align: left;">260 day </span><i style="text-align: left;">tzolk’in</i><span style="text-align: left;">, the 365 day </span><i style="text-align: left;">haab</i><span style="text-align: left;"> </span></span></b></div>
<div class="MsoNormal" style="line-height: 150%; text-align: center; text-indent: 36pt;">
<b><span style="color: #38761d; font-family: Georgia, Times New Roman, serif; text-align: left;">and the Long Count Calendars</span></b><br />
<span style="color: #38761d;"><b><span style="font-family: Georgia, Times New Roman, serif; text-align: left;"><br /></span></b>
</span><br />
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<span lang="EN-US"><span style="color: #38761d; font-family: Georgia, Times New Roman, serif;">At what point during the day did Ancient
Maya scribes commence the calendar count, at sunrise, noon, sunset, or
midnight? The question becomes even more tangled with the realization that to
signify a day there is not just one calendar in play but three: the 260 day tzolk’in,
the 365 day haab and the Long Count. Did all three calendars start at
the same initial hour or did each have their own distinct starting point (e.g.
dawn, noon, sunset or midnight)?</span></span></div>
</div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">How Maya scribes refer to a Calendar Round holds clues as to the
respective starting point for each of the three calendars. Clues to a Calendar
Round’s inner workings are found in a spurious set of inscriptions which Proskouriakoff
and Thompson (1947) named “Puuc-Style Dates” where the numerical coefficient
for the recorded month (the <i>haab</i>) was
out of synchronization with the <i>tzolk’in</i>
coefficient by one day. These researchers also noted that “Puuc-Style” dating
occurred widely during the Late Classic in northern Yucatan and occasionally in
lowland areas as well. In general, they saw the “Puuc-Style” dating as a local
variant of a non-conformist calendar system that differed with the lowland
calendar system by one day (Stuart 2004). Mathews (2001) addressed the question
of “Puuc-Style” dating in his examination of the Dos Pilas Stela 8 text. The
inscription recorded a Calendar Round date with a month coefficient that was
obviously off by one day. Mathews did not attribute the miscalculation to
scribal error or to the aberrant “Puuc-Style” counting system. He proposed that
the<i> tzolk’in</i> and the <i>haab</i> calendars began at different times
during the day. This idea assumes that the <i>tzolk’in
</i>commences earlier than the <i>haab</i>
or the Long Count cycles (Mathews 2001:406). Specifically, Mathews states:</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">Moreover, it is possible that the tzolk’in day and the haab day
began at different times in the 24 hour day; if so, we could expect a minority
of the dates to not be in the “normal” form. In other words: if, for example,
the tzolk’in day began at 6:00 P.M., and the haab day began at 6:00 A.M., and
some event took place at midnight, then the tzolkin date would be advanced one
position over the haab date. Thus.
. . the date 9.14.15.2.3 2 Akbal 1 Kankin would after 6 P.M., be
9.14.15.2.3 3 Kan 1 Kankin―as recorded
at H13-I13-and not until 6.00 A.M. the following day would the next “normal”
date begin, viz., 9.14.15.2.4 3 Kan 2
Kankin<i> </i>(Mathews 2001:406).</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">What Mathews
posited was that the “Puuc-Style” dating was not an aberrant counting system,
but rather the “error” of minus-one-day, revealed by the inner mechanics of a
Calendar Round date. Mathews also noted that on nine examples of aberrant dates
a “half-darkend <i>k’in</i>” sign preceded
the errant date and posited that this glyph signals a nighttime event (Mathews
2001:406) <a href="file:///F:/ultimate_Final_Diss/2ultimate-Final_Diss_NoChapt7_July2_2012.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[1]</span></span><!--[endif]--></span></a>.
In his final analysis he postulated a likely scenario for start times: the <i>tzolk’in</i> commenced at a prior sunset
while the <i>haab</i> commenced at the
following dawn. </span></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; text-autospace: none; text-indent: 36.0pt;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">David Stuart later championed
Mathews’ insights with a paper titled <i>The
Entering of the Day: An Unusual date from Northern Campeche</i> (Stuart 2004)
where he examined the inscription carved on a door lintel from the Hecelchakan
Museum reading <b>4<i> </i>Muluk K’IN o-chi-ya tu-16 MAK</b>. As Stuart noted: <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">The remarkable feature of the date record is the sign grouping <b>o-chi-ya
</b>located between the day and the month glyphs. This can only be the verb ochiiy, ‘it entered’ . . . The
mention of the day ‘entering’ within the haab
suggests that we have been misled in thinking that northen Puuc-style dates simply
reflect a localized structural
change in the reckoning of time. Could it be that many of the ritual events commemorated in Puuc
inscriptions—the vast majority of them are dedication rites—actually took place
in the window of time between the turn of the haab and the arrival of the tzolkin—perhaps between midnight and dawn? . . . If these were
nighttime rituals, scribes of the Puuc region may have been especially diligent
in utilizing the subtle mechanisms of the Calendar Round to specify just when
certain events took place within our own conception of a 24-hour day . . . (Stuart 2004:1-2).<i><o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; text-autospace: none;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">Stuart continues to say that it is
possible that the “Puuc-Style” dates are not a separate system after all but a
calendar containing “nighttime indicators” recording night rituals. Yet, he
differs with Mathews in theorizing the turning point between the two calendars
and favors a separation by six hours rather than twelve, with the <i>haab</i> starting at midnight and the <i>tzolk’in</i> at dawn. </span></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; text-autospace: none; text-indent: 36.0pt;">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><span lang="EN-US">What is the proper turning point for
each of the three respective calendars and how many hours they are out of sync
from each another? The question will be resolved in two parts: (1) in a
translation for “the half-darkened <i>k’in</i>”
sign and (2) by looking at how a count of days (<i>k’ins</i>) is related to the <i>haab</i>
and the Long Count. Recently, MacLeod and Schele (2005) jointly investigated
and updated a catalogue of “Puuc-Style” dates within Maya inscriptions. They
compiled additional evidence that the <i>haab</i>
and the Long Count do indeed begin at sunrise and that it is the <i>tzolk’in</i> that is out of step by twelve
hours. The first line of evidence concerns a reading for the “half darkened <i>k’in</i>” sign that often accompanies
aberrant dates, as previously noted by Mathews. MacLeod (p.c. 2008) noted she
proposed a reading in 1991 for this “half-darkend <i>k’in</i>” sign; the collocation is sometimes spelled <b>yi-K’IN-ni</b> and suggested the readings
of </span><em><span lang="EN-US" style="line-height: 150%; mso-bidi-font-size: 10.0pt;">chah-k’in </span></em><span lang="EN-US">or </span><em><span lang="EN-US" style="line-height: 150%; mso-bidi-font-size: 10.0pt;">yi’h-k’in</span></em><span lang="EN-US"> (for the variant with T135 /cha/ superfixed “darkened sun” and
“aged sun” <a href="file:///F:/ultimate_Final_Diss/2ultimate-Final_Diss_NoChapt7_July2_2012.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[2]</span></span><!--[endif]--></span></a>. A
darkened, aged, or black sun lends itself to the idea of “sunset” rather than
just “night” and MacLeod posited that this glyph reflects a sunset position
(MacLeod and Schele 2005)<a href="file:///F:/ultimate_Final_Diss/2ultimate-Final_Diss_NoChapt7_July2_2012.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[3]</span></span><!--[endif]--></span></a>.
Additionally the logograph <b>PAS</b> for
“dawn” is further evidence that Maya scribes recognized the horizon position of
a dawning sun (p.c. MacLeod 2010). In her analysis and comparison of the errant
dates on Dos Pilas Stela 8 and Yaxchilan Stela 18, MacLeod (p.c. 2005) saw a
similar error pattern emerging. She noted: </span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">[The Yaxchilan date of] 3 Eb given on the monument represents a
tzolk’in that has advanced by one, ahead of the haab, just as 3 K’an at Dos
Pilas represents a move forward by one in the tzolk’in. These two dates
represent the same pattern. Both of these have moved ahead not only of the haab
but also of the Long Count. I really think this is the key. The Long Count
counts<span class="apple-converted-space"> </span><em>days</em>―that’s
what the ‘ones’ unit is . .
. <em><span style="font-style: normal; mso-bidi-font-style: italic;">k’ins</span></em><span class="apple-converted-space">!</span>
. .
. The monuments record not only a shift forward in the tzolk’in but also
a half-darkened k’in sign―further evidence that the out-of-whack Calendar Round
refers to a night event which immediately follows the correct Type III [normal]
date in each case . . . It
is the tzolk’in which is out of step. Furthermore, it just makes good
conceptual sense that a system that counts<span class="apple-converted-space"> </span><em>days</em><span class="apple-converted-space"> </span>as the Long Count should start
those days when the day begins― at sunrise. Therefore, the only way the
tzolk’in can get out of step is to change at sunset. I truly believe that this
plus the specific mention of the half-darkened k’in (a perfect image of sunset)
in these two critical cases is all the proof we need (p.c. MacLeod 2005).</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">For the sake of
building an event-line horizon and plotting the starting points of all three
calendars, the current study agrees with a combined Mathews and MacLeod/Schele
hypothesis that: (1) the <i>haab</i> is
in-step with the Long Count, (2) the <i>tzolk’in</i>
is out-of-step with the <i>haab</i> by 12
hours, and (3) the <i>tzolk’in </i>begins at
sunset 12 hours prior to <i>haab </i>at
dawn. </span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">This combined hypothesis now allows the proposal of a timeline corresponding
to the solar trek. First, the two parts of the Calendar Round, the <i>tzolk’in </i>and the <i>haab</i> have separate starting points with the <i>haab</i> commencing at dawn and the <i>tzolk’in</i>
starting at sunset 12 hours earlier. The Long Count (a count of suns) is synchronized
with the <i>haab</i> solar calendar and
therefore begins at dawn as well. A charted time-line (with a twelve hour shift
between the <i>tzolk’in</i> and the <i>haab</i>) for the base date 4 <i>Ajaw</i> 8 <i>Kumk’u</i> is as follows:</span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><b><span lang="EN-US">4 AJAW </span></b><span lang="EN-US">― DUSK (<i>tzolk’in</i> cycle
starts) [+ 12 hours] DAWN (<i>haab</i> day and Long Count cycle start) [+12 hours] DUSK (<i>tzolk’in</i> cycle completes) [+ 12 hours] DAWN (<i>haab</i> day and Long Count day cycle complete the first day) — <b>8
KUMK’U<o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><b><br /></b></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">Only when the <i>tzolk’in</i> and <i>haab</i> have both completed their respective 24 hour cycles (totaling
a span of 36 hours due to the 12 hour shift between both calendars) can the day
be recorded as a complete elapsed day 4 <i>Ajaw</i>
8 <i>Kumk’u</i>. If the day records an
action after the <i>tzolk’in</i> has
finished its 24 hour cycle but prior to the <i>haab
</i>completion, then the day and month coefficients of the Calendar Round are
recorded out-of-sync by one day and therefore record a <i>tzolk’in</i> coefficient advanced by one day ahead of the <i>haab</i> date <a href="file:///F:/ultimate_Final_Diss/2ultimate-Final_Diss_NoChapt7_July2_2012.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[4]</span></span><!--[endif]--></span></a>.</span></div>
<div>
<!--[if !supportFootnotes]--><span style="color: #38761d;"><span style="font-family: Georgia, Times New Roman, serif;"><br clear="all" /></span>
</span><br />
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;">More grist for the mill.</span><br />
<span style="color: #38761d;"><span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Carl</span></span><br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1" style="text-align: left;">
<div class="MsoFootnoteText">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><a href="file:///F:/ultimate_Final_Diss/2ultimate-Final_Diss_NoChapt7_July2_2012.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[1]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> See Yaxchilan Stela 18 (A1-A3) for just such a date.</span></span></div>
<div class="MsoFootnoteText">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
</div>
<div id="ftn2" style="text-align: left;">
<div class="MsoFootnoteText">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><a href="file:///F:/ultimate_Final_Diss/2ultimate-Final_Diss_NoChapt7_July2_2012.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[2]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> A reading of <b>yi-K’IN-ni </b>as
“black of the day” has also been recently proposed (Houston, Stuart and
Chinchilla 2001:395). </span></span></div>
</div>
<div id="ftn3" style="text-align: left;">
<div class="MsoFootnoteText">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><a href="file:///F:/ultimate_Final_Diss/2ultimate-Final_Diss_NoChapt7_July2_2012.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[3]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> the <b>yi-K’IN-ni </b>sign also interchanges
with glyph G9 of the Lords of the Night)</span></span></div>
</div>
<div id="ftn4">
<div class="MsoNormal" style="text-align: left;">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><a href="file:///F:/ultimate_Final_Diss/2ultimate-Final_Diss_NoChapt7_July2_2012.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[4]</span></span><!--[endif]--></span></span></a><span lang="EN-US">A calendar with embedded with
“nighttime indicators” (Stuart 2004) indicating current time within a 36 hour
time span is disturbing to say the least. Past researchers have agreed in
principle that the Maya never designated a present day or as an unfinished
unit, but always treated the day as elapsed time; as Morley noted “the day
recorded is yesterday because to-day can not be considered an entity until,
like an hour of astronomical time, it completes itself and becomes a unit, that
is yesterday” (Morely 1975:470). The Puuc dates are heretical indeed! <o:p></o:p></span></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><span lang="EN-US" style="color: #38761d;"><br /></span></span></div>
<div align="center" class="MsoFootnoteText" style="text-align: center;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">Works Cited </span></div>
<div align="center" class="MsoFootnoteText" style="text-align: center;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoFootnoteText" style="text-align: left;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;"></span></div>
