In The Copan Sculpture Museum, Barbara Fash tells the inside story of conceiving, designing, and building a local museum with global significance. The book provides a comprehensive introduction to the history and culture of the ancient Maya and a model for working with local communities to preserve cultural heritage.

Copán, one of the most important Classic Maya sites, is renowned for the artistry of its high-relief stelae and altars and for the wealth of detail on its freestanding and architectural sculpture. In Maya Sculpture of Copán: The Iconography, internationally known Mayanist Claude-François Baudez provides a masterful survey of these elaborate and intriguing carved images. In Part I, Baudez identifies and deciphers the specific motifs on each monument and shows how the elements were combined to produce meaningful iconographic messages. The architectural sculpture expresses the meaning and function of the buildings and complexes, many designed to represent the sky, earth, and underworld and to serve as stages for rituals. Photographs and drawings clarify the intricate forms. Part II relates the iconography to the religion and politics of the city-state. Baudez traces the evolution of the motifs in relation to the history of Copán and the multiple functions of the king—his cosmic role, the continuous reference to his ancestors, and the dynastic cycles. Sacrifice—bloodletting by the king and the sacrifice of captives—is of paramount importance. Growth and rebirth required constant offerings of blood to the earth and to the sun, to ensure its rebirth at dawn after its nocturnal journey through the underworld. The monuments give a coherent picture of Maya cosmology.

"This volume collects leading scholarship on one of the most important archaeological complexes in the ancient Maya world. The authors - internationally renowned experts who participated in the Copan Acropolis Archaeological Project - address enduring themes in Maya archaeology, such as symbolism and its use in elite legitimation strategies, demographics and ancient political economy, and the relationship between water management and social structure. In addition to site-specific breakthroughs involving dynastic sequences, epigraphy, and chronologies, these essays explore questions of broad interest to archaeologists and other anthropologists, including state formation, architecture and space, and the relationship between history and archaeology as well as among archaeology, epigraphy, and iconography. Synthesizing the new findings in the context of the long history of Maya archaeology, the volume takes stock of the field and suggests future directions for research."--BOOK JACKET.

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Copan in modern Honduras was one of the great cities of the Classic Maya. Explorers found ruined temples, plazas, and more hieroglyphic inscriptions and sculpted monuments than in any other site in the New World. But the stones were silent, the script undeciphered.

“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.

The contributors to this volume present extensive new evidence from archaeology, iconography, and epigraphy to offer a more nuanced understanding of the interaction between the Early Classic Maya and Teotihuacan. Winner, Choice Outstanding Academic Book, 2005 Since the 1930s, archaeologists have uncovered startling evidence of interaction between the Early Classic Maya and the great empire of Teotihuacan in Central Mexico. Yet the exact nature of the relationship between these two ancient Mesoamerican civilizations remains to be fully deciphered. Many scholars have assumed that Teotihuacan colonized the Maya region and dominated the political or economic systems of certain key centers—perhaps even giving rise to state-level political organizations. Others argue that Early Classic rulers merely traded with Teotihuacan and skillfully manipulated its imported exotic goods and symbol sets to increase their prestige. Moving beyond these traditional assumptions, the contributors to this volume present extensive new evidence from archaeology, iconography, and epigraphy to offer a more nuanced understanding of the interaction between the Early Classic Maya and Teotihuacan. Investigating a range of Maya sites, including Kaminaljuyu, Copán, Tikal, Altun Ha, and Oxkintok, they demonstrate that the influence of Teotihuacan on the Maya varied in nature and duration from site to site, requiring a range of models to explain the patterns of interaction. Moreover, they show that the interaction was bidirectional and discuss how the Maya in turn influenced Teotihuacan.

Winner, Association for Latin American Art Book Award, 2010 The Maya of Mexico and Central America have performed ritual dances for more than two millennia. Dance is still an essential component of religious experience today, serving as a medium for communication with the supernatural. During the Late Classic period (AD 600-900), dance assumed additional importance in Maya royal courts through an association with feasting and gift exchange. These performances allowed rulers to forge political alliances and demonstrate their control of trade in luxury goods. The aesthetic values embodied in these performances were closely tied to Maya social structure, expressing notions of gender, rank, and status. Dance was thus not simply entertainment, but was fundamental to ancient Maya notions of social, religious, and political identity. Using an innovative interdisciplinary approach, Matthew Looper examines several types of data relevant to ancient Maya dance, including hieroglyphic texts, pictorial images in diverse media, and architecture. A series of case studies illustrates the application of various analytical methodologies and offers interpretations of the form, meaning, and social significance of dance performance. Although the nuances of movement in Maya dances are impossible to recover, Looper demonstrates that a wealth of other data survives which allows a detailed consideration of many aspects of performance. To Be Like Gods thus provides the first comprehensive interpretation of the role of dance in ancient Maya society and also serves as a model for comparative research in the archaeology of performance.