A volume of classification, interpretation, and analysis of Maya pottery using the type: variety-mode approach, exploring how communities in the region interacted through the lens of ceramic exchange.

The ancient Maya produced a broad range of ceramics that has attracted concerted scholarly attention for over a century. Pottery sherds--the most abundant artifacts recovered from sites--reveal much about artistic expression, religious ritual, economic systems, cooking traditions, and cultural exchange in Maya society. Today, nearly every Maya archaeologist uses the type-variety classificatory framework for studying sherd collections. This impressive volume brings together many of the archaeologists signally involved in the analysis and interpretation of ancient Maya ceramics and represents new findings and state-of-the-art thinking. The result is a book that serves both as a valuable resource for archaeologists involved in pottery classification, analysis, and interpretation and as an illuminating exploration of ancient Mayan culture.

Lavishly illustrated with nearly 400 color images, Painting the Maya Universe is the most thorough study and brilliant display of Classic Maya ceramic painting yet published. Building on twenty years of research and debate, Dorie Reents-Budet and her collaborators Joseph W. Ball, Ronald L. Bishop, Virginia M. Fields, and Barbara MacLeod bring together many perspectives, including the art historical, archaeological, epigraphical, and ethnohistorical, to examine one of the world's great but overlooked painting traditions. With an emphasis on sixth- to eighth-century pottery featuring both pictorial and hieroglyphic imagery, Painting the Maya Universe presents an extraordinary exploration of the cultural roles and meanings of these Guatemalan, Belizean, and Mexican elite painted ceramics. Maya pottery is discussed both in aesthetic terms and for the important information it reveals about Maya society, artistry, politics, history, religion, and ritual. The range of ceramic painting styles developed during this period is also presented and defined in detail. Painting the Maya Universe is the first publication to present a definitive translation of the hieroglyphic texts painted on these objects. With many glyphs deciphered here for the first time, this analysis reveals much about how these vessels were perceived and used by the Maya, their owners' names, and, in several cases, the names of the artists who created them. This information is combined with archaeological and other data, including nuclear chemical analyses, to correlate painting styles with specific Maya sites. Published in conjunction with Duke University Museum of Art and an exhibition touring the United States, Painting the Maya Universe presents an astonishing visual record as well as a monumental scholarly achievement. With photographs by Justin Kerr, the foremost photographer of pre-Columbian art, it includes over 90 unique full-color rollout photographs, each showing the entire surface of an object in a single frame. The book also addresses the questions and controversy regarding the loss of information that occurs when objects are removed from their archaeological context to become part of public and private collections. Painting the Maya Universe will energize discussion of Maya pottery, hieroglyphic texts, and iconography. Its photographs, a lasting resource on this great painting tradition, will stimulate and delight the eye. It is a breakthrough in art history and Latin American scholarship that will enrich general readers and scholars alike.

New and comprehensive sequencing of the ceramics in Guatemala's Holmul region provides answers to important questions in Maya archaeology. In this comprehensive and highly illustrated new study, authors Callaghan and Neivens de Estrada use type: variety-mode classification to define a ceramic sequence that spans approximately 1,600 years.

This volume presents the results of 35 years of archaeological research at the Maya site of Pacbitun, located in west central Belize. The site was continuously occupied from 900 BC to AD 800/900. Excavations focused on both the site core and periphery, with investigations centred around housemounds, workshops, causeways, caves, and other karst features. In the site core, we excavated at areas ranging from small domestic houses dating to the Middle Preclassic to large ceremonial architecture (e.g. courtyards, palaces, temples) and complexes (e.g. E Groups) dating to the Late/Terminal Classic periods. From a material culture perspective, we conducted extensive research on ancient Maya use of plants, animals, ground stone tools, musical instruments, and ceramics.

The socio-economic nature of Late Postclassic (c. AD 1100-1500) Maya society is not well understood and still eludes researchers. Through a combination of analytical methods, including petrographic, chemical and experimental, examination of surface features and ethnographic analyses, this study reconstructs ceramic production technology, seeking regional patterns in the technology applied to vessels from the main centre of Mayapán and several north-central and eastern sites. The results provide new insights into the raw material selection and the manufacture of Late Postclassic ceramics, the existence and nature of technological traditions, and cultural divisions between Mayapán and north-central and eastern sites. Furthermore, new perspectives are gained on longstanding questions about the socio-economic role of Mayapán and neighbouring centres and the scope and mechanisms of ceramic exchange and distribution, informing current ceramic production and exchange models, and advancing our understanding of the socio-economic nature of this period.

Encyclopedia of the Ancient Maya offers an A-to-Z overview of the ancient Maya culture from its inception around 3000 BC to the Spanish Conquest after AD 1600. Over two hundred entries written by more than sixty researchers explore subjects ranging from food, clothing, and shelter to the sophisticated calendar and now-deciphered Maya writing system. They bring special attention to environmental concerns and climate variation; fresh understandings of shifting power dynamics and dynasties; and the revelations from emerging field techniques (such as LiDAR remote sensing) and newly explored sites (such as La Corona, Tamchen, and Yaxnohkah). This one-volume reference is an essential companion for students studying ancient civilizations, as well as a perfect resource for those planning to visit the Maya area. Cross-referencing, topical and alphabetical lists of entries, and a comprehensive index help readers find relevant details. Suggestions for further reading conclude each entry, while sidebars profile historical figures who have shaped Maya research. Maps highlight terrain, archaeological sites, language distribution, and more; over fifty photographs complement the volume.

To the four great calligraphic traditions - ancient Egyptian, East Asian, Islamic, and western European - is now added a fifth: that of the ancient Maya. Long known but little understood, Maya writing has now largely been deciphered, leading to a new understanding of the Maya scribes and the society in which they lived. This volume is the first to make full use of the latest research and the first to consider Maya writing both aesthetically and in terms of its meaning. Michael D. Coe begins by examining the origins and character of the script. He then explores the world of the scribes and "keepers of the holy books, " decoding their depiction in Maya art and describing the mediums in which they worked, their tools, and techniques.

This nuanced account explores Maya mythology through the lens of art, text, and culture. It offers an important reexamination of the mid-16th-century Popol Vuh, long considered an authoritative text, which is better understood as one among many crucial sources for the interpretation of ancient Maya art and myth. Using materials gathered across Mesoamerica, Oswaldo Chinchilla Mazariegos bridges the gap between written texts and artistic representations, identifying key mythical subjects and uncovering their variations in narratives and visual depictions. Central characters—including a secluded young goddess, a malevolent grandmother, a dead father, and the young gods who became the sun and the moon—are identified in pottery, sculpture, mural painting, and hieroglyphic inscriptions. Highlighting such previously overlooked topics as sexuality and generational struggles, this beautifully illustrated book paves the way for a new understanding of Maya myths and their lavish expression in ancient art.

Draws upon both archaeological and ethnographic techniques to study prehistoric cultural change, village ethnoarchaeology focuses on a range of archaeological problems at the village or household level-including the important socioeconomic role of specific craft activities. In this context, recent studies of contemporary pottery making-follow trends in ethnoarchaeology involving model building, formation processes, and evaluation and refinement of existing archaeological recovery techniques.