<div class="MsoNormal">
<span style="color: #38761d;"><span style="font-family: Georgia, Times New Roman, serif;"><span lang="DE"></span><br /></span>
</span><br />
<div class="MsoNormal">
<span lang="DE" style="font-family: Georgia, Times New Roman, serif;"><span lang="EN-US" style="color: #38761d;">Houston, Stephen D. Stuart, and O. Chinchilla M. (eds.)</span></span></div>
<span lang="DE" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">
</span><br />
<div class="MsoNormal">
<span lang="DE" style="font-family: Georgia, Times New Roman, serif;"><span lang="EN-US" style="color: #38761d;">2011 The Decipherment of Maya Hieroglyphic
Writing. Norman, University of Oklahoma Press.</span></span></div>
<span lang="DE" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">
</span></div>
<div class="MsoNormal">
<span lang="DE" style="color: #38761d; font-family: Georgia, Times New Roman, serif;"></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;"></span></div>
<div class="MsoNormal" style="margin-right: -36.0pt;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">MacLeod,
Barbara and Elaine Schele</span></div>
<div class="MsoNormal" style="margin-right: -36.0pt;">
<span style="color: #38761d;"><span style="font-family: Georgia, Times New Roman, serif;"><span style="text-indent: -36pt;">2005 </span><span style="text-indent: -36pt;">The Puuc Heresy. Paper written for a seminar
on Maya Hieroglyphic Writing, </span><span style="text-indent: -36pt;">Department of Art History, </span></span><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -36pt;">University of Texas at Austin. Paper in possession of </span><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -36pt;">the authors.</span></span></div>
<div class="MsoNormal" style="margin-right: -36.0pt;">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif; text-indent: -36pt;"><br /></span></div>
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><br />
</span><br />
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<div style="text-align: left;">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">Mathews, Peter</span></div>
</div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<div style="text-align: left;">
<span style="color: #38761d;"><span style="font-family: Georgia, Times New Roman, serif;"><span style="text-indent: -72pt;">2001(1977) </span></span><span style="font-family: Georgia, Times New Roman, serif; text-indent: -36pt;"><span style="text-indent: -72pt;">The
Inscription on the Back of Stela 8, Dos Pilas,</span></span><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -72pt;"> Guatemala. </span><span style="font-family: Georgia, Times New Roman, serif; text-indent: -36pt;"><span style="text-indent: -72pt;">In:</span></span></span></div>
<div style="text-align: left;">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><i style="text-indent: -72pt;">TheDecipherment
of Maya </i><i style="text-indent: -72pt;">Hieroglyphic Writing</i><span style="text-indent: -72pt;">, edited by S. D. Houston, D. Stuart, and </span></span></div>
<div style="text-align: left;">
<span style="color: #38761d;"><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -72pt;">O.</span><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -72pt;">Chinchilla M., pp. 394-415. </span><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -72pt;">Norman,</span><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -72pt;">University of Oklahoma Press.</span></span><br />
<span style="color: #38761d;"><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -36pt;"><br /></span>
<span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -36pt;">Morley, Sylvanus Griswold</span></span></div>
</div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<div class="MsoNormal">
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">1975 <i>An Introduction To The Study Of The Maya
Hieroglyphs</i>. New York: Dover</span><br />
<span lang="EN-US" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">Publications.</span></div>
</div>
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><br />
</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Proskouriakoff, Tatiana, and J. Eric S. Thompson</span><br />
<div class="MsoNormal">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><span style="text-indent: -36pt;">1947 </span><span style="text-indent: -36pt;">Maya Calendar Round Dates Such as 9 Ahau 17 Mol. In: </span><i style="text-indent: -36pt;">Notes on Middle American Archaeology and
Ethnology, no. 79</i><span style="text-indent: -36pt;">. Carnegie Institution of Washington, Division of
Historical Research, Washington, D.C.</span></span></div>
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><br />
</span><br />
<div class="MsoNormal">
<span lang="DE" style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="DE" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">Stuart, David</span></div>
<div class="MsoNormal">
<span lang="DE" style="color: #38761d; font-family: Georgia, Times New Roman, serif;">2004 <i>The Entering of the Day: An Unusual Date from Northern</i></span></div>
<div class="MsoNormal">
<span style="color: #38761d; font-family: Georgia, Times New Roman, serif;"><i><span lang="DE">Campeche.</span></i><span lang="DE"> </span><span lang="EN-US">On-line at
Mesoweb:</span>www.mesoweb.com/stuart/notes/EnteringDay.pdf.</span></div>
<br /></div>
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-23306175111455567142012-10-07T01:58:00.001-07:002013-11-11T19:58:34.679-08:00Carl Callaway's PhD Thesis: A Catalogue Of Maya Era Day Inscriptions<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://mayawebart.com/users/109800/photos/photo/109800_1343740.jpg" imageanchor="1" style="background-color: black; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://mayawebart.com/users/109800/photos/photo/109800_1343740.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black; color: #38761d;">South Face of Quirigua Zoomorph P that contains an era day inscription</span></td></tr>
</tbody></table>
<span style="background-color: black; color: #38761d;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">Well its official, I </span><span style="font-family: Georgia, 'Times New Roman', serif; font-size: 15.555556297302246px;">received</span><span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"> notice from La Trobe University that my PhD was granted so I can finally share a copy of my <span class="il">dissertation</span> on Maya era day inscriptions. I hope it is as rewarding for you to read as it was for me to research and write. All the source data for all known era day events (the verbs, the gods, the locations) is listed in the appendices for easy reference. Here is the abstract :</span></span><br />
<span style="background-color: black; color: #38761d;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;"><i>The following work is a catalogue of all known era day inscriptions existing in the Maya hieroglyphic corpus originating from Classic Period Maya (250-900 AD) sites in Mexico, Guatemala, and Honduras. It compiles those mythic texts that occurred within a single day— the inaugural date of the Maya Long Count and the establishment of a new cosmic era on 13.0.0.0.0 4 Ajaw 8 Kumk'u (August 11, 3114 BC). Although past reviews of era day mythology have greatly expanded our knowledge of Maya mythic history, they do not give a complete inventory of all known passages. This project offers a full inventory of these sacred texts and scrupulously analyzes each component including the various era day events, gods and mythic locales. In addition, the work examines Maya myth from an emic perspective by evaluating the different genres of mythology found within Maya literature with the purpose of clarifying how myth acted as a living force within society. It includes a transliteration, transcription and translation of each passage followed by a commentary that explores each text’s mythic, historic, architectural and religious associations. Once compiled, the work attempts to organize these passages within a hypothetical narrative and produce a tentative reconstruction of the basic era day story. At the very least, this study seeks to provide an organized body of data for future researchers interested in the topic of Maya cosmology.</i></span></span><br />
<span style="background-color: black; color: #38761d;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><br /></span>
<span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">I've uploaded a copy of the thesis ontoGoogle Docs at (send me an email and I can give you access): </span></span><br />
<div style="font-size: 13.333333969116211px;">
<div>
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif; font-size: small;"><br /></span></div>
<div>
<a href="https://docs.google.com/file/d/0Bwq0q5B8vnhobGFOTHVDeVFyMXM/edit"><span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif;">https://docs.google.com/file/d/0Bwq0q5B8vnhobGFOTHVDeVFyMXM/edit</span></a></div>
<div>
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif; font-size: small;"><br /></span></div>
<div>
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif; font-size: small;">Looking back on the project, I now understand the James Joyce quote: "Anything deeply considered is a pathway to the gods". The <span class="il">dissertation</span> is but a small glimpse into the <i>imago mundi </i>of ancient Maya cosmology and how myth gave birth to the Maya universe.</span></div>
<div>
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif; font-size: small;"><br /></span></div>
<div>
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif; font-size: small;">All the Best in 2012,</span></div>
</div>
<div style="font-size: 13.333333969116211px;">
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif; font-size: small;"><br /></span></div>
<div style="font-size: 13.333333969116211px;">
<span style="background-color: black; color: #38761d; font-family: Georgia, Times New Roman, serif; font-size: small;">Carl</span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-66802566749324162752012-07-31T05:13:00.000-07:002013-11-11T20:00:33.779-08:00ARCHAEOASTRONOMY Volume XXIV: The Maya Calendar & 2012 Phenomenon Studies<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="color: #6aa84f;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQoi45fBAII62fjdgGY3I6Y6iMFvEt-k1508rtcIOKHWVgGA1LXDAmSIWbYUQn7G93kKcBbS0WzHsvnS7cSOX5_8n0EdNBtwIh15pSDhjEMBh5MkpwNvxTpA3oXPhrO_KHOZbXp-7lekys/s1600/Archeo_2012_Flyer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #6aa84f;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQoi45fBAII62fjdgGY3I6Y6iMFvEt-k1508rtcIOKHWVgGA1LXDAmSIWbYUQn7G93kKcBbS0WzHsvnS7cSOX5_8n0EdNBtwIh15pSDhjEMBh5MkpwNvxTpA3oXPhrO_KHOZbXp-7lekys/s320/Archeo_2012_Flyer.jpg" width="247" /></span></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="color: #6aa84f;"><br /></span></div>
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">ARCHAEOASTRONOMY Volume XXIV: is now available. The issue includes the following papers on the topic of 2012 studies:</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">The Maya Calendar and 2012 Phenomenon Studies: An Introduction</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">John B. Carlson</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">The Maya Long Count Calendar: An Introduction</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Mark Van stone</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">It’s Not the End of the World: What the Ancient Maya Tell Us about 2012</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Mark Van stone</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Primordial Time and Future Time: Maya Era Day Mythology in the Context of the</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Tortuguero 2012 Prophecy</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Carl D. Callaway</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">The Sidereal Year and the Celestial Caiman: Measuring Deep Time in Maya Inscriptions</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Michael J. Grofe</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Maya Mythology: Only One Reference to 2012?</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Erik Boot</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Holding the Balance: The Role of a Warrior King in the Reciprocity between War and</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Lineage Abundance on Tortuguero Monument 6</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">BarBara MacLeod</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Anticipating the Maya Apocalypse: What Might the Ancient Day Keepers Have</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Envisioned for December 21, 2012?</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">John B. Carlson</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">New Age Sympathies and Scholarly Complicities: The History and Promotion of the</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">2012 Mythology</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">John w. Hoopes</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">2,012 by 2012? The “Impending Apparent End” of the “2012” Publishing Phenomenon</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Kevin a. Whitesides</span><br />
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><span style="line-height: 16px; text-align: -webkit-auto;">The issue is now being printed and bound by University of Texas Press Journals and will be mailed out to subscribers around the middle of August. </span><br style="line-height: 16px; outline: none; text-align: -webkit-auto;" /><br style="line-height: 16px; outline: none; text-align: -webkit-auto;" /><span style="line-height: 16px; text-align: -webkit-auto;">Here is the URL from the UT Press;</span><br style="line-height: 16px; outline: none; text-align: -webkit-auto;" /><a href="http://www.utexas.edu/utpress/journals/jarch.html#XXIV" style="line-height: 16px; outline: none; text-align: -webkit-auto;" target="_blank"><span class="yshortcuts" id="lw_1343735945_0" style="line-height: 1.2em; outline: none;">http://www.utexas.edu/utpress/journals/jarch.html#XXIV</span></a></span>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-68147417146384383972012-07-27T03:03:00.001-07:002013-11-11T20:01:07.299-08:00New 2012 Inscription Found at La Corona Guatemala<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="color: #38761d;">Among the many new exciting finds at La Corona was a hieroglyphic stairway containing several beautifully carved panels, one of which records another 2012 passage! For a preliminary report on the text, see David Stuart's Blog Post at: <a href="http://decipherment.wordpress.com/2012/06/30/notes-on-a-new-text-from-la-corona/">http://decipherment.wordpress.com/2012/06/30/notes-on-a-new-text-from-la-corona/</a><span style="background-color: white;"> </span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-68772115241202765952012-05-30T00:05:00.001-07:002013-11-11T20:01:41.882-08:00Analysis of the Term K’ojob in Era Day Expressions<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">The <i>jehlaj k'ojob</i> expression is the most widely quoted of all era day events in Maya inscriptions and it refers to the changing of a pedestal or altar at the start of the current era on 13.0.0.0.0 4 Ajaw 8 Kumk'u or August 11/13 3114 BC, the "zero" date of the Maya Long Count calendar.<i> </i>Here is an example from from Stela C, <span style="line-height: 150%;">East side (block B6) of</span><span style="line-height: 150%;"> Quirigua, Guatemala:</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicgJRtsD_aXi8E_fLsLfQgW4bvsca051M3PYxmGKKVCYQjx67w29ocFKABbgmcMATW-g37COCsyfDT-8A0DdPwJQuj38FOghYEUmHEa21gNSuOc-F8b2uFKNXyi_QYUyYmfqzhl3JmTB5j/s1600/Jel+K'ojob+Expession.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicgJRtsD_aXi8E_fLsLfQgW4bvsca051M3PYxmGKKVCYQjx67w29ocFKABbgmcMATW-g37COCsyfDT-8A0DdPwJQuj38FOghYEUmHEa21gNSuOc-F8b2uFKNXyi_QYUyYmfqzhl3JmTB5j/s200/Jel+K'ojob+Expession.jpg" width="200" /></span></a></div>
