The murals uncovered at Calakmul, Mexico depict scenes of daily life among common people. They show figures engaged in activities like preparing, serving, and consuming foods like maize, salt, and tobacco. Many figures are accompanied by hieroglyphic captions that describe them, such as "Maize-gruel person" or "Salt person". The murals offer insights into how goods were circulated within ancient Maya society and among the lower classes that typically leave little archaeological evidence. They provide a rare view into the social lives and roles of ordinary people in Maya communities.
The document discusses three important archeological sites in El Salvador - Tazumal, Joya de Cerén, and San Andrés. It provides details about important findings at each site, including sculptures, religious artifacts, and layers of ash that have helped preserve Joya de Cerén for over 1,400 years. Students are instructed to read articles about these sites and El Salvador's National Anthropology Museum and discuss comparative and superlative adjectives, Maya art and artifacts, and watch an educational video.
La civilización maya se originó entre el 2600 a.C. y el 900 d.C. en las tierras bajas de México y América Central, donde construyeron grandes ciudades y desarrollaron avanzadas matemáticas, astronomía y escritura. Alcanzaron su apogeo entre los años 250 y 900 d.C., pero luego entraron en declive debido a la sobrepoblación, la explotación de recursos y la sequía, aunque sus descendientes continúan viviendo en la región.
3.Reserva de la Biosfera Calakmul & 4.Ley de Amparo Janeth Jaramillo
La Reserva de la Biosfera Calakmul es una reserva natural establecida en 1989 en México que protege 723,185 hectáreas de selva tropical, incluyendo especies amenazadas. Alberga más de 525 sitios arqueológicos mayas y es uno de los mayores centros urbanos mayas durante el periodo Clásico. Su riqueza biológica y cultural la convierten en un importante espacio para la conservación.
Mención Honorífica 2014 - "Calakmul. la selva sustentable de los mayas"premiodeperiodismo
Reportaje realizado por Antimio Adrián Cruz Bustamante, publicados en Revista Emeequis
Para más información visita: http://premioperiodismoensustentabilidad.com/
The Maya civilization was established in Mesoamerica around 2000 BC and extended throughout present-day southern Mexico, Guatemala, Belize, western Honduras and northern El Salvador. The Maya developed a fully written language, as well as advanced mathematical, astronomical and architectural systems. Politically, the Maya civilization was composed of separate entities rather than a single empire, though they shared a common cultural background. The Maya are notable for cities like Tikal, Uxmal and Chichen Itza, and for achievements in art, writing, mathematics, and their complex calendar system.
Ecología y medio ambiente (RESERVA CALAKMUL) 6°-SEMESTRE Rocío Yáñez ʚïɞ
Este documento presenta información sobre la ecología y el medio ambiente de la Reserva de la Biosfera de Calakmul en México. Explica que Calakmul protege una gran diversidad de especies endémicas y en peligro de extinción. También describe algunos de los principales factores que amenazan las poblaciones de jaguar y la importancia ecológica de conservar este ecosistema frágil.
For your viewing pleasure
I receive several PowerPoint presentations through e-mail, so I thought I'd share them. I just post them. I didn't creat them :)
www.PowerLegacy.Com
The document discusses three important archeological sites in El Salvador - Tazumal, Joya de Cerén, and San Andrés. It provides details about important findings at each site, including sculptures, religious artifacts, and layers of ash that have helped preserve Joya de Cerén for over 1,400 years. Students are instructed to read articles about these sites and El Salvador's National Anthropology Museum and discuss comparative and superlative adjectives, Maya art and artifacts, and watch an educational video.
La civilización maya se originó entre el 2600 a.C. y el 900 d.C. en las tierras bajas de México y América Central, donde construyeron grandes ciudades y desarrollaron avanzadas matemáticas, astronomía y escritura. Alcanzaron su apogeo entre los años 250 y 900 d.C., pero luego entraron en declive debido a la sobrepoblación, la explotación de recursos y la sequía, aunque sus descendientes continúan viviendo en la región.
3.Reserva de la Biosfera Calakmul & 4.Ley de Amparo Janeth Jaramillo
La Reserva de la Biosfera Calakmul es una reserva natural establecida en 1989 en México que protege 723,185 hectáreas de selva tropical, incluyendo especies amenazadas. Alberga más de 525 sitios arqueológicos mayas y es uno de los mayores centros urbanos mayas durante el periodo Clásico. Su riqueza biológica y cultural la convierten en un importante espacio para la conservación.
