Ancient Mayan Message (Dresden Codex facsimile) This third edition features a full-color reproduction of The Dresden Codex that has been carefully crafted by the author Olga Judith Najarro Ibarra, to re-create the original Mayan manuscript, an archaeological and historical treasure. This facsimile should benefit in the research, study and consultation of this mysterious Mayan hieroglyphic writing. Ms. Judith Najarro has dedicated many years to hand-drawing and coloring the intricate blends of minute details that encompass the complex and fascinating Mayan hieroglyphic writing in order to ensure precision, accuracy of proportions, levels and orientation to her excellent art work that contains 78 plates, except four of them that are completely blurry. This exciting new edition is based on a comparison between several pre-WWII facsimiles of The Dresden Codex, when the codex was in better conditions. The original manuscript is still in fair shape, but several plates have suffered damage from bombings, fires, floods, mildew etc., and now are blurry; also, the plates are no longer connected in quite the same way. Originally, all of the plates were attached to each other forming a single strip of some 3.5 meters long when stretched out from their accordion folds. The original sequence of the plates were: pages 1-24 followed by 46-74, followed by 25-45. According to some historians the original manuscript was found in one of the largest Mayan cities and was supposedly sent to Europe around 1519. In 1744, it was acquired by The Royal Library of Dresden Germany, to which it owes its name. Many researchers agree that The Codex deals with: Astronomy, mathematics, astrological tables of the planets, the moon, conjunctions of solar bodies, cosmogonic theories, religion, agriculture, magic and mythology. The Mayas used tree bark for the preparation of their papyrus on which they drew and painted their colored hieroglyphs and pictures, as the highest expression of their knowledge and pictographic art. The Dresden Codex (Dresdensis Codex) is without a doubt, the most important pre-Hispanic document that has been preserved throughout the centuries. It is the oldest known book written in the Americas; of the hundreds of books that were used in Meso-America before the Spanish conquest, it is one of only 15 that have survived to the present day. This third edition facsimile elaborated by Judith Najarro, is a perfect replica of The Dresden Codex, and should inspire scientists, archaeologists, astronomers, mathematicians, historians, native peoples and the world at-large to explore into the secrets of the past and the universe. Visit: www.mayacodex.wordpress.com

The Mayan Messages are a collection of 260 channeled messages, one for each day of the sacred Tzolkin Mayan calendar. In today’s world, there is much debate over what may or may not happen in the year 2012.The Day Keepers of the Mayan calendar speak from the “Other Side,†encouraging the reader to look within, on a daily basis, for ways to create the reality one chooses to experience.No matter when the world comes to an end, these pearls of wisdom will allow you to create a life filled with peace, joy and abundance. . . NOW and in every moment, no matter what chaos is spinning around you.Consider purchasing a copy for your local church, school, jail or public library. Contact the author for possbile discounts on multiple book orders! A portion of the sale of this book is used to supply the Mayan Messages to jails and public libraries throughout the United States. For more information, visit our website at: www.t-a-d-a.com

This authoritative work is the first visual dictionary of Maya glyphs published since the script's complete deciphering, offering a much-needed, comprehensive catalogue of 1100 secured glyphs. Each entry includes the illustrated glyph, its phonetic transcription, Mayan equivalent, part of speech, and meaning. About the Author John Montgomery was an illustrator, epigrapher, writer, and PhD candidate in the field of Pre-Columbian Art at the University of New Mexico. He taught art history at the South-western Indian Polytechnic Institute in Albuquerque. A long and varied experience in Central America first inspired his interest in the ancient Maya. His glyphic illustrations are based on a lifetime of involvement with Maya glyph decipherment.

What was life like in the days of the ancient Maya civilization? Where did people live and what did they do each day? These questions and more are answered in this fact-filled book about the daily life of the ancient Maya. Engaging text and primary sources shed light on the many mysteries of the Maya people. Color photographs of existing architecture and artifacts, as well as artwork, will transport readers back to the days when the Maya civilization was thriving. This exciting book is rich with information about Maya culture, and it’s sure to stoke readers’ imaginations while giving them a deep understanding of the history of this ancient civilization.

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.

The breaking of the Maya code has completely changed our knowledge of this ancient civilization, and has revealed the Maya people's long and vivid history. Decipherment of Maya hieroglyphic writing has progressed to the point where most Maya written texts—whether inscribed on monuments, written in the codices, or painted or incised on ceramics—can now be read with confidence. In this practical guide, first published in 2001, Michael D. Coe, the noted Mayanist, and Mark Van Stone, an accomplished calligrapher, have made the difficult, often mysterious script accessible to the nonspecialist. They decipher real Maya texts, and the transcriptions include a picture of the glyph, the pronunciation, the Maya words in Roman type, and the translation into English. For the second edition, the authors have taken the latest research and breakthroughs into account, adding glyphs, updating captions, and reinterpreting or expanding upon earlier decipherments. After an introductory discussion of Maya culture and history and the nature of the Maya script, the authors introduce the glyphs in a series of chapters that elaborate on topics such as the intricate calendar, warfare, royal lives and rituals, politics, dynastic names, ceramics, relationships, and the supernatural world. The book includes illustrations of historic texts, a syllabary, a lexicon, and translation exercises.

An engaging study that reveals sacred teachings that the Mayan priesthood hid from Spanish conquistadores in Mexico in 1519. The author explores the scientific and spiritual principles underlying the ancient glyphs, numbers, and language of the Maya.

Now shrouded in Guatemalan jungle, the ancient Maya city of Piedras Negras flourished between the sixth and ninth centuries, when its rulers erected monumental limestone sculptures carved with hieroglyphic texts and images of themselves and family members, advisers, and captives. In Engaging Ancient Maya Sculpture at Piedras Negras, Guatemala, Megan E. O’Neil offers new ways to understand these stelae, altars, and panels by exploring how ancient Maya people interacted with them. These monuments, considered sacred, were one of the community’s important forms of cultural and religious expression. Stelae may have held the essence of rulers they commemorated, and the objects remained loci for reverence of those rulers after they died. Using a variety of evidence,O’Neil examines how the forms, compositions, and contexts of the sculptures invited people to engage with them and the figures they embodied looks at these monuments not as inert bearers of images but as palpable presences that existed in real space at specific historical moments. Her analysis brings to the fore the material and affective force of these powerful objects that were seen, touched, and manipulated in the past. O’Neil investigates the monuments not only at the moment of their creation but also in later years and shows how they changed over time. She argues that the relationships among sculptures of different generations were performed in processions, through which ancient Maya people integrated historical dialogues and ancestral commemoration into the landscape. With the help of more than 160 illustrations, O’Neil reveals these sculptures’ continuing life histories, which in the past century have included their fragmentation and transformation into commodities sold on the international art market. Shedding light on modern-day transposition and display of these ancient monuments, O’Neil’s study contributes to ongoing discussions of cultural patrimony.