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<span lang="DE" style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><b>JEL-[la]ja k’o-ba </b>collocation from Quirigua Stela C</span></div>
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<span lang="DE" style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">(Drawing by Annie Hunter) </span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><span style="line-height: 150%;">The item that is being changed is the </span><i style="line-height: 150%;">k'ojob. </i><span style="line-height: 150%;">The term</span><i style="line-height: 150%;"> </i><span style="line-height: 150%;">is not well understood since it occurs very rarely in the inscriptions. I thought a further inquiry into this enigmatic term might shed some light on the subject since so much of how we </span><span style="line-height: 23px;">interpret</span><span style="line-height: 150%;"> this climatic era day event depends on knowing the type of the object that is being changed. </span><span style="line-height: 150%;">The term </span><i style="line-height: 150%;">k’ojob</i><span style="line-height: 150%;"> is found on the following era day monuments</span><a href="file:///C:/Users/carl/Desktop/La%20Trobe%20Thesis_Final/Callaway_Diss_Final_Corrected_April_15_2012.doc#_ftn1" name="_ftnref1" style="line-height: 150%;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[1]</span></span></a><span style="line-height: 150%;">:</span></span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif; line-height: 150%;"><br /></span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Coba Stela 1, back (N18)</span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Chichen Itza, The Caracol
(Structure 3C15), Panel 1, Right Lateral Face (R9)</span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Copan Stela 23, sides “A” (D7-D9)
and “C” (F1)</span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">La Corona Altar 4 (A’1)</span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Palenque, Temple of the Cross, Main
Panel (D6)</span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Palenque, Temple of the Sun, Main
Panel (E1)</span></div>
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<span lang="ES" style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Piedras Negras, Altar 1, Fragment B (L2)<o:p></o:p></span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Quirigua Stela C, East side (B6)</span></div>
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<span style="color: #38761d;"><span style="font-family: Georgia, 'Times New Roman', serif;">In all these cases, the word is
spelled using two syllabic signs /<b>k’o-</b>/
and /<b>-b’a</b>/, with the intial /<b>k’o-</b>/ syllable spelled using the T220
sign that is a depiction of a clinched, downward pointing fist (Thompson
1962:449; Boot 2008:9). </span><span style="background-color: black; font-family: Georgia, 'Times New Roman', serif;"><span style="line-height: 150%;">The /<b>k’o</b><span style="font-size: small;">/
syllable was first deciphered by Linda Schele based on a</span><span class="apple-converted-space"> </span></span><strong style="line-height: 150%; text-align: -webkit-auto;">k’o-jo</strong><span class="apple-converted-space" style="line-height: 150%;"><span style="text-align: -webkit-auto;"> </span>or
</span><em style="line-height: 150%;">k’oj</em><span class="apple-converted-space" style="line-height: 150%;"><span style="text-align: -webkit-auto;"> for
</span>“mask” spelling on a Site R, Lintel 2 text associated with a figure
wearing a mask</span><span style="line-height: 150%;"> (Schele 1991:108).</span></span><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;"> Early in the decipherment of era day texts, it was
proposed that the term </span><i style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">k’ob</i><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;"> might
read </span><i style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">yeb</i><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;"> for “his stair” (Macleod
1991) with the T220 holding a syllabic value of /</span><b style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">ye-</b><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">/ (the T220 sign is very similar to the T710 /</span><b style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">ye-</b><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">/ sign representing the profile of a
partially open right hand). As the meaning syllabic signs progressed, it became
clear that T220 and T710 held distinct values of /</span><b style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">k’o</b><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">/ and /</span><b style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">ye</b><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">/
respectively. Schele used the /</span><b style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">k’o</b><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">/
value for T220 to derive </span><i style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">k’oh,</i><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;"> the
word for “image/mask” on the Palenque Cross Tablet (D6) (while discounting the very
prominent /</span><b style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">–b’a</b><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">/ syllable sitting
directly under the /</span><b style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">k’o-</b><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">/ ) as well
as on the K6593 Panel (block A4) (Schele 1992:122-123 and 127; Freidel et al.
1993:65-67 and page 70-71). Schele also applied the /</span><b style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">k’o-</b><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">/ value to a translation in the Quirigua Stela C era day text
(B6) and arrived at a slightly different spelling than that on the Palenque
Temple of the Cross example (this time incorporating the /</span><b style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">-b’a</b><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">/ syllable into the word) with a reading of </span><i style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;">k’ohba</i><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 150%;"> for “image or statue” (Schele
1992:123; Freidel et al. 1993:67). More recently, Freidel and MacLeod (2000)
proposed a new reading for the subject of the era day expression at Palenque
and Quirigua:</span></span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">First of all, reevaluation of the Creation
text at Quirigua C shows that the k’ohba “images(s)” reading was probably not
correct. The subject of the “crossed planks” verb in Kan-Balam’s Palenque
Creation texts, and in others, must be k’oob “hearth”, “trivit”, found in
Yucatec k’ooben “hearth, hearthstones, kitchen with cognates in Kekchi “k’ub”;
Chorti and Cholti “chub”- probably glottalized: ch’ub<i><o:p></o:p></i></span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">The term was now thought to represent “hearthstone” and it
relates to the colonial Yucatec Maya word for
<i>k’ob’en </i>“kitchen, hearth” that is composed of three stones on
which a cooking griddle sits (cf. Barrera Vásquez 1980:406, after Boot
2009:9). This new reading has had favor among leading epigraphers in the field
yet, others employ a more generalized term of “tripod” rather than hearthstone
(Looper 2003:226).</span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">The term <i>k’ob</i>
is used in the inscriptions outside the context of era day expressions and
these additional uses offer evidence toward its spelling and insights into its
meaning (p.c. Péter Bíró 2008). Additional spellings of the word occur on Copan
Structure 30, Altar 19469 (A1) (Schele 1990; Andrews 2005 et al. 2005:285-287)
and Yaxchilan Hieroglyphic Stairway 5, Step 16 (block 81) (Boot 2009:111).
The Copan altar is circular in shape and flat-topped; it
is 30 cm in diameter and 8 cm thick and has wheel-like shape. A glyphic text is
carved on its perimeter edge; the text “states that <i>u yak’ chaak</i> was brought out or manifested at the celebration of <i>Yax Pasaj’s</i> first <i>k’atun</i> of rule, and the ceramic effigy referred to is the <i>yitah yahawil</i> “the companion of the lord or his office”
(Andrews et al. 2005:287). This small circular altar makes an ideal platform on
which the effigy indicated most probably sat. Notice how scribes spell the <i>k’ob </i>term on this Copan altar and on the
Yaxchilan steps by adding the interior syllable /-<b>jo</b>-/ : </span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><span lang="ES">Copan Str.30 Altar </span><span lang="ES">19469 (A1-A6):<b>u-JEL <u>k’o-jo-ba</u> u ya-k’u
CHAAK-ki . . . <o:p></o:p></b></span></span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Yaxchilan Stairway 5 Step 16
(block 81): <b>. . . <u>k’o-jo-ba-li</u> ye-TE’-je
u-chan ta-ja-mo’-o? aj-15-ba-ki
k’uhul-“YAX EG?”-[AJAW] KALOM-TE’</b></span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">These two cases spell the term with the interior /-<b>jo</b>-/ syllable indicating that the word
may be under-spelled in other cases when written as <b>k’o-ba</b>. The Copan example is especially telling since it occurs in
phrase that uses the same verb <i>jel</i> collocation
as in the era day expression by <span class="apple-style-span">recording “the
next <i>k’ojob</i> (of) <i>uyak’u chaak</i>”</span><a href="file:///C:/Users/carl/Desktop/La%20Trobe%20Thesis_Final/Callaway_Diss_Final_Corrected_April_15_2012.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[2]</span></span></a><span class="apple-style-span"> The item possessed by <i>uyak’u chaak</i> is the <i>k’ojob</i>
or the round flat-topped altar itself on which the inscription is written. Here is a photo of a cast of the Copan altar:</span></span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><span style="line-height: 23px; text-align: left; text-indent: 47px;">Copan Structure 30, Altar 19469</span>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif; line-height: 23px; text-align: left; text-indent: 47px;">(Photo by Carl Callaway)</span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Here is close up of the main event. Note the addition of the /<b>-jo</b>/ syllable above the /<b>-ba</b>/ sign:</span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKbp8IGLpG9ciG9Y9Ompbr_ASzB_bcYkzmM881sPwqIDygueL1ZzCy-PiB_W4q7LkfGpQv-fVIbnnBvR2ViwiqsZEomYorjGxXY5qFmVnZzRaXQuJrFDfVPKO1KmvpjvQPH_K2q7AFX0z4/s1600/A1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKbp8IGLpG9ciG9Y9Ompbr_ASzB_bcYkzmM881sPwqIDygueL1ZzCy-PiB_W4q7LkfGpQv-fVIbnnBvR2ViwiqsZEomYorjGxXY5qFmVnZzRaXQuJrFDfVPKO1KmvpjvQPH_K2q7AFX0z4/s320/A1.jpg" width="292" /></a></span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><b style="text-indent: -240px;">u-JEL k’o-jo-ba collocation on </b><span style="line-height: 22px; text-align: left; text-indent: 46px;">Copan Structure 30, Altar 19469</span></span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif; line-height: 22px; text-align: left; text-indent: 46px;">(photo by Carl Callaway)</span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><span class="apple-style-span"> In
the Yaxchilan example, </span><b style="line-height: 150%;"> <u>k’o-jo-ba-li</u> ye-TE’-je u-chan ta-ja-mo’-o? aj-15-ba-ki k’uhul-“YAX EG?”-[AJAW] KALOM-TE’ </b><span class="apple-style-span" style="line-height: 150%;">the possessor of the <i>k’ojobil</i> is the king Itzamnaj Balam III the “guardian” and captor of
Torch Macaw</span><a href="file:///C:/Users/carl/Desktop/La%20Trobe%20Thesis_Final/Callaway_Diss_Final_Corrected_April_15_2012.doc#_ftn3" name="_ftnref3" style="line-height: 150%;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[3]</span></span></a><span style="line-height: 150%;">. </span><span class="apple-style-span" style="line-height: 150%;">So, the question arises:
What is the meaning of <i>k’ojob</i>?
Does the term name a particular flat-topped stone or a hearth stone? The full
spelling of the term as <b>k’o-jo-ba</b>
argues against the previous derivation as <b>k’o-ba</b>
and a classification as a hearthstone. </span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; text-autospace: none; text-indent: .5in;">
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><span class="apple-style-span">One more example of the
term <i>k’ob</i> comes from the site of
Joyanca </span><span class="apple-style-span"> where it is part of a
standard dedicatory phrase for another small circular altar (very similar in
shape and size to the previous Copan altar) from Structure 6E-12 thought to be
used as an <i>incensario</i> stand (Formé
2006:06). David Stuart transcribed the glyph blocks A2-C1 as: <b>T’AB'AY u-k’o-b’a TUN-ni-li?</b> (Formé
2006:06) Like on the Copan altar, the item indicated by the <b>k’o-ba</b> spelling is the circular altar
that is being dedicated. The Joyanca stone, with its flat top is ideal for an
effigy stand. It</span> is difficult to ascertain given the present evidence,
if the <i>k’ojob</i> refers to the altar/pedestal
stone itself, or to the effigy/god it supports, or the altar/pedestal stone and
the effigy/god together (p.c. Barbara
Macleod 2011).<span class="apple-style-span"> Based on the current evidence
stated, the proper spelling of the term is <b>k’o-jo-ba</b>
for <i>k’ojob</i> and may translate as a flat-topped,
circular stone altar.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><span class="apple-style-span">In a counter opinion David Stuart </span>(2011a:216-219)
interprets the term under consideration as not <i>k’ojob</i> but <i>k’oj</i> meaning
“image,” “mask” or “face” with the <span style="line-height: 150%;">/–</span><b style="line-height: 150%;">ba</b><span style="line-height: 150%;">/ suffix attached at the end of </span><i style="line-height: 150%;">k’oj </i><span style="line-height: 150%;"> </span><span style="line-height: 150%;">root serving apparently
as an instrumental suffix</span><a href="file:///C:/Users/carl/Desktop/La%20Trobe%20Thesis_Final/Callaway_Diss_Final_Corrected_April_15_2012.doc#_ftn4" name="_ftnref4" style="line-height: 150%;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[4]</span></span></a><span style="line-height: 150%;">.