Mención Honorífica 2014 - "Calakmul. la selva sustentable de los mayas"premiodeperiodismo
Reportaje realizado por Antimio Adrián Cruz Bustamante, publicados en Revista Emeequis
Para más información visita: http://premioperiodismoensustentabilidad.com/
The Maya civilization was established in Mesoamerica around 2000 BC and extended throughout present-day southern Mexico, Guatemala, Belize, western Honduras and northern El Salvador. The Maya developed a fully written language, as well as advanced mathematical, astronomical and architectural systems. Politically, the Maya civilization was composed of separate entities rather than a single empire, though they shared a common cultural background. The Maya are notable for cities like Tikal, Uxmal and Chichen Itza, and for achievements in art, writing, mathematics, and their complex calendar system.
Ecología y medio ambiente (RESERVA CALAKMUL) 6°-SEMESTRE Rocío Yáñez ʚïɞ
Este documento presenta información sobre la ecología y el medio ambiente de la Reserva de la Biosfera de Calakmul en México. Explica que Calakmul protege una gran diversidad de especies endémicas y en peligro de extinción. También describe algunos de los principales factores que amenazan las poblaciones de jaguar y la importancia ecológica de conservar este ecosistema frágil.
For your viewing pleasure
I receive several PowerPoint presentations through e-mail, so I thought I'd share them. I just post them. I didn't creat them :)
www.PowerLegacy.Com
The document provides an overview of pre-historic and ancient paintings from various eras and regions. It describes cave paintings found at the Cave of Lascaux from 5,000-10,000 BC depicting large animals. It also discusses Egyptian paintings found in tombs that were meant to make the deceased's afterlife pleasant by depicting myths and events from their life. Paintings from the Classical Greek era included those on vases, panels, and tombs depicting battle scenes, myths, and everyday life using techniques like fresco and encaustic.
PAINTINGS FROM DIFFERENT PERIODS ANCIENT, CLASSICAL AND MEDIEVAL PERIOD MAPEH...JULIANCHASE
The document provides information about pre-historic and early paintings from various periods and locations. It discusses cave paintings from the Pre-historic era found in the Cave of Lascaux between 5,000-10,000 BC that depicted large animals. It also describes Egyptian paintings from tombs that were meant to depict the afterlife and journey of the deceased, as well as Greek vase paintings and frescoes that illustrated myths and everyday scenes. Roman paintings expanded on Greek styles and included landscapes, while Byzantine works blended Greek and Eastern influences to depict Christian subjects for church interiors.
This document provides an overview of Paleolithic and Neolithic art in Europe and Africa. It discusses the earliest sculpted forms from the Paleolithic period, including figurines of women, and examines materials and techniques used in cave paintings. Neolithic art is also summarized, noting how environmental and lifestyle changes resulted in new forms of artistic expression like narrative painting and monumental architecture, seen in structures like Newgrange and Stonehenge. Discussion questions at the end explore definitions of art and how human figures were depicted differently between periods.
The document provides an overview of pre-historic and ancient paintings from different eras, including their characteristics, styles, and purposes. It discusses paintings from the Pre-historic era found in caves, as well as three periods of pre-historic art. Specific examples covered include paintings from the Cave of Lascaux in France and ancient Egypt. Classical Greek paintings are summarized, along with common styles like vase, panel, and tomb paintings. Roman paintings are described as often copying Greek styles. Byzantine, Romanesque, and Gothic era paintings are also briefly outlined.
