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.

Cover -- Half Title -- Title -- Copyright -- Dedication -- Contents -- Acknowledgments -- Note on Translations and Orthography -- Introduction -- 1 Image and Text -- 2 Pictorial and Textual Sources -- 3 Mesoamerican Cosmogony -- 4 The Maiden -- 5 The Grandmother -- 6 The Sun's Opponents -- 7 The Sun -- 8 The Perfect Youth -- 9 The Father -- Epilogue -- Notes -- Bibliography -- Illustration Credits -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X -- Y -- Z

This introduction to Maya art is based on study of one of the most important collections in the United States, assembled by Robert Woods Bliss between 1935 and 1962. The catalogue, written by leading Maya scholars, contains detailed analyses of specific works of art along with thematic essays situating them within the context of Maya culture.

“In addition to serving as an introduction to Maya art, the book communicates enthusiasm for the art’s aesthetic power and grace.” —Choice Rewritten and updated to include the discoveries and new theories from the past decade and a half, this classic guide to the art of the ancient Maya is now illustrated in color throughout. World expert Mary Miller and her co-author Megan O’Neil take the reader through the visual world of the Maya, explaining how and why they created the paintings, sculpture, and monuments that intrigue and compel people the world over. With an array of new material, including the newly found La Corona panels, Waka’ figurines, and the Dz’ibanche’ staircase; studies of the monuments at Palenque, Zotz, and elsewhere; and paintings discovered in recent years; this new edition will be essential reading for students and scholars—and for travelers to the cities of this mysterious civilization.

“A prodigious work of unmatched interdisciplinary scholarship” on Maya astronomy and religion (Journal of Interdisciplinary History). Observations of the sun, moon, planets, and stars played a central role in ancient Maya lifeways, as they do today among contemporary Maya who maintain the traditional ways. This pathfinding book reconstructs ancient Maya astronomy and cosmology through the astronomical information encoded in Pre-Columbian Maya art and confirmed by the current practices of living Maya peoples. Susan Milbrath opens the book with a discussion of modern Maya beliefs about astronomy, along with essential information on naked-eye observation. She devotes subsequent chapters to Pre-Columbian astronomical imagery, which she traces back through time, starting from the Colonial and Postclassic eras. She delves into many aspects of the Maya astronomical images, including the major astronomical gods and their associated glyphs, astronomical almanacs in the Maya codices and changes in the imagery of the heavens over time. This investigation yields new data and a new synthesis of information about the specific astronomical events and cycles recorded in Maya art and architecture. Indeed, it constitutes the first major study of the relationship between art and astronomy in ancient Maya culture. “Milbrath has given us a comprehensive reference work that facilitates access to a very broad and varied body of literature spanning several disciplines.” ―Isis “Destined to become a standard reference work on Maya archeoastronomy . . . Utterly comprehensive.” —Andrea Stone, Professor of Art History, University of Wisconsin, Milwaukee

One of the most extraordinary works of the human imagination and the most important text in the native languages of the Americas, Popul Vuh: The Mayan Book of the Dawn of Life was first made accessible to the public 10 years ago. This new edition retains the quality of the original translation, has been enriched, and includes 20 new illustrations, maps, drawings, and photos.

In Maya Political Science: Time, Astronomy, and the Cosmos, Prudence M. Rice proposed a new model of Maya political organization in which geopolitical seats of power rotated according to a 256-year calendar cycle known as the May. This fundamental connection between timekeeping and Maya political organization sparked Rice's interest in the origins of the two major calendars used by the ancient lowland Maya, one 260 days long, and the other having 365 days. In Maya Calendar Origins, she presents a provocative new thesis about the origins and development of the calendrical system. Integrating data from anthropology, archaeology, art history, astronomy, ethnohistory, myth, and linguistics, Rice argues that the Maya calendars developed about a millennium earlier than commonly thought, around 1200 BC, as an outgrowth of observations of the natural phenomena that scheduled the movements of late Archaic hunter-gatherer-collectors throughout what became Mesoamerica. She asserts that an understanding of the cycles of weather and celestial movements became the basis of power for early rulers, who could thereby claim "control" over supernatural cosmic forces. Rice shows how time became materialized—transformed into status objects such as monuments that encoded calendrical or temporal concerns—as well as politicized, becoming the foundation for societal order, political legitimization, and wealth. Rice's research also sheds new light on the origins of the Popol Vuh, which, Rice believes, encodes the history of the development of the Mesoamerican calendars. She also explores the connections between the Maya and early Olmec and Izapan cultures in the Isthmian region, who shared with the Maya the cosmovision and ideology incorporated into the calendrical systems.

"Integrated and comparative approach to the Popol vuh, analyzing myths to elucidate ancient Maya past using archaeological and ethnographic information to shed light on the text. Combining interpretations of myths with analyses of archaeological, iconographic, epigraphic, and ethnographic resources, demonstrates how mythologies contribute to the analysis and interpretation"--