The new glyphic phrase reads something like </span><i style="line-height: 150%;">jelaj
k’oj baah</i><span style="line-height: 150%;"> for “the face-image changed” (Stuart 2011a:219)</span><a href="file:///C:/Users/carl/Desktop/La%20Trobe%20Thesis_Final/Callaway_Diss_Final_Corrected_April_15_2012.doc#_ftn5" name="_ftnref5" style="line-height: 150%;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[5]</span></span></a><span style="line-height: 150%;">
with </span><i style="line-height: 150%;">k’oj</i><span style="line-height: 150%;"> being in this case “image.”
Stuart offers the following explination:</span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: .5in; mso-layout-grid-align: none; text-autospace: none;">
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Perhaps the word k’oj refers to masks, images, or
faces that should be equated in some manner with the three sacred stones
dedicated on that day by the gods. I suggest this as a possibility because
we’ve long known that the three stone heads or masks along a celestial band
comprise an important cosmological symbol for the Classic Maya, most often
manifested as small portrait heads attached to “sky belts” worn by Maya kings
as part of the ceremonial costume for period-ending rituals. The “change of
masks” might then, refer to the idea of the cosmos getting a new identity of
some type― a makeover of sorts―which in turn became symbolically reflected in
the ritual dress of Maya Kings, and especially in their cosmic belts (Stuart 2011a:12).</span></div>
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">The new Stuart hypothesis is difficult to adopt in the
face of such a strong correspondence between the object named in the dedicatory
passage on the altars/pedestal stones from Joyanca and Copan.</span><br />
<span class="apple-style-span" style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><span class="apple-style-span">Hopefully in the future, additional texts using the <i>k’ojob</i> term will come to light and help
clarify its essential meaning and semantic domain. </span>
</span><br />
<div>
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<hr align="left" size="1" width="33%" />
<div id="ftn1">
<div class="MsoFootnoteText">
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><a href="file:///C:/Users/carl/Desktop/La%20Trobe%20Thesis_Final/Callaway_Diss_Final_Corrected_April_15_2012.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[1]</span></span></a> See
Quirgua Stela F, west side, block B16 and Quirgua Zoomorph P, South text,
blocks M3a-M2a for other <b>JEL k’o-b’a</b> expressions on non-related era day
monuments.</span></div>
<div class="MsoFootnoteText">
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><a href="file:///C:/Users/carl/Desktop/La%20Trobe%20Thesis_Final/Callaway_Diss_Final_Corrected_April_15_2012.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[2]</span></span></a> The
presence of the /<b>u-</b>/ prefix attached
to the term <i>jel</i> derives a type of
“change” similar to the word “next” where the subject is coming immediately
after a previous change (p.c. Barbara MacLeod 2012). </span></div>
<div class="MsoFootnoteText">
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><a href="file:///C:/Users/carl/Desktop/La%20Trobe%20Thesis_Final/Callaway_Diss_Final_Corrected_April_15_2012.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[3]</span></span></a> The
mention of the <i>k’ojobil </i>on Yaxchilan
Hieroglyphic stair, block 81 is in conjunction with a possible capture event
(block 72) on the day 9.18.6.5.11 7 <i>Chuen</i> 19 <i>K’ayab</i> (blocks 70-71) and a
date that is also shared on Yaxchilan Stela 5 (p.c. Peter Mathews 2012).</span></div>
<div class="MsoFootnoteText">
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: black;"><a href="file:///C:/Users/carl/Desktop/La%20Trobe%20Thesis_Final/Callaway_Diss_Final_Corrected_April_15_2012.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[4]</span></span></a> <span class="apple-style-span">Normally,
Ch’olan languages attach an instrumental suffix to an intransitivized
verbal<i> </i>root in order to derive a noun
that indicates the instrument used to perform or achieve the action
indicated by the verb (p.c. Sven Gronemeyer 2011). </span><span lang="ES">Schumann Gálvez gives the
following definition in his 1997 Mopán grammar: <i>“. . . se coloca después de una raíz verbal para
señalar instrumento que se usa o sirve para ejecutar aquello que la raíz verbal
indica</i>” (Schumann Gálvez 1997:82). </span><span class="apple-style-span">As to how an instrumental suffix applies
the root of a noun like <i>k’oj</i> is
difficult at present to ascertain, but Yucatec for example also allows a
derivation from a nominal base.</span></span><span style="background-color: white;"><o:p></o:p></span></span></div>
<div class="MsoFootnoteText">
<span class="apple-style-span"><span style="background-color: white; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span></span></div>
<div class="MsoFootnoteText">
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><o:p> </o:p><a href="file:///C:/Users/carl/Desktop/La%20Trobe%20Thesis_Final/Callaway_Diss_Final_Corrected_April_15_2012.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference">[5]</span></span></a>
Interestingly Stuart’s reading of <i>k’oj</i>
as “image” reflects back to a similar era day reading made by Linda Schele
concerning the Kerr 6593 Panel. As Schele (1992:123) states, the key word “in
the era expression is k’oh, k’ohba or kohob, all meaning ‘image’ or statue.
Also she thought that “Ilahi yax k’oh” translated as “was seen, the image or
statue”, and that “hal kohba” meant “appeared the image or statue” (Schele
1992:123; Freidel et al. 1993:65-66). Schele believed that the “image” referred
to was a great earth turtle from whose cracked carapace the Maize God emerges
(see K1892). Stuart (2011b) recently nullified Schele’s interpretation on
K6593 Panel on the grounds of a faulty verb derivation and a misidentification
of a historical ruler named <i>yax k’oj ahk
chak k’u-? Ajaw </i>(Stuart 2011b<i>). </i>However
he does not challenge Schele’s original assertion that the<i> k’oj</i> term spelled on Kerr Panel 6593 simply <b>k’o-jo</b> without the /<b>–ba/</b>
suffix.</span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoFootnoteText" style="text-align: center;">
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><span style="text-indent: -0.5in;">2011a </span><span style="text-indent: -0.5in;"></span><i style="text-indent: -0.5in;">The Order of Days: The Maya World And The Truth About 2012.</i><span style="text-indent: -0.5in;"> New York: Harmony Books.</span></span></div>
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<span style="color: #38761d;"><span style="font-family: Georgia, 'Times New Roman', serif; text-align: center;">Stuart, David</span>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">2011b Reinterpreting a “Creation”
Text from Chancala, Mexico. Maya Decipherment Web Blog, on the web at: <a href="http://decipherment.wordpress.com/page/2/">http://decipherment.wordpress.com/page/2/</a>.</span></div>
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<span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Thompson, J. Eric S.</span></div>
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<span style="color: #38761d;"><span style="font-family: Georgia, 'Times New Roman', serif;">1962 <i>A Catalog Of Maya Hieroglyphs.</i> Oklahoma: University Of</span> Oklahoma
Press.</span></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7760763218965944999.post-47501572906033076602012-01-01T18:55:00.000-08:002012-01-08T23:50:40.114-08:00Rediscovery of the Maya Era Date 13.0.0.0.0 4 Ajaw 8 Kumk'u<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: right;"><a href="http://4.bp.blogspot.com/-YLej6h70NXY/TwEbd5JkHUI/AAAAAAAABXE/FSI1hPvFnG8/s1600/PAL_Temple+of+the+Cross_Era+Day+Passage_by_Callaway.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-YLej6h70NXY/TwEbd5JkHUI/AAAAAAAABXE/FSI1hPvFnG8/s320/PAL_Temple+of+the+Cross_Era+Day+Passage_by_Callaway.jpg" width="104" /></a><span style="color: #6aa84f; font-size: x-small;">Era day passage from Palenque, Temple of the Cross, Main Panel (Photo by by Paul Johnson)</span></div><span style="font-family: Georgia, 'Times New Roman', serif;"><br />
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<div class="MsoNormal" style="line-height: 19px; text-align: -webkit-auto; text-indent: 0.5in;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">The rediscovery of the base date of the Maya Long Count was claimed two early Maya scholars: J.T. Goodman and Ernst Förstemann<span style="text-indent: 0.5in;">. But as we shall see, it was Förstemann who must be given proper credit for discovery of the inaugural date. Initially, Goodman surveyed the calendar data largely from the stone monuments and the corpus of inscriptions gathered by A.P. Maudslay while Förstemann analyzed the dates and inscriptions in the Dresden Codex, one of the few surviving handbooks of a Maya priest.</span></span></div><div class="MsoNormal" style="line-height: 19px; text-align: -webkit-auto; text-indent: 0.5in;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">In the commentary “The Archaic Maya Inscriptions” appearing in February of 1897 the Volume VI Appendix of A. P. Maudslay’s great work “Biologia Central Americana”, Goodman (1897:10) described how he labored for well over “seven years” to reconstruct the values of the Maya Long Count from numerical signs (the “bar and dot” and “head variants” of numbers) of the stone inscriptions and from calendar and mathematical data gleaned from the writings of Diego de Landa and Pío Pérez. He states quite emphatically that:</span></div><div class="MsoNormal" style="line-height: 19px; margin-left: 0.5in; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">“I ascertained the first cycle [the <i>bak’tun</i>] was composed of twenty katuns . . . I finally deduced a chronological calendar . . . and after reversing the process, succeeded in restructuring the outline of the entire Archaic chronological scheme . . .”<i> </i>(Goodman 1897:13).</span></div><div class="MsoNormal" style="line-height: 19px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">Yet curiously on page 93 of his 1897 work, he offers an example of the 4 <i>Ajaw</i> 8 <i>Kumk’u</i> era date reckoning <i>not</i> from the stone inscriptions to which he was intimately familiar but from page 51 and 52 of the Dresden Codex Lunar Tables! This leads one to suspect that Goodman was aware of Förstemann’s previous 1887 deductions from the Dresden Codex concerning the era date and had knowledge of the German scholar’s early discoveries (Thompson 1971:30). Goodman tables do indeed provide the era day base date in conjunction with their Long Counts. About the era date on page 51 of the Dresden Codex, Goodman (1897:93) states that the 4 <i>Ajaw</i> 8 <i>Kumk’u</i> date is “the beginning of the 54<sup>th</sup> great cycle of the Archaic era.” What does he mean by the 54<sup>th</sup> great cycle? At the time, Goodman (1897:25) believed that the Initial Series Introductory Glyph (ISIG) represented various Great Cycles where one “Great Cycle” equaled 13 <i>bak’tuns.</i> These “Great Cycles” in turn produced an even larger “Grand Era” that was comprised of 73 “Great Cycles.” At the end of the “Grand Era” the day name and month repeat the same calendar positions<a href="http://www.blogger.com/post-edit.g?blogID=7760763218965944999&postID=4750157290603307660" name="13498ad12a767b79__ftnref1" title="">[1]</a>. In Goodman’s view the era date was but one of many probable starting points and one that corresponded with the current cycle of 1-13 <i>bak’tuns</i>. Goodman did not offer a straightforward mathematical explanation of how he arrived at the era date. The calculations are inferred from his Long Count charts representing the “54<sup>th</sup> Great Cycle.” The charts note the “ 54<sup>th</sup> Cycle” begins with the date 4 <i>Ajaw</i> 8 <i>Kumk’u</i>. Already, Goodman (1897:127, 135) anticipates the idea that the era date and the Great Cycles are related to some great time station by which the calendar returns to a start date and is renewed. Goodman could have reckoned the era date from Maudslay’s drawings of Quirigua Stela C and Palenque’s Temple of the Cross Sanctuary Panel, both of which record the era date which no doubt was verifiable against his Long Count charts and calculations of Maya dates</span></div><div class="MsoNormal" style="line-height: 19px; text-align: -webkit-auto; text-indent: 0.5in;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">In the later part of the 1880s E. Förstemann (1904:403) in his examination of the Dresden Codex, reckoned the era date for the Long Count since it served as a base date for the Venus Table calculations as well as several other almanacs. Förstemann saw the zero date being employed for a start date on page 24, 51, 60, 62, 63, and 69 of the Dresden Codex (Förstemann 1906:115, 197, 222, 224, 234). By 1887 in “Zur Entzifferung der Mayahandschrift”<i>, </i>Förstemann announced that the Long Count was indeed reckoned from a 4 <i>Ajaw</i> 8 <i>Kumk’u</i>base date and was able to explain the rational of “Ring Numbers” or numbers that were used to count backward from a base date. In his essay<i> </i>“Aids To Deciphering Maya Manuscripts”, Förstemann restates his earlier discovery:</span></div><div class="MsoNormal" style="line-height: 19px; margin-left: 0.5in; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">“A perfectly exact computation was attained only by deciding on some fixed day (the creation of the world, perhaps, or the birth of a principle god) as a point of departure, and by counting the days from zero point . . . this important day is a 4 Ahau 8 Cumku” (Förstemann 1904:399).</span></div><div class="MsoNormal" style="line-height: 19px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">Here, Förstemann attaches more than a mathematical importance to the era base date and delves into the possible mythic significance of the day. He conjectures that the date could signify a greater meaning and relate to some cosmogonic or theogenic act of creation. It would be nearly seventy years until such speculation was visually verified with the discovery of the Vase of the Seven Gods (Coe1973:106-109). It was Förstemann then, who was also first to speculate on the mythic significance of the base date.</span></div><div class="MsoNormal" style="line-height: 19px; text-align: -webkit-auto; text-indent: 0.5in;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">Eduard Seler (1904:26) in his paper “The Mexican Chronology” also gives credit to his German colleague for the discovery noting that:</span></div><div class="MsoNormal" style="line-height: 19px; margin-left: 0.5in; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">“In a paper presented before the International Americanists Congress in at Berlin E. Förstemann, to whom we owe so many discoveries, especially in regard to the mathematics in the Dresden manuscript, furnished proof that . . . the day 4 Ahau (4XX), the eighth of the month Cumku (the last of the eighteen festivals), is to be regarded as zero mark” (Seler 1904:26).</span></div><div class="MsoNormal" style="line-height: 19px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">As to Goodmann’s claim of discovery of the era base, the current researcher has not found any written rebuttal by Förstemann noting his opinion on the matter. However, it is clear the German scholar thought lowly of the American’s contributions to field by sourly noting elsewhere :</span></div><div class="MsoNormal" style="line-height: 19px; margin-left: 0.5in; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">“In his work “The Archaic Maya Inscriptions,” 1897, which on the whole, contains more imagination than of science . . .” (Förstemann 1906:233)</span></div><div class="MsoNormal" style="line-height: 19px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">Thompson (1971:300) finally weighed in on the question of discovery with the evidence against Goodman’s claims:</span></div><div class="MsoNormal" style="line-height: 19px; margin-left: 0.5in; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">“Irrefutable evidence, however, that Goodman had read Förstemann comes from his own pen. In discussing the chronological calendar, Goodman writes, ‘It has been known that the Mayas reckoned time by ahaus (e.g. tuns), katuns, cycles (e.g. baktuns), and great cycles (e.g. pictuns).’ That information is in that none of the early sources, but was brought to light only through the studies of Förstemann. Furthermore, Brinton (1895) gives many details of Förstemann’s researches, including the reading of IS [Initial Series], and such matters as the glyphs for the katun and tun, in his Primer of Maya hieroglyphics, which surely must have come into Goodman's hands.”</span></div><div class="MsoNormal" style="line-height: 19px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">Ultimately the field of Maya studies benefited from both Förstemann’s and Goodman’s early decipherments and calendar calculations that in the end proved that the mathematics of inscriptions and the codices were based on the same mathematical logic and their Long Count calendars were indeed reckoned from the same base date.</span></div><div style="text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><br clear="all" /></span><br />