Articulo para la descripcion de la igniombrita con sus propiedades geotecnicas. La ignimbrita es un depósito de flujo piroclástico dominado por piedra pómez formado a partir del enfriamiento del material piroclástico expulsado por una erupción volcánica explosiva. A medida que el material piroclástico se asienta, puede acumular capas gruesas y, si la temperatura es lo suficientemente alta (> 535 °C) , puede soldarse a la roca. El grado de soldadura depende del peso del material suprayacente, por lo que en la parte superior de dichos depósitos la roca es comúnmente vesicular y de baja densidad, mientras que en profundidad el peso suprayacente tritura el material piroclástico formando una roca densa no vesicular. Mientras que la mayoría volcánicaLas rocas se encuentran cerca de la fuente eruptiva, la ignimbrita de espesor razonable a menudo se puede encontrar a decenas o cientos de kilómetros del lugar de la erupción. La andesita es una roca extrusiva de composición intermedia entre la riolita y el basalto . La lava de andesita es de viscosidad moderada y forma flujos y domos de lava gruesos. La palabra andesita se deriva de las montañas de los Andes en América del Sur, donde la andesita es común. La andesita es el equivalente volcánico de la diorita . La diorita es una roca intrusiva de composición intermedia entre el gabro y el granito . Se produce en arcos volcánicos y en la formación de montañas, donde puede aparecer en grandes volúmenes como batolitos en las raíces de las montañas (p. ej., Escocia, Noruega). Debido a que comúnmente está moteado de blanco y negro, a menudo se lo denomina roca de "sal y pimienta". La diorita es el equivalente plutónico de la andesita . La riolita es una roca extrusiva félsica . Debido al alto contenido de sílice, la lava de riolita es muy viscosa. Fluye lentamente, como pasta de dientes que sale de un tubo, y tiende a acumularse y formar domos de lava. Si el magma de riolita es rico en gas, puede entrar en erupción explosivamente, formando un magma solidificado espumoso llamado piedra pómez (una forma vesicular de riolita muy ligera y de color claro) junto con depósitos de ceniza y/o ignimbrita . En ciertas situaciones, pueden desarrollarse flujos de lava de riolita extremadamente porosos. La extrema porosidad de tales flujos permite la desgasificación y posterior colapso del flujo, formando obsidiana (vidrio volcánico de color oscuro). La riolita es la equivalente volcánico del granito . La sienita es una roca intrusiva, perteneciente a la serie alcalina de rocas plutónicas intermedias . El feldespato alcalino (p. ej ., ortoclasa ) es el principal componente mineral de la sienita, el contenido total de feldespato es > 65 % y normalmente falta el cuarzo . Se encuentra en ambientes continentales y, por lo general, resulta del derretimiento parcial de la corteza inferior. La sienita es el equivalente plutónico de la traquita .
Arts of the Neo-Classical and Romantic periodsLeelet1121
This document provides an overview of Neo-Classical sculpture for a Grade 9 arts class. It identifies two famous Neo-Classical sculptors - Antonio Canova and Bertel Thorvaldsen - and describes some of their most well-known works. Examples given for Canova include Psyche Awakened by Cupid's Kiss and Washington, while examples for Thorvaldsen include Christ and Lion of Lucerne. The document also outlines the learning objectives, materials, and assessment for the lesson on Neo-Classical sculpture.
The document provides an overview of several geological models that were used in the early 20th century to understand global geological features, including continental drift. It discusses the theory of contractionism, which proposed that continents separated as the Earth cooled and shrank. It also discusses permanentenism, which argued that continents have always been in largely the same positions. The land-bridge hypothesis suggested that land bridges once connected continents to explain terrestrial fossil distributions. The document examines problems with each of these early models and how they helped address questions about matching fossil distributions across continents.
This document provides an overview of pre-historic and ancient art from various periods, including paintings found in caves from the Pre-historic Era, works from Ancient Egypt, Classical Greece and Rome, and the Medieval Byzantine, Romanesque, and Gothic eras. Key information presented includes the locations and subjects of important cave paintings from the Pre-historic Era, the symbolic and religious purposes of Egyptian paintings, and the dominant materials and techniques used in Greek, Roman, and Medieval art periods. Major works and sites discussed include the Cave of Lascaux, paintings from the tomb of Tutankhamun, the Parthenon frieze, the Villa of Mysteries fresco, and Gothic stained glass windows.
This document provides an overview of ancient Western classical art traditions, focusing on the Pre-Historic era. It discusses three types of art from this period - paintings found in cave sites like Lascaux, sculptures made from varied local materials that were likely results of natural erosion rather than human artistry, and megalithic architecture like menhirs, dolmens and cromlechs made from huge stone blocks that may have served burial or altar purposes. Examples provided include the Cave of Lascaux and Stonehenge. The document concludes with an activity analyzing a primary source artifact from this era.