<hr align="left" size="1" width="33%" /><div><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><a href="http://www.blogger.com/post-edit.g?blogID=7760763218965944999&postID=4750157290603307660" name="13498ad12a767b79__ftn1" title="">[1]</a>Spinden (1969:36) sums Goodman’s argument for a “Grand Era” as follows: “Goodman sees a neater finish to the chronological problem in a round of 73 times 13 baktuns, which would bring not only the day but the month position back again as a terminal date of a great cycle. He argues that the great wheel of time began from a great cycle of 73 ending on a day 4 Ahau 13 Yax and that the great cycle of the era recorded in the inscriptions was really the 54<sup>th</sup> in order from this far off beginning.”</span><br />
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<div style="text-align: center;"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">Works Cited</span></div><span style="background-attachment: initial; background-clip: initial; background-color: black; background-image: initial; background-origin: initial; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">Förstemann</span><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">, Ernst</span><br />
<div class="MsoNormal"><span lang="DE" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">1887 <i>Die Maya-Handschrift der Koniglich-Sachsischen Bibliothek zu Dresde</i>n. </span><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">Ascher, Dresden.</span></div><div class="MsoNormal"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">1904</span><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;"> </span><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;"> </span><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">Aids to The Deciphering Of The Maya Manuscripts</span><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">. In: <i>Mexican And Central American Antiquities, Calendar Systems, And History</i>, Bureau Of American Ethnology, Bulletin 28 Edited by Charles P. Bowditch, pp. 397-407. Smithsonian Institution, Washington.</span></div><div class="MsoNormal"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">1906 </span><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;"> </span><i style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">Commentary of the Maya manuscript in the Royal Public Library of Dresden</i><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">. Papers, 4(2), pp. 53-266. Harvard University, Peabody Museum of American Archaeology and Ethnology: Cambridge, MA.</span></div><span style="background-color: black;"><br />
</span><br />
<span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">Goodman, J.T.</span><br />
<span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">1897 </span><span class="text" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">Archaic Maya inscriptions</span><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">. </span><span class="text-italic-left" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">In:<i> Biologia Centrali-Americana; or Contributions to the </i></span><br />
<div class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span class="text-italic-left" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><i>Knowledge of the Fauna and Flora of Mexico and Central America</i></span><span class="apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">. </span><span class="text" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">R. H. Porter</span><span class="apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">, </span><br />
<span class="text" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">Washington D.C.</span><span class="apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"> </span></div><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><br />
</span><br />
<span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">Seler, Eduard</span><br />
<div class="MsoNormal"><span style="background-attachment: initial; background-clip: initial; background-color: black; background-image: initial; background-origin: initial; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">1904 The Mexican chronology, with special reference to the Zapotec calendar. In:<i> </i></span><i style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">Mexican And Central American Antiquities, Calendar Systems, And History</i><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">, Bureau Of American Ethnology, Bulletin 28 Edited by Charles P. Bowditch, pp. 11-56. Smithsonian Institution Washington.</span></div><span class="apple-style-span"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></span><br />
<span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">Spinden, Herbert J.</span><br />
<div class="MsoNormal"><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">1969</span><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;"> </span><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">Reduction of Mayan dates. In: <i>Papers, 6(4)</i> </span><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">Harvard University, Peabody Museum of American Archaeology and Ethnology., Cambridge, MA</span></div><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><br />
</span><br />
<span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">Thompson, J. Eric S.</span><br />
<span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">1971 </span><i style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">Maya hieroglyphic Writing: An Introduction</i><span style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">. Norman: University of Oklahoma Press.</span></div></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-80312852673513600752011-12-25T03:35:00.000-08:002012-01-02T05:17:04.211-08:00A Great Maya Calendar for 2012<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;">Hi All,</span></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;"><br />
</span></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;">I just wanted to let you know that Paul Johnson just published his Maya Calendar for 2012. It really is a great product and I buy several each year for friends and family:</span></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;"><br />
</span></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><a href="http://www.amazon.com/Lords-Time-Maya-Calendar-Johnson/dp/0984886516/ref=cm_rdp_product">http://www.amazon.com/Lords-Time-Maya-Calendar-Johnson/dp/0984886516/ref=cm_rdp_product</a> </div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;"><br />
</span></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;">and </span></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;"><br />
</span></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><a href="http://lordsoftimemayacalendar.com/" rel="nofollow" style="font-family: times, serif; font-size: 16px;" target="_blank"><span style="background-color: black; color: #6aa84f;">http://<wbr></wbr>lordsoftimemayacalendar.com/</span></a></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;"><br />
</span></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;">The graphics are just beautiful.</span></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;"><br />
</span></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;">Let the countdown begin!</span></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;"><br />
</span></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;">Best,</span></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;"><br />
</span></div><div style="font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #6aa84f;">Carl</span></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-15783043100962541182011-12-19T19:12:00.000-08:002012-01-22T04:32:01.626-08:00Ancient Endings and New Beginnings: Maya Cosmology for 2012*<div dir="ltr" style="text-align: left;" trbidi="on"><span style="background-color: black; text-align: -webkit-auto;"><span style="color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Carl Callaway, of Australia’s La Trobe University, cuts through</span></span><br />
<div style="text-align: -webkit-auto;"><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">the hype to look at our current understanding of 21 December 2012.</span><br />
<span style="font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: black; color: #38761d;"> The latest </span><span style="background-color: black; color: #38761d;">advances are fascinating,</span></span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"> but much remains to be discovered.</span></div></div><div style="font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></div><div style="font-size: 13px; text-align: -webkit-auto;"><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">December 21, 2012 marks a momentous</span></div><div style="font-size: 13px; text-align: -webkit-auto;"><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">occasion on the ancient Maya calendar: the close</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">of the 13th Bak’tun period from their Long Count</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Calendar. This transition is a cyclic event that</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">occurs approximately once every 5125 years—</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">every 13 x 144,000 days, to be exact—so the last</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">time a 13th Bak’tun ended was at the start of the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">current Maya era, on 11 August 3114 BC. It was</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">a day that straddled the cusp of a new era—the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">point between a cycle just ended and one about to</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">begin. Fast forward to today: in the entire corpus</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">of Classic Maya (250- AD 900) inscriptions, there</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">is but one surviving text that speaks of 2012,</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">found in the final passages of the stela known as</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Monument 6 at Tortuguero, an archaeological site</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">in the southernmost part of Tabasco, Mexico.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5JYhSfsNOse6P9TyNlbKwWCcFb3aQcJwIp3xSsf7rFpeltTXvgB4CQKOBxAl_IMowtIz-u5sxI0EvG0vajnxqvqTsDZUetxMjmIBHJYdMHeY8vYY8pN5Y3BxXlX-u8jpvY3iR99-fdnyL/s1600/Sven_+Gronemeyer_Final+_passage_Tort_Mon_6.tif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5JYhSfsNOse6P9TyNlbKwWCcFb3aQcJwIp3xSsf7rFpeltTXvgB4CQKOBxAl_IMowtIz-u5sxI0EvG0vajnxqvqTsDZUetxMjmIBHJYdMHeY8vYY8pN5Y3BxXlX-u8jpvY3iR99-fdnyL/s320/Sven_+Gronemeyer_Final+_passage_Tort_Mon_6.tif" width="258" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif; text-align: -webkit-auto;">Final Passage on Tortuguero Mon. 6 (drawing by Sven Gronemeyer)</span> </td></tr>
</tbody></table></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">As 2012 approaches, an exact interpretation</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">of the Tortuguero inscription has become the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">subject of much scholarly and popular debate—a</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Google internet search on “Maya 2012 prophecy”</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">produces a mere 1,200,000 hits! There is no</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">consensus within current academic discussion</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">about whether the Tortuguero inscription is</span></div><div><span style="font-family: Georgia, 'Times New Roman', serif;"><span style="background-color: black; color: #38761d;">linked to a prophetic statement.</span><span style="background-color: black; color: #38761d;"> Yet that said,</span></span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">there can be little doubt the ancient Maya would</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">have seen the date as a numerological echo of</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">the current era’s start date, and they would</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">have marked the occasion of 13th Bak’tun with</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">great solemnity and fanfare—as they had done</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">throughout their history—erecting temples, altars</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">and carved stone pillars called stelae. Inscribed</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">stelae recorded time’s passage (typically in</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">20-year spans called “k’atuns”) by charting the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">sun and moon’s exact positions, as well as by</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">celebrating those gods and sacred acts thought</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">to preserve community order and life.</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">For the ancient Maya time’s custodial gods were</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">tangible beings resembling humans, worshiped</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">and deified as living gods (for example, the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">number eight was the Maize God). The dedicatory</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">date on a stele was often expressed in fully</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">animated portraiture, featuring the custodial</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">gods of time hoisting, dragging, and carrying the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">day and month cycles into place, like packaged</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">goods being toted to a modern day marketplace.</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Copan’s Stela D, from Honduras, illustrates this</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">time anthropomorphism wonderfully, depicting</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">personified and animated numbers who carry</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Long Count cycles and days’ names in tumplines</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">strapped across their foreheads. The gods rest</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">just long enough to be recorded and then return</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">to fetch a new burden for a new day.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3npzfEj58tUq8VKRhjywtPJLM3P4mntA36srAok6RCGhD9uPaPh5ezc9RMp9a6WvASgvOaXfgr-wOl6iQesdVZC2L-CNtMCWmTdTjQQ07xBjwXNyoAyKx2pWiR4DCYO_l5gKFtIeEuO-J/s1600/fig_1_Copan_Stela_D_by+Linda+Schele.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3npzfEj58tUq8VKRhjywtPJLM3P4mntA36srAok6RCGhD9uPaPh5ezc9RMp9a6WvASgvOaXfgr-wOl6iQesdVZC2L-CNtMCWmTdTjQQ07xBjwXNyoAyKx2pWiR4DCYO_l5gKFtIeEuO-J/s320/fig_1_Copan_Stela_D_by+Linda+Schele.jpg" width="142" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif; text-align: -webkit-auto;">Copan Stela D (drawing by Linda Schele)</span> </td></tr>