This document provides an overview of ancient art from the pre-historic era. It begins by classifying various images into different time periods of pre-historic, Egyptian, Greek, Roman, Byzantine, Romanesque, Gothic. It then discusses paintings and sculptures from the pre-historic era, noting cave paintings from the Cave of Lascaux and Venus of Willendorf figurine. Finally, it outlines different types of megalithic architecture from the pre-historic era, including menhirs, dolmens, and cromlechs, citing Stonehenge as a prominent example.
Paintings from Ancient Egypt
Paintings from Classical Greek Era
Paintings from the Roman Era
Byzantine Paintings
Romanesque Paintings
Paintings from the Gothic Era
This chapter discusses prehistoric art from the Paleolithic and Neolithic periods in Europe and Africa. It explores the earliest artworks from 3 million BCE and the origins of creativity and representation. Many Paleolithic artworks depicted human and animal figures using materials like ivory, stone, and paint. Neolithic art saw changes like the rise of agriculture, architecture like stone structures, and new materials and techniques in art. Narrative and landscape paintings emerged, and art began depicting daily life more than in the Paleolithic period. Megaliths and henges were constructed for unknown purposes using techniques like corbelled vaults during this time. The chapter examines the transition between the periods and how lifestyle changes influenced artistic developments
Grade 9 lecture neo classical and romantic period artsedeldearceIII
This document provides an overview of Neo-Classical sculpture presented by Edel De Arce III. It identifies two famous Neo-Classical sculptors - Antonio Canova from Italy and Bertel Thorvaldsen from Denmark. For Canova, it describes his marble sculptures that delicately rendered nude flesh and opened ideas of portraying sexual pleasures. For Thorvaldsen, it mentions his execution of mythological character sculptures. Examples of major works by each sculptor are also summarized, such as Canova's Psyche Awakened by Cupid's Kiss and Thorvaldsen's Christ statue.
The document provides a history of the city of Scupi from ancient Roman times to the present day. Key points:
- Scupi was founded as a Roman colony in 168 BC and located along important trade routes. At its peak it covered 45 hectares.
- During the 2nd century AD, Scupi was a prominent city with a monumental theater. However, troubles began in the 3rd century with invasions.
- Archaeological excavations since the 1960s have uncovered buildings from Scupi's Roman era including a large civil basilica with intricate mosaic floors from the 4th century AD.
The city of Scupi has a long history dating back to at least the 2nd century BC when it became a Roman colony. At its peak, the city covered around 45 hectares and contained many monumental buildings. Scupi experienced its height during the 2nd century AD but then declined in the 3rd century due to Gothic invasions. Archaeological excavations since the 1960s have uncovered parts of the city including the remains of a large civil basilica from the 4th century AD located near the forum.
The document discusses prehistoric art from the Paleolithic and Neolithic periods in Europe and Africa. It begins by outlining the goals of understanding the origins of art in terms of timeline, human development, and activities. During the Paleolithic period, art depicted humans and animals using materials like ivory, stone, and cave paintings. The Neolithic period saw changes to art forms and styles with the development of agriculture and architecture, including structures like Stonehenge and Newgrange that used corbelled vaults and post-and-lintel systems. The document examines key artworks and differences between Paleolithic and Neolithic artistic conventions through images and discussion questions.
This document summarizes the 7-year history of the Berkeley Archaeologists at Çatalhöyük (BACH) project excavation of Building 3, a Neolithic structure at Çatalhöyük in Turkey. The BACH project began in 1997 and excavated Building 3 from 1997-2003. Key events included discovering post-Neolithic burials in 1997, excavating the well-preserved roof of Building 3 in 1998, finding possible closure rituals above the final floors in 1999, and discovering the last burial of Building 3, a child in a basket, at the end of the 1999 season. Digital documentation methods like photography, video diaries, and databases were pioneered by the BACH project to
Review: Past times, changing fortunes: proceedings of a public seminar on arc...Robert M Chapple
This document provides a summary and review of the book "Past Times, Changing Fortunes: Proceedings of a Public Seminar on Archaeological Discoveries on National Road Schemes, August 2010". The review summarizes the key findings and arguments from nine papers presented in the book. These include studies of souterrains and Viking warfare in North County Louth, the development of urban and rural settlement in medieval Cashel, County Tipperary, landscape evolution and land use in North Cork, paleoecological evidence of Bronze Age farming in County Clare, the development and decline of cereal drying kilns in medieval Kildare, insights from insect remains on human-environmental interactions, and perspectives on mortuary practices from Bron
The document provides an overview of Western classical art traditions from prehistoric to Gothic periods. It discusses the objectives and content that will be covered in the online arts module, including analyzing elements and principles of art, identifying characteristics of different periods, and representative artworks. The module aims to cater to both learners with and without internet access during the COVID-19 pandemic.