</tbody></table><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"> </span><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">As mentioned, the last time the end of the 13th</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Bak’tun occurred was at the start of the current</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Maya era on 11 August 3114 BC. Its modern</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">notation is <a href="tel:13.0.0.0.0" target="_blank" value="+61130000">13.0.0.0.0</a> 4 Ajaw 8 Kumk’u. The era</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">date corresponded to the start of the Maya Long</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Count Calendar that tracked the number of days</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">from a “zero date" or fixed point in time, from</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">which all mythical and historical dates were later</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">calculated. Historically, 3114 BC predates Classic</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Maya civilization by at least 2500 years, so the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">3114 BC zero date was most likely conceived</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">of as having taken place within the murky,</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">mythic depths of primordial time—a period of</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">cosmogenesis when germinal energies awakened</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">and the drama of creation unfolded. Fortunately</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">for students of Maya mythology, there are about</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">fifty ancient Maya inscriptions that detail events</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">thought to have occurred on this first day of the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">new era. According to these texts, day one was</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">very busy, with at least fifteen distinct events</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">on the agenda. As a whole, events emphasize the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">orderly framework of the cosmos. It is an order</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">not only related to knowledge of the world, but a</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">cosmic order that arises out of the great mystery</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">of the universe—the mysterium tremendum—a</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">secret that revealed itself both through the Maya</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">calendar’s intricate mathematical machinations</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">as well as through the culture’s priestly</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">divinations.</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">In virtually every era-day text, this cosmic</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">order is in some way reaffirmed. One era-day</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">inscription is found on a chocolate cup known</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">as the Vase of the Seven Gods . The vase boasts</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">a fine-line painting that is the mythic “snapshot”</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">of a pivotal era-day event that occurred in the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">underworld mountain palace of God L, who is</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">pictured on his jaguar throne inside a caiman-topped</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">temple. Like a group of ancient calendar</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">priests, the gods gather within the dark interior</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">of a primordial mountain. </span><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">The accompanying</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_pv_JJZCmXqhOVhYjAJKaQYmPd9SklgzSk-4d-db-8S3shy2dEB5q3qI1ypyJzuu9H9d6PtfmpwDt-UBzhUl8KCl7Rop8nVElVU4uy996jvCf1SmrkQLfDwCs2sVbubYiQIh28wn30KXU/s1600/fig_2_Vase_of_The+_Seven_Gods_Photo_by+Justin_Kerr.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_pv_JJZCmXqhOVhYjAJKaQYmPd9SklgzSk-4d-db-8S3shy2dEB5q3qI1ypyJzuu9H9d6PtfmpwDt-UBzhUl8KCl7Rop8nVElVU4uy996jvCf1SmrkQLfDwCs2sVbubYiQIh28wn30KXU/s320/fig_2_Vase_of_The+_Seven_Gods_Photo_by+Justin_Kerr.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vase K2796 (Photo by Justin Kerr from mayavase.com)<br />
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</tbody></table></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">text says that on the day 4 ajaw 8 Kumk'u, the gods</span><br />
<span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"> present were “ordered.” The word—"ts’ak"—that</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">describes this ordering of the gods is intrinsically</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">linked to the same eternal and meaningful order</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">embedded in the natural world: cycles of wind</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">and rain, sun and moon, light and darkness.</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Incidentally, this cosmic order—first practiced by</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">the gods—later became part of a sacred charter</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">that governed elite Maya conduct, so ultimately,</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">cosmic order was the source moral order. The vase scene</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">also shows that the gods arrive bearing tribute</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">caches and a bundled altar capped by feathers</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">(the altar is pictured in the lower register beside</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">the lower, front-most god seated before God L),</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">that will likely be set as a foundation stone</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">to mark this auspicious occasion.</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Another era-day passage from Stela C at Quirigua</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">in Guatemala recounts the next stage in the story,</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">when four primordial gods set three like-in-kind</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">altar stones in a triad-based arrangement. </span><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">A</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD6Z7WUo-DTvU2vZiXbuBqfg9fCVahkzi28H_e3-owP6r9MTXP3edjAKYDb3d_d2vtrJ-MoGv-1oP5DJySaADASIgBxbysrHek0KZwqezRU4YKDC3eyNVcoinxqUd5x7kL6QYA0Exf4fPQ/s1600/fig_3_Quirigua_Stela+C_drawing_by_Annie_Hunter.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD6Z7WUo-DTvU2vZiXbuBqfg9fCVahkzi28H_e3-owP6r9MTXP3edjAKYDb3d_d2vtrJ-MoGv-1oP5DJySaADASIgBxbysrHek0KZwqezRU4YKDC3eyNVcoinxqUd5x7kL6QYA0Exf4fPQ/s400/fig_3_Quirigua_Stela+C_drawing_by_Annie_Hunter.jpg" width="77" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif; text-align: -webkit-auto;"> Quirigua Stela C (drawing by Annie Hunter)</span> </td></tr>
</tbody></table><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"> </span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">jaguar-, serpent- and water-stone are placed at the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">edge of the sky, at a sacred locale called the New</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">“Three-Stone” Place. A creation event that is participatory, and where</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">no single god or causal force brings forth the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">world, is a key pan-Mesoamerican idea. As in the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">opening chapters of the Popol Vuh, a Colonial-era</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">document detailing the Quiché Maya creation</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">story, the world is built not by a single cosmic</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">force or god, but through a conversation between</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">two or more primordial gods. Specifically, the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">opening chapters of the Popol Vuh state that</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">the Heart of Sky, along with the Sovereign</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">and the Quetzal Serpent, created the world</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">through council, by reaching agreements and</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">consolidating their ideas. This meeting of the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">minds is not unlike how we humans might</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">initiate a building project: gathering together to</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">draw up a set of blueprints. Thus every invention,</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">divine or human, begins with a conversation.</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Prior to this renewed order, another era-day</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">inscription reveals a glimpse of the frenzied</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">disorder that existed in what were most likely</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">the nocturnal hours prior to the first dawn. Page</span><br />
<div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXU-Q2WH4OnBdxLqt_HWojCB8xpFbwkm5LqmJArU5zxRS7xtXXgPYdxawqb0g1E9GXqHfHOUYx3NzfTBy1aD2jnCbOLpG0Qe8uFmbOyAUzPO0QKlV3Sv_XCGPxZ3Bt0Gbm15XWkvr19ukG/s1600/fig_4_Dresden+Codex+Page+60_Photo_courtesy+of+FAMSI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXU-Q2WH4OnBdxLqt_HWojCB8xpFbwkm5LqmJArU5zxRS7xtXXgPYdxawqb0g1E9GXqHfHOUYx3NzfTBy1aD2jnCbOLpG0Qe8uFmbOyAUzPO0QKlV3Sv_XCGPxZ3Bt0Gbm15XWkvr19ukG/s320/fig_4_Dresden+Codex+Page+60_Photo_courtesy+of+FAMSI.jpg" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Page 60, Dresden Codex Section a (photo courtesy of FAMSI)</td></tr>
</tbody></table> <span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">60 of the Dresden Codex, one of few surviving</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Maya screen-fold books, shows two gods engaged</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">in combat. The god holding a spear thrower</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">and darts (on the viewer’s right) is Bolon Yokte’.</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">The deity on the left, under attack, is God N.</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">What forces of nature do God N and Bolon Yokte’</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">represent? Brandishing such fearsome weapons</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">as the spear thrower (and in other cases a rope,</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">a spear and a shield), the Bolon Yokte’ is shown to</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">possess a war-like destructive force and is a god</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">associated in the inscriptions with major calendar</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">transitions and death (though his exact duties</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">and profile are yet to be fully understood). God N</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">is well known as a sky-bearer akin to Atlas from</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Greek mythology. An attack by the Bolon Yokte’ is</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">nothing short of disastrous. Logic dictates that</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">as God N, the sky-bearer, falls, the sky’s supports</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">are threatened, and with them, the space-time</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">continuum. It seems ancient scribes understood</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">that order only exists in juxtaposition to disorder.</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Notably, Bolon Yokte’ is the primary god linked</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">to the Tortuguero Monument 6’s** inscribed</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">2012 passage. So Maya scholars must learn</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">more about this enigmatic deity as a way of fully</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">understanding the significance of his presence in</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">the context of the 2012 event.</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Maya cosmology is a rich and varied realm that</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">in part expresses how the cosmic order first</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">came into being. So while the study of Maya</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">mythology is still in its infancy, the future holds</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">great promise for new insights and revelations.</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">As new texts come to light, scholars continue to</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">make inroads into the core mythos that shaped</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">and guided one of the great civilizations of the</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Americas. Our hope is that 2012 will be a year</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">of new discoveries in Maya mythic history—a</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">year that will have us remembering the gods of</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">the ancient Maya as they take their rightful place</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">alongside those of Mesopotamia, Egypt and</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">Greece.</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">*This article first appeared in the Dec. 2011 issue of Hacienda Magazine:</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><a href="http://catherwoodtravels.com/wp-content/uploads/magazine/dic2011.pdf" style="line-height: 20px;" target="_blank">http://catherwoodtravels.com/<wbr></wbr>wp-content/uploads/magazine/<wbr></wbr>dic2011.pdf</a><span style="line-height: 20px; text-align: left;"> </span></span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></div><div><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">**For more information on this text see:</span></div><div><a href="http://www.wayeb.org/notes/wayeb_notes0034.pdf" target="_blank"><span style="background-color: black; color: #38761d; font-family: Georgia, 'Times New Roman', serif;">http://www.wayeb.org/notes/<wbr></wbr>wayeb_notes0034.pdf</span></a></div></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-37306223793159520372011-02-25T04:09:00.000-08:002011-02-25T04:10:00.852-08:00Cosmogony and Prophecy<div dir="ltr" style="text-align: left;" trbidi="on"><span class="Apple-style-span" style="color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;">A few people have asked me to share the abstract of the paper I gave in Peru on Maya cosmology in the context of the 2012 Prophecy. I'm happy to do so:</span><br />