William R. Coe was a renowned Maya archaeologist from the University of Pennsylvania who conducted extensive excavations at the ancient Maya city of Tikal in Guatemala from the 1950s-1970s. Using the processual approach, he sought to understand how the Maya lived by rigorously applying the scientific method and excavating structures to reveal layers of construction phases. His excavations through the North Acropolis and temples provided a wealth of artifacts and insights into the historical development of the site. The report on his excavations was praised for the large amount of high quality information recovered from a relatively small sample, and for helping to better understand Maya culture change and history. Coe's surveys beyond the site core also helped provide new understand
El documento presenta el Plan Maestro de Playa Norte. El plan busca integrar proyectos existentes como un centro de negocios, un boulevard y la remodelación de un zoológico, además de agregar nuevas zonas hoteleras, comerciales y de vivienda. El plan tiene un horizonte de 15 años y define una visión integral a largo plazo, encauzando acciones específicas para concretar el proyecto y promover la inversión pública y privada. Propone una zonificación de usos de suelo y una estructura
Delfinario de Isla Aguada (imágenes objetivo)Chalex
El documento presenta un plano de un delfinario ubicado en la Isla Aguada. Incluye áreas para estacionamiento de autobuses, autos y personal, una recepción con información sobre el sitio, un área recreativa para niños, y servicios como baños y una tienda de regalos. También describe las instalaciones en el agua, con dormitorios, servicios y un muelle de recepción.
The document provides an overview of pre-historic and ancient paintings from various eras and regions. It describes cave paintings found at the Cave of Lascaux from 5,000-10,000 BC depicting large animals. It also discusses Egyptian paintings found in tombs that were meant to make the deceased's afterlife pleasant by depicting myths and events from their life. Paintings from the Classical Greek era included those on vases, panels, and tombs depicting battle scenes, myths, and everyday life using techniques like fresco and encaustic.
PAINTINGS FROM DIFFERENT PERIODS ANCIENT, CLASSICAL AND MEDIEVAL PERIOD MAPEH...JULIANCHASE
The document provides information about pre-historic and early paintings from various periods and locations. It discusses cave paintings from the Pre-historic era found in the Cave of Lascaux between 5,000-10,000 BC that depicted large animals. It also describes Egyptian paintings from tombs that were meant to depict the afterlife and journey of the deceased, as well as Greek vase paintings and frescoes that illustrated myths and everyday scenes. Roman paintings expanded on Greek styles and included landscapes, while Byzantine works blended Greek and Eastern influences to depict Christian subjects for church interiors.
This document provides an overview of Paleolithic and Neolithic art in Europe and Africa. It discusses the earliest sculpted forms from the Paleolithic period, including figurines of women, and examines materials and techniques used in cave paintings. Neolithic art is also summarized, noting how environmental and lifestyle changes resulted in new forms of artistic expression like narrative painting and monumental architecture, seen in structures like Newgrange and Stonehenge. Discussion questions at the end explore definitions of art and how human figures were depicted differently between periods.
The document provides an overview of pre-historic and ancient paintings from different eras, including their characteristics, styles, and purposes. It discusses paintings from the Pre-historic era found in caves, as well as three periods of pre-historic art. Specific examples covered include paintings from the Cave of Lascaux in France and ancient Egypt. Classical Greek paintings are summarized, along with common styles like vase, panel, and tomb paintings. Roman paintings are described as often copying Greek styles. Byzantine, Romanesque, and Gothic era paintings are also briefly outlined.