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<div style="margin-bottom: 0in;"><span class="Apple-style-span" style="color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><i>The Maya prophecy foretells events that will occur at close of the current Maya era and at the end of 13th B’aktun period of the Maya Calendar in the year 2012. This paper explores the mythic and astronomical events that occurred previously at the start of the current Maya era in 3114 BC corresponding to the close of the first 13th B’aktun period. These two 13 B’aktun Period Endings, separated by a span of 5125 years, are like two bookends that inextricably link Ancient Maya conceptions of time, mythic history and prophecy. My presentation will demonstrate how in this case, the past is prologue. Mythic events and godly actions recorded at the beginning of the era directly parallel those actions that will occur at the end of the era. In addition, I will share new insights into how ancient Maya scribes linked these Era Day events to temple dedications and architecture to reflect the sun’s daily solar</i><i> trek</i><i>- a journey charted and revered by ancient peoples from all corners of the Americas.</i></span></div><div style="margin-bottom: 0in;"><span class="Apple-style-span" style="color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><i><br />
</i></span></div><div style="margin-bottom: 0in;"><span class="Apple-style-span" style="color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><i>I'll also add a photo of poster I made for the conference with the help of Paul Johnson. Enjoy!</i></span></div><div style="margin-bottom: 0in;"><span class="Apple-style-span" style="color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><i><br />
</i></span></div><div style="margin-bottom: 0in;"><div class="separator" style="clear: both; text-align: center;"></div><span class="Apple-style-span" style="color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><i>Best, </i></span></div><div style="margin-bottom: 0in;"><span class="Apple-style-span" style="color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><i><br />
</i></span></div><div style="margin-bottom: 0in;"><span class="Apple-style-span" style="color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><i>Carl</i></span><br />
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</div>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7760763218965944999.post-29692807806866558732011-01-21T12:25:00.000-08:002011-01-21T13:09:55.723-08:00The Oxford IX International Symposium on Archeoastronomy in Lima Peru- The Ancient Maya Agenda<div dir="ltr" style="text-align: left;" trbidi="on"><span class="Apple-style-span" style="color: #121311; font-family: Tahoma, Arial, Helvetica, sans-serif; font-size: 12px;"></span><br />
<div style="text-align: left;"><span class="Apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;">I just returned from the Oxford IX Conference. It was truly an international affair with speakers from all parts of the globe (for agenda see: </span><a href="http://www1.archaeoastronomy.org/index.php?option=com_content&view=article&id=69&Itemid=60&lang=en">http://www1.archaeoastronomy.org/index.php?option=com_content&view=article&id=69&Itemid=60&lang=en</a> ) presenting on how cultures both past and present integrated astronomical knowledge into their art, architecture, religion and daily life.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;"><span class="Apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;"><span class="Apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"> The Maya session went very well and included the following speakers and titles:</span></span></div><span class="Apple-style-span" style="background-color: black; font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse; color: #6aa84f;"></span></span><br />
<div><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; background-color: black; border-collapse: collapse; color: #6aa84f;"><br />
</span></span></span></div><span class="Apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;">Mark Van Stone- </span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;">´It’s not the End of the World': emic evidence for local diversity in the Maya Long Count</span></span><br />
<div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;"><span class="Apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></span></div><div><span class="Apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;">Carl Callaway- </span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;">Cosmogony and prophecy: Maya Era Day cosmology in the context of the 2012 prophecy</span></span></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;"><span class="Apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></span></div><div><span class="Apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;">John Carlson- </span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;">Lord of the Maya Creations on his Jaguar throne: the eternal return of Elder Brother God L to preside over the 2012 transformation</span></span></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;"><span class="Apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></span></div><div><span class="Apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;">Michael Grofe- </span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;">Measuring Deep Time: the sidereal year and the tropical year in Maya Inscriptions</span></span></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;"><span class="Apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><br />
</span></span></div><div><span class="Apple-style-span" style="background-color: black; color: #6aa84f; font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;">Barbara MacLeod- </span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;">The God’s Grand Costume Ball: a Classic Maya prophecy for the close of the thirteenth Bak'tun</span></span></div><div><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; background-color: black; border-collapse: collapse; color: #6aa84f;"><br />
</span></span></div><div><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; background-color: black; border-collapse: separate; color: #6aa84f;">John W. Hoopes: “New Age Sympathies and Scholarly Complicities: A Critical History of 2012 Mythology.”</span></span></span></div><div><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; background-color: black; border-collapse: separate; color: #6aa84f;"><br />
</span></span></span></div><div><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 3px; -webkit-border-vertical-spacing: 3px; border-collapse: collapse;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; background-color: black; border-collapse: separate; color: #6aa84f;">All papers held several new insights into the gods, events, and historical authors of the Tortuguero Monument 6 text that hosts the Maya 2012 prophecy. </span></span></span></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-36075075315928866832010-10-31T05:31:00.000-07:002010-11-30T03:31:45.815-08:00The Dresden Codex at Hi-ResWow! I was just sent a link to the Dresden Codex at hi resolution. See:<br />
<br />
<a href="http://digital.slub-dresden.de/sammlungen/werkansicht/280742827/0/">http://digital.slub-dresden.de/sammlungen/werkansicht/280742827/0/</a><br />
<br />
Best,<br />
<br />
CarlUnknownnoreply@blogger.com2tag:blogger.com,1999:blog-7760763218965944999.post-25164572661394360952010-05-05T12:11:00.001-07:002010-05-05T12:20:35.749-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAGhxGF8S_Jx8w_dB_DY6nom82x9Zs1tEK8anOanQDVnCWC0l4LZR_Hatfr6GVp3zcLClWMTGrY7EMHD3qgH2aGYnhavezDqPI3GwqUo_7gR1f4u2ekc3iZ088PLc9NoHli8jwzoFj7he5/s1600/HPIM2695.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 150px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAGhxGF8S_Jx8w_dB_DY6nom82x9Zs1tEK8anOanQDVnCWC0l4LZR_Hatfr6GVp3zcLClWMTGrY7EMHD3qgH2aGYnhavezDqPI3GwqUo_7gR1f4u2ekc3iZ088PLc9NoHli8jwzoFj7he5/s200/HPIM2695.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5467867917015490530" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjsA2NBbZcNX40_NRCQacTPdfjSs_xU12kFUswzi2M0vmzSxwPmkkKWbxxF9oq7QSrj5AX4kPkcKP60KAihyOnxDk7-Bt0S4ktvHoMlOGv-TJoEzCs83J_qA8KBk0tSD-y3xhwpWYo6xkF/s1600/Caracol_St_1_jPG.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjsA2NBbZcNX40_NRCQacTPdfjSs_xU12kFUswzi2M0vmzSxwPmkkKWbxxF9oq7QSrj5AX4kPkcKP60KAihyOnxDk7-Bt0S4ktvHoMlOGv-TJoEzCs83J_qA8KBk0tSD-y3xhwpWYo6xkF/s200/Caracol_St_1_jPG.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5467867291003542498" /></a><br /><p class="MsoBodyText" style="margin-bottom: 0.0001pt; ">Well I made it to the Capital of Yucatan! Merida has a host of wonderful museums, not the least of which is the <i>Palacio Canton</i>- a pink and white marble palace (built around 1900) that houses many of Yucatan's finest archaeological treasures, not the least of which is the inscribed Panel 1 from Chichen Itza's Caracol-a stellar observatory with a spiral staircase and observational windows and a building that is a testament to the pinnacle of Maya Astronomy.</p><p class="MsoBodyText" style="margin-bottom: 0.0001pt; ">So the morning after I arrived (Palm Sunday-the streets were filled with processions of waving palms, song and dance), I walked the 10 blocks to the (it felt like 20) and was allowed to take many pictures of all monuments on display. Frustratingly, most of the monuments and artifacts are not labeled telling of their origins, but fortunately I knew most of them. Panel 1 from the Caracol is displayed in dim light and in the open air without protective glass which makes photographing it a lot easier. I asked if I could use my portable LED light to cross light while took photos and of course they said no. Regardless, I was great to be so very close to such an important inscription and allowed to photograph it at hi resolution. It had sustained a lot of damage since it was recovered in the 1930's with many chips, gouges and scrapes.</p><p class="MsoBodyText" style="margin-bottom: 0.0001pt; ">Why am I so interested in this monument? Well, it records one of the many Era Day inscriptions (and in reversed order at that!) in connection to the supposed founding of the Caracol. The stela also contains the last known inscriptions of one of Chichen's most prominent rulers that of the great <span lang="EN-AU">K’ahk’-u-Pakal. It describes many doings of this ruler toward the end of his life and in connection with the 17</span><span lang="EN-AU" style="font-size: 9.5pt; top: -4pt; font-size:10.0pt;">th</span><span lang="EN-AU"><span> </span>TUUN of K’ATUN 1 AJAW (beginning on 10.2.17.0.0. 13 AJAW 18 YAXK’IN and closing on 10.3.0.0.0. 1 AJAW 3 YAXK’IN or circa 886-889 AD). From the good work by other epigraphers such as Erik Boot and <span class="Apple-style-span" style="font-family:'Times New Roman', serif;"><span class="Apple-style-span" style="font-size:medium;">Alexander Voss, </span><span class="Apple-style-span" style="font-family:Georgia, serif;">we can postulate that the Caracol was a building related to the divination and that the Itza B’olon K’awiil was the orator and the prognosticator of the Tz’ikinal (a name for the Caracol?) that had the function to announce and proclaim the prognostication for the year based on astronomical observations. Okay so what does all this mean for my work? Well, when the Caracol was built and Panel 1 dedicated, scribes tied the buildings celebration to not only the life of K’ahk’-u-Pakal but also to the beginning of time and the first day of the Current Era, the so called “zero date” of the Maya calendar. Which makes a lot of sense because the Era date 13.0.0.0.0. 4 AJAW 8 KUMK'U served as the initial base date for almost all Maya astronomical calculations as is exemplified so prominently in the Maya book known today as the Dresden Codex.</span></span></span></p><p class="MsoBodyText" style="margin-bottom: 0.0001pt; "><span lang="EN-AU"><span class="Apple-style-span" style="font-family:'Times New Roman', serif;"><span class="Apple-style-span" style="font-family:Georgia, serif;">Needless to say I took a gazillion shots of everything. Its was then well into the afternoon and intensely hot, I made it back to the hotel soaking wet and exhausted yet happy with my cache of new photos.</span></span></span></p>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7760763218965944999.post-66630268001947145452010-05-02T10:34:00.000-07:002010-05-02T12:28:19.329-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBI3RLpO3Oogbih0nEtZo1NlMSLh-Gy9xoHFCZPgBXOC43muK4-rvmuoULhXueZSPy11eKmm-3_SMlurC1HBxHXiVWrsgGA5VvIVs2ZXfCeyQZN4lUbTjD9-86fuIMLYBmRLKMBkyJcCta/s1600/Tulane+Quirigua+photo+2.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBI3RLpO3Oogbih0nEtZo1NlMSLh-Gy9xoHFCZPgBXOC43muK4-rvmuoULhXueZSPy11eKmm-3_SMlurC1HBxHXiVWrsgGA5VvIVs2ZXfCeyQZN4lUbTjD9-86fuIMLYBmRLKMBkyJcCta/s320/Tulane+Quirigua+photo+2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5466751187811377442" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkPXZ7tOoWtCLm_KbosrTbCe_xq2nFTzx74GpVNnTB9W6dBLIYQFVdR-j_9vkPEwVmE9Bk5gzSH3RXTryrS4N72C5z5hl6xK7m1o057hleKrnmlj4PuRb2tL0dbY9R6UnVETDJgat4pPAx/s1600/HPIM2677.JPG"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkPXZ7tOoWtCLm_KbosrTbCe_xq2nFTzx74GpVNnTB9W6dBLIYQFVdR-j_9vkPEwVmE9Bk5gzSH3RXTryrS4N72C5z5hl6xK7m1o057hleKrnmlj4PuRb2tL0dbY9R6UnVETDJgat4pPAx/s320/HPIM2677.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5466748717413306770" /></a><br />After San Diego's Museum of Man, I turned my sights eastward to Explore Maya archives housed in the Palace of the Governors, Santa Fe New Mexico, MARI archives at Tulane University at New Orleans, and The Museum of Anthropology in Philadelphia Pennsylvania. All contain thousands of unpublished documents and photos of Maya monuments from the latter part of the 19th Century and the beginning of the 20th Century. <div><br /></div><div>I took the time to drive out to Santa Fe from California with my partner in glyphs Mary from Australia. She had never experienced the vast deserts of the Great Basin and the high snows and alpine forests of the Rocky Mountains. So it was a delight to share these natural wonders with her. To reach the remaining archives I flew by plane. In every cache of documents, I found details of inscriptions that have since been eroded away and that are related to Classic Maya Era Day activities- they are small details but ones that help me verify or discredit elements of past drawings and to make new ones that I hope will advance the field in the area of Era Day mythic history. </div><div><div><br /></div><div>When I start to examine any archive, my mind inhabits another zone completely where time, hunger, and daily concerns just disappear. Its like gold fever in a way. Twelve hours can pass and it feels like I have only been there only two hours! Every photo, every document holds the potential for new discovery and revelation into the ancient mythic mind of the scribe. The pursuit of knowledge for knowledge's sake is still a noble task in my book. Yet once I wake from that trance and the work is over, I suddenly feel the hunger pains in my stomach, and my aching back. </div><div><br /></div><div>With this note, I post just a few photos. The first is courtesy of the MARI Archives at Tulane depicting a girl at the site of Quirigua standing beside two altars. I hope it gives you a feel for many of the early photos I examined. Another is of me on the Penn campus debating with one of my great heroes of all time Ben Franklin (eventhough he is just a statue). </div><div><br /></div><div>OK Now its off to Mexico to explore some key Maya sites and monuments South of the border.</div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-86582378489407455452010-03-22T13:00:00.001-07:002010-03-26T07:46:21.234-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXh1wrD-vpi6yavn7DsrKSkbGr9QcMAtDtVhmecMhzB12vGkFoo0ocji7QaUxO1uMSckgH0KbR2s2eSlPQyI8jtpYCHYWk3lJvaFeof_fAAyTckruRNSqg89c-P6kWKJ2H7xYOCrgNE-ZB/s1600-h/DSCN0930.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXh1wrD-vpi6yavn7DsrKSkbGr9QcMAtDtVhmecMhzB12vGkFoo0ocji7QaUxO1uMSckgH0KbR2s2eSlPQyI8jtpYCHYWk3lJvaFeof_fAAyTckruRNSqg89c-P6kWKJ2H7xYOCrgNE-ZB/s320/DSCN0930.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5451554774116255010" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Pyds8Hn2XlNBtRpHN-BXwXKFK1UFxEyanT1w5GT9mBy0XnzA-c6ZMAt5OO2YeIPdAp0nOsQRJ9pl1CnZDxrJGRRZ9TJNA7sUHfCLm7E6g_xuYQAd5SBzySjSXuEyxwnh-rU6ftDXvdW0/s1600-h/DSCN0937.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 240px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Pyds8Hn2XlNBtRpHN-BXwXKFK1UFxEyanT1w5GT9mBy0XnzA-c6ZMAt5OO2YeIPdAp0nOsQRJ9pl1CnZDxrJGRRZ9TJNA7sUHfCLm7E6g_xuYQAd5SBzySjSXuEyxwnh-rU6ftDXvdW0/s320/DSCN0937.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5451554250292102610" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieoELiF41bzLYaIA02G68EOKh_ALJj2aZsjA3ezTYi4DLl8nEoRWPFm62mC1IFAh8nYRtLdGo22dTCy33RfPDiIZtC9GAlQeOBpvfArriICwfDZ5OMgtMFI0g1limSmx2c8e4fndP5LXjk/s1600-h/DSCN0873.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieoELiF41bzLYaIA02G68EOKh_ALJj2aZsjA3ezTYi4DLl8nEoRWPFm62mC1IFAh8nYRtLdGo22dTCy33RfPDiIZtC9GAlQeOBpvfArriICwfDZ5OMgtMFI0g1limSmx2c8e4fndP5LXjk/s320/DSCN0873.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5451552415960565154" /></a><br /><span class="Apple-style-span" style=" ;font-family:Verdana;">My trip to the San Diego Museum of Man yielded many photos of the casts and their inscriptions of Quirigua monuments on display. These casts were made in 1914 under the direction of Edgar L. Hewett (then the director of the School of American Archaeology) for the Panama California Exposition that opened in 1915. The museum staff allowed me full access for two days to take photos of the inscriptions on the Zoomorphs, especially Zoomorph P (many thanks to director Kate Vogel and assistants Judith Green Wells, Kenneth Bordwell and security guard David Potter for their help). Although this monument has been closely studied in the past, the inscriptions along its south side have not been well documented due to erosion factors and lack of good photographs. The monuments are housed in a beautiful cathedral-like building complete with a dome top. The building's high ceilings and open gallery complement the lofty heights of the stelae on display. The collection also has a cast of Stela C that contains the most detailed account of Era Day events from the Late Classic Period. Delightfully, they also had casts of Palenque's Temple of the Cross and Temple of the Sun's inner sanctuary panels that also record short but important Era Day passages. These panels are located to the left and right walls of the museum's main entrance. Three Era Day passages under one dome-what luck! </span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7760763218965944999.post-67229220833455089992010-02-03T10:27:00.002-08:002010-03-26T07:49:53.085-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHN82s4KWjgeHWzPPN4XLJ3WJgFLcE8f3fKOnOpQzQfoz7mpeJgWrbJkKWIdS7d0Se9bj5hf8UO7oqSwklu7OOjI3Pa3ODjO-C-XhM8Mdz_MY96jdEcZQAp0HQ-2Jee8GCDbQZVvRN1sRZ/s1600-h/Zoo_P_Life_Mag.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 254px; FLOAT: left; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5434085863405209506" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHN82s4KWjgeHWzPPN4XLJ3WJgFLcE8f3fKOnOpQzQfoz7mpeJgWrbJkKWIdS7d0Se9bj5hf8UO7oqSwklu7OOjI3Pa3ODjO-C-XhM8Mdz_MY96jdEcZQAp0HQ-2Jee8GCDbQZVvRN1sRZ/s320/Zoo_P_Life_Mag.jpg" /></a><br /><span class="Apple-style-span" style="font-family:georgia;"><p class="MsoNormal"><span style="font-family:Georgia;">Currently, I am on a 5 month research tour of the US, Mexico and Guatemala in search of Maya Era Day Inscriptions. This project is part of my doctoral research at La Trobe University, Melbourne Australia. The core of my research centers on the analysis and interpretation of hieroglyphic texts and archaeological data pertaining to ancient Maya origin mythology from Classic Period (250-900 AD). It investigates those inscriptions that tell of the origin of the cosmos and the birth of the ancient Maya world on Era Day that occurred on August 13, 3114 BC. Previous attempts to organize Maya cosmology have failed to include all known Era Day inscriptions. Consequently, there is no comprehensive overview of actions, gods and place names relating to the cosmogonic act. My research will present and examine all known Era Day inscriptions for a complete analysis and I hope to relate these findings to the rich imagery on the temple walls and artifacts on which they were written.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Georgia;"><o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Georgia;">Vital to the project is the photographing, drawing and cataloguing of all hieroglyphic passages relating to Era Day. Logistically this is quite a challenge since texts and monuments are scattered in site museums, archives and private collections all over North and Central America. My initial survey revealed that of the thirty nine known Era Day passages, nineteen of the inscriptions and associated monuments need to be photographed and drawn. Previously, these Era Day texts have not been properly documented so as to render accurate drawings for translation. It will be my task to photograph them at night (with a raking light source) to bring out surface details not discernable in the daylight hours. The new photos will then aid in making new drawings. Archival research is equally vital. My findings have uncovered the locations of several key photos and casts of texts made in the late 19th and early 20th centuries that are indispensable to the new translations. These materials are distributed in libraries and museums in the United States, Mexico, and Guatemala.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Georgia;"><o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Georgia;">First up on the agenda is, the San Diego Museum of Man that has on display a cast-replica of Guatemala's, Quirigua Zoomorph P. This monument is read in tandem with its companion altar (called Altar P') that lay directly in front of it. Altar P’ and Zoomorph P also are related in time in that they both record the same initial Long Count date of 9.18.5.0.0. 4 AJAW 13 KEH (September 15, 795 AD), so they were both dedicated on the same day by a ruler known as "Sky Xul". Both are intricately carved with imagery and inscriptions. The attached figure (by Dmitri Kessel, May 1965, Life Magazine) shows both Zoomorph P and its Altar P' together on site. The two works invoke a similar earth based related iconography; Altar P' displays a masked, anthropomorphic figure leaping out of, or falling into, a giant chasm in the earth that is supported on the back of a giant bird while Zoomorph P displays a biciphalic creature whose back supports a giant mountain "WITZ" mask- out of one end emerges a seated human figure from a gaping maw while the opposite end displays a giant mask of the Principle Bird Deity.</span></p></span>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7760763218965944999.post-22002507171880674652009-06-03T00:28:00.000-07:002009-06-09T03:40:44.919-07:00The Palenque House E Painted Band: Calculations into Deep Time<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSAZlVX2opqu9_-igjVa3njOouFH4QT6J-wE0_15r27YCan-DY6c8DXbH2NnWc7xyvzDxS-8LGZDQOI5aI2wuZEACJbtWS2W2rrWZXP0M7VFkDbp75ATB6OBdDNeWBxmfEXeSx2jelD97m/s1600-h/House+e+text+4+blog.jpg+II"><img id="BLOGGER_PHOTO_ID_5343003554732504178" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 114px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSAZlVX2opqu9_-igjVa3njOouFH4QT6J-wE0_15r27YCan-DY6c8DXbH2NnWc7xyvzDxS-8LGZDQOI5aI2wuZEACJbtWS2W2rrWZXP0M7VFkDbp75ATB6OBdDNeWBxmfEXeSx2jelD97m/s320/House+e+text+4+blog.jpg+II" border="0" /></a>The Palenque House E painted text is situated on the rear wall of the western corridor just above the Oval Tablet and below the vault spring. It consists of two horizontal rows of glyphs roughly three meters long. Today, sections of the text are badly damaged or completely effaced (see above photo- courtesy of the British Museum). Fortunately photographs taken by Alfred P. Maudslay in 1891 and Linda Schele in 1973, record many details now lost. The photos reveal four distinct passages (each separated by dates and intervening distance numbers) that were written in commemoration of the accession of K’inich Ahkal Mo’ Naab III in 721 AD<a title="" style="mso-endnote-id: edn1" href="http://www.blogger.com/post-create.g?blogID=7760763218965944999#_edn1" name="_ednref1">[i]</a>. The following link: <a href="http://www.mayaexploration.org/pdf/PalHouseEpaintdTextComposite_2mb.jpg">http://www.mayaexploration.org/pdf/PalHouseEpaintdTextComposite_2mb.jpg</a><br />gives a modern photo composite of the entire text with a preliminary number and lettering system.<br /><br />A Short Summary of the Painted Text<a title="" style="mso-endnote-id: edn2" href="http://www.blogger.com/post-create.g?blogID=7760763218965944999#_edn2" name="_ednref2">[ii]</a><br /><br />Passage I (glyph blocks pA1– pI2) begins with a Long Count set deep into the mythic past (by a few hundred thousand years) of the previous era. This is one of only two deep time texts before the era base day that is accompanied by a full long count date (the other being La Corona glyphic panels 1 and 9). The event associated with the Long Count is unfortunately lost. As noted previously by David Stuart, a participant in the event may be the Sun God or an aspect of him as the <strong>HUK TZ’IKIN CHAPAT AJAW</strong><a title="" style="mso-endnote-id: edn3" href="http://www.blogger.com/post-create.g?blogID=7760763218965944999#_edn3" name="_ednref3">[iii]</a> (God of the night sun). Passage II (glyph blocks pJ1–pS2) records a distance number leading from the opening Long Count to the accession of the Triad Progenitor on <strong>2.0.0.10.2. 9 Ik’ Seating of Sak</strong> (7 September 2325 BC). Passage III (glyph blocks pT1–pU2) may record a conjuring event by the Triad Progenitor (A.K.A. the Maize God-see note i) one <strong>WINAL</strong> (twenty days) before his accession. Passage IV (glyph blocks pU2–pD’2) records a long distance number of 1,112,280 days leading from the accession of the Triad Progenitor on the day <strong>9 IK’ Seating of SAK</strong> to the accession of K’inich Ahkal Mo’ Naab III on <strong>9.14.10.4.2. 9 Ik’ 5 K’ayab</strong> (3 January 722 AD).<a title="" style="mso-endnote-id: edn4" href="http://www.blogger.com/post-create.g?blogID=7760763218965944999#_edn4" name="_ednref4">[iv]</a><br /><br />It is a loss that archaeologists and conservators were unable to save the House E Painted Band. Yet, through the aid of existing photos, drawings and computer technology we have been able to reconstruct this painted monument to Palenque’s mythic origins and royal history and return it to the House E throne room. Back in its rightful place above the Oval Tablet, we see how the text was part of a strategic effort of legitimacy by Ahkal Mo’ Naab III to source his accession on the day <strong>9 IK’</strong> to the Maize God’s accession on the day <strong>9 IK’</strong>. The king further wanted to show continuity between his reign and those of his uncles and famous grandfather Pakal by painting the inscription so it was directly centered and above the Oval Tablet (Pakal’s accession monument) and a throne (the now removed Del Rio Throne) recording three generations of Palenque kings.<a title="" style="mso-endnote-id: edn5" href="http://www.blogger.com/post-create.g?blogID=7760763218965944999#_edn5" name="_ednref5">[v]</a> As elsewhere at Palenque, politics and myth are intermeshed, and rulers continually sought to source their power in mythic deeds of the creator gods. The New Composite of the House E Painted Text offers the researcher the ability view the painting as Maudslay would have seen it back in 1891. Placing the painting back into the House E will allow future scholars to compare the painting to other House E monuments and to understand more fully relationships between written text and the surrounding imagery. Finally a more in-depth article on the painted band can be found at: <div><br /><div align="left"></div><br /><div align="left"><a href="http://www.mayaexploration.org/pdf/HouseEPaintedText_Callaway2008.pdf">http://www.mayaexploration.org/pdf/HouseEPaintedText_Callaway2008.pdf</a></div><br /><div align="left">Notes</div><div align="left"></div><div align="left"><a title="" style="mso-endnote-id: edn1" href="http://www.blogger.com/post-create.g?blogID=7760763218965944999#_ednref1" name="_edn1">[i]</a> It is very interesting to consider the fact that the portion of the painted text sitting directly above the Oval Tablet (Pakal’s accession monument), speaks about the accession of the Triad Progenitor who is strongly associated with the Maize God, see David Stuart, The Inscriptions From Temple XIX At Palenque. A Commentary, 2005, 183. Pakal as well made an apparent link to the Maize God on the Oval Tablet, by declaring in his name caption that he was the “<strong>HUN YAAX IXIM</strong>” or “First Green Maize.”<br /><a title="" style="mso-endnote-id: edn2" href="http://www.blogger.com/post-create.g?blogID=7760763218965944999#_ednref2" name="_edn2">[ii]</a> Of all the sources mentioned previously, I will use the Maudslay and Schele photos along with the Seler drawing to recreate and interpret numerical coefficients of time periods in the painted text.<br /><a title="" style="mso-endnote-id: edn3" href="http://www.blogger.com/post-create.g?blogID=7760763218965944999#_ednref3" name="_edn3">[iii]</a> Erik Boot, The Title (WUK) Chapat Tz’ikin K’inich Ahaw: A New Proposal. Unpublished manuscript.<br /><a title="" style="mso-endnote-id: edn4" href="http://www.blogger.com/post-create.g?blogID=7760763218965944999#_ednref4" name="_edn4">[iv]</a> As David Stuart points out (see David Stuart, The Inscriptions From Temple XIX At Palenque. A Commentary, 2005, 85) the accession date of <strong>9 IK’ 5 KAYAB</strong> and its accompanying time interval of 7.14.9.12.0 days (in connection with the Triad Progenitor’s accession date on 2.0.0.10.2. 9 IK’ Seating of SAK) is recorded elsewhere at Palenque (see Temple XIX text and the Temple XVIII jambs). Therefore, the associated distance number and event connected to Passage IV are verifiable from two other sources.<br /><a title="" style="mso-endnote-id: edn5" href="http://www.blogger.com/post-create.g?blogID=7760763218965944999#_ednref5" name="_edn5">[v]</a> For a reconstruction of the Del Rio Throne see Merle Greene Robertson, The Sculpture Of Palenque Vol. II: The Early Buildings Of The Palace And Wall Paintings. 1985.</div></div>Unknownnoreply@blogger.com0