Articulo para la descripcion de la igniombrita con sus propiedades geotecnicas. La ignimbrita es un depósito de flujo piroclástico dominado por piedra pómez formado a partir del enfriamiento del material piroclástico expulsado por una erupción volcánica explosiva. A medida que el material piroclástico se asienta, puede acumular capas gruesas y, si la temperatura es lo suficientemente alta (> 535 °C) , puede soldarse a la roca. El grado de soldadura depende del peso del material suprayacente, por lo que en la parte superior de dichos depósitos la roca es comúnmente vesicular y de baja densidad, mientras que en profundidad el peso suprayacente tritura el material piroclástico formando una roca densa no vesicular. Mientras que la mayoría volcánicaLas rocas se encuentran cerca de la fuente eruptiva, la ignimbrita de espesor razonable a menudo se puede encontrar a decenas o cientos de kilómetros del lugar de la erupción. La andesita es una roca extrusiva de composición intermedia entre la riolita y el basalto . La lava de andesita es de viscosidad moderada y forma flujos y domos de lava gruesos. La palabra andesita se deriva de las montañas de los Andes en América del Sur, donde la andesita es común. La andesita es el equivalente volcánico de la diorita . La diorita es una roca intrusiva de composición intermedia entre el gabro y el granito . Se produce en arcos volcánicos y en la formación de montañas, donde puede aparecer en grandes volúmenes como batolitos en las raíces de las montañas (p. ej., Escocia, Noruega). Debido a que comúnmente está moteado de blanco y negro, a menudo se lo denomina roca de "sal y pimienta". La diorita es el equivalente plutónico de la andesita . La riolita es una roca extrusiva félsica . Debido al alto contenido de sílice, la lava de riolita es muy viscosa. Fluye lentamente, como pasta de dientes que sale de un tubo, y tiende a acumularse y formar domos de lava. Si el magma de riolita es rico en gas, puede entrar en erupción explosivamente, formando un magma solidificado espumoso llamado piedra pómez (una forma vesicular de riolita muy ligera y de color claro) junto con depósitos de ceniza y/o ignimbrita . En ciertas situaciones, pueden desarrollarse flujos de lava de riolita extremadamente porosos. La extrema porosidad de tales flujos permite la desgasificación y posterior colapso del flujo, formando obsidiana (vidrio volcánico de color oscuro). La riolita es la equivalente volcánico del granito . La sienita es una roca intrusiva, perteneciente a la serie alcalina de rocas plutónicas intermedias . El feldespato alcalino (p. ej ., ortoclasa ) es el principal componente mineral de la sienita, el contenido total de feldespato es > 65 % y normalmente falta el cuarzo . Se encuentra en ambientes continentales y, por lo general, resulta del derretimiento parcial de la corteza inferior. La sienita es el equivalente plutónico de la traquita .
Arts of the Neo-Classical and Romantic periodsLeelet1121
This document provides an overview of Neo-Classical sculpture for a Grade 9 arts class. It identifies two famous Neo-Classical sculptors - Antonio Canova and Bertel Thorvaldsen - and describes some of their most well-known works. Examples given for Canova include Psyche Awakened by Cupid's Kiss and Washington, while examples for Thorvaldsen include Christ and Lion of Lucerne. The document also outlines the learning objectives, materials, and assessment for the lesson on Neo-Classical sculpture.
The document provides an overview of several geological models that were used in the early 20th century to understand global geological features, including continental drift. It discusses the theory of contractionism, which proposed that continents separated as the Earth cooled and shrank. It also discusses permanentenism, which argued that continents have always been in largely the same positions. The land-bridge hypothesis suggested that land bridges once connected continents to explain terrestrial fossil distributions. The document examines problems with each of these early models and how they helped address questions about matching fossil distributions across continents.
This document provides an overview of pre-historic and ancient art from various periods, including paintings found in caves from the Pre-historic Era, works from Ancient Egypt, Classical Greece and Rome, and the Medieval Byzantine, Romanesque, and Gothic eras. Key information presented includes the locations and subjects of important cave paintings from the Pre-historic Era, the symbolic and religious purposes of Egyptian paintings, and the dominant materials and techniques used in Greek, Roman, and Medieval art periods. Major works and sites discussed include the Cave of Lascaux, paintings from the tomb of Tutankhamun, the Parthenon frieze, the Villa of Mysteries fresco, and Gothic stained glass windows.
This document provides an overview of ancient Western classical art traditions, focusing on the Pre-Historic era. It discusses three types of art from this period - paintings found in cave sites like Lascaux, sculptures made from varied local materials that were likely results of natural erosion rather than human artistry, and megalithic architecture like menhirs, dolmens and cromlechs made from huge stone blocks that may have served burial or altar purposes. Examples provided include the Cave of Lascaux and Stonehenge. The document concludes with an activity analyzing a primary source artifact from this era.
This document provides an overview of ancient art from the pre-historic era. It begins by classifying various images into different time periods of pre-historic, Egyptian, Greek, Roman, Byzantine, Romanesque, Gothic. It then discusses paintings and sculptures from the pre-historic era, noting cave paintings from the Cave of Lascaux and Venus of Willendorf figurine. Finally, it outlines different types of megalithic architecture from the pre-historic era, including menhirs, dolmens, and cromlechs, citing Stonehenge as a prominent example.
Paintings from Ancient Egypt
Paintings from Classical Greek Era
Paintings from the Roman Era
Byzantine Paintings
Romanesque Paintings
Paintings from the Gothic Era
This chapter discusses prehistoric art from the Paleolithic and Neolithic periods in Europe and Africa. It explores the earliest artworks from 3 million BCE and the origins of creativity and representation. Many Paleolithic artworks depicted human and animal figures using materials like ivory, stone, and paint. Neolithic art saw changes like the rise of agriculture, architecture like stone structures, and new materials and techniques in art. Narrative and landscape paintings emerged, and art began depicting daily life more than in the Paleolithic period. Megaliths and henges were constructed for unknown purposes using techniques like corbelled vaults during this time. The chapter examines the transition between the periods and how lifestyle changes influenced artistic developments
Grade 9 lecture neo classical and romantic period artsedeldearceIII
This document provides an overview of Neo-Classical sculpture presented by Edel De Arce III. It identifies two famous Neo-Classical sculptors - Antonio Canova from Italy and Bertel Thorvaldsen from Denmark. For Canova, it describes his marble sculptures that delicately rendered nude flesh and opened ideas of portraying sexual pleasures. For Thorvaldsen, it mentions his execution of mythological character sculptures. Examples of major works by each sculptor are also summarized, such as Canova's Psyche Awakened by Cupid's Kiss and Thorvaldsen's Christ statue.
The document provides a history of the city of Scupi from ancient Roman times to the present day. Key points:
- Scupi was founded as a Roman colony in 168 BC and located along important trade routes. At its peak it covered 45 hectares.
- During the 2nd century AD, Scupi was a prominent city with a monumental theater. However, troubles began in the 3rd century with invasions.
- Archaeological excavations since the 1960s have uncovered buildings from Scupi's Roman era including a large civil basilica with intricate mosaic floors from the 4th century AD.
The city of Scupi has a long history dating back to at least the 2nd century BC when it became a Roman colony. At its peak, the city covered around 45 hectares and contained many monumental buildings. Scupi experienced its height during the 2nd century AD but then declined in the 3rd century due to Gothic invasions. Archaeological excavations since the 1960s have uncovered parts of the city including the remains of a large civil basilica from the 4th century AD located near the forum.
The document discusses prehistoric art from the Paleolithic and Neolithic periods in Europe and Africa. It begins by outlining the goals of understanding the origins of art in terms of timeline, human development, and activities. During the Paleolithic period, art depicted humans and animals using materials like ivory, stone, and cave paintings. The Neolithic period saw changes to art forms and styles with the development of agriculture and architecture, including structures like Stonehenge and Newgrange that used corbelled vaults and post-and-lintel systems. The document examines key artworks and differences between Paleolithic and Neolithic artistic conventions through images and discussion questions.
This document summarizes the 7-year history of the Berkeley Archaeologists at Çatalhöyük (BACH) project excavation of Building 3, a Neolithic structure at Çatalhöyük in Turkey. The BACH project began in 1997 and excavated Building 3 from 1997-2003. Key events included discovering post-Neolithic burials in 1997, excavating the well-preserved roof of Building 3 in 1998, finding possible closure rituals above the final floors in 1999, and discovering the last burial of Building 3, a child in a basket, at the end of the 1999 season. Digital documentation methods like photography, video diaries, and databases were pioneered by the BACH project to
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Calakmul
1. Daily life of the ancient Maya recorded on murals
at Calakmul, Mexico
Ramon Carrasco Vargasa, Veronica A. Vazquez Lopezb, and Simon Martinc,1
´ ´ ´ ´
aInstituto
Nacional de Antropología e Historia, Calle 59 #44, Col. Centro Historico, C.P. 24000, Campeche, Campeche, Mexico; bUniversidad Nacional
´ ´
Autonoma de Mexico, Facultad de Filosofía y Letras Division de Estudios de Posgrado. Circuito interior, C.U., Coyoacan CP 04510, Mexico, D.F. Mexico;
´ ´ ´ ´ ´ ´
and cUniversity of Pennsylvania Museum, American Section, 3260 South Street, Philadelphia, PA 19104
Edited by Michael D. Coe, Yale University, New Haven, CT, and approved September 25, 2009 (received for review April 21, 2009)
Research into ancient societies frequently faces a major challenge
in accessing the lives of those who made up the majority of their
populations, since the available evidence so often concerns only
the ruling elite. Our excavations at the ancient Maya site of
Calakmul, Mexico, have uncovered a ‘‘painted pyramid:’’ a struc-
ture decorated with murals depicting scenes of its inhabitants
giving, receiving, and consuming diverse foods, as well as display-
ing and transporting other goods. Many are accompanied by
hieroglyphic captions that describe the participants, and include
spellings of key subsistence items. Collectively, they offer insights
into the social mechanisms by which goods were circulated within
major Maya centers.
archaeology hieroglyphic writing nanoparticles
A rchaeological remains always present a skewed image of the
human past, supplying bountiful information about some
aspects of ancient societies but a dearth about others. Many of the
issues that most concern scholars—the social processes, behaviors,
and relationships integral to living communities—fall into the latter
category and leave little or no physical trace. Cultures with a strong
tradition of art and writing fill some of these gaps, but here data are
Fig. 1. Map showing Calakmul in relation to other ancient Maya sites with
usually restricted to the social elite, leaving fundamental questions extensive mural paintings.
about societies as a whole unanswered.
This is certainly true of the ancient Maya civilization of
Mesoamerica, where writing and iconography provide rich in- seventh and final remodeling was initiated between A.D. 820 and
formation about the ruling class. From public monuments to the 1020 (7), although this was apparently abandoned unfinished.
more intimate scale of painted ceramics and personal jewelry, The third remodeling, dubbed Sub 1–4, was exceptional in that
scholars have learned much about the practice and performance it was decorated with a program of exterior murals, an extremely
of courtly life. Missing from these sources are the lower echelons rare feature in the Maya area (Fig. 3). The plan of Sub 1–4 is
of society, the population that supported the opulent lifestyles of square, approximately 11 m wide on each side, and the building
the elite. The role such people played in circulating goods and rises in three distinct tiers of sloping panels separated by recessed
services, as well as the social systems through which this was moldings to a height of 4.7 m. Access to the summit was from
accomplished, are virtually unknown. Our work at the site of four stairways, each aligned to a cardinal direction in a cruciform
ANTHROPOLOGY
Calakmul, Mexico, offers data that address these issues. pattern. The summit itself, and with it any trace of a superstruc-
ture, was destroyed in the construction of the subsequent
Results version, Sub 1–3. There is clear evidence that Sub 1–3 was built
First reported in 1931, the site of Calakmul covers over 3,000 with the preservation of the Sub 1–4 paintings in mind. Their
hectares in total and lies today within a 726,000-hectare bio- delicate surfaces were packed with a layer of mud and small
sphere reserve of the same name in the state of Campeche (1–4) stones, very much in contrast to the normal practice of breaking
(Fig. 1). Since 1993 the site has been investigated by the up stucco facings to give greater adhesion for the new masonry
Calakmul Archaeological Project of Consejo Nacional para la that will cover them. The date of Sub 1–4 is difficult to isolate
Cultura y las Artes-Instituto Nacional de Antropología e His- with precision. The styles of some of the vessels depicted on the
toria (CONACULTA-INAH), a department of the Mexican murals suggest that it was decorated between A.D. 620–700 (8),
government (5–6). In 2004, we began excavations in the Chiik while the painting style and the paleography of the hieroglyphs
Nahb complex, an architectural group covering about 2.5 hect- are consistent with a seventh-century attribution.
ares to the north of the site core (Fig. 2). Surface mapping Painted scenes were applied to the panels on all three tiers, as
identified some 68 buildings within its bounds, and we designated well as to the sidewalls of the projecting stairways. Some of the
the tallest Structure 1. Encountered as a collapsed mound, it was
first cleared of surface debris and consolidated before a tunnel
was dug to explore its interior. Like many Maya buildings, the Author contributions: R.C.V. designed research; R.C.V., V.A.V.L., and S.M. performed
Structure 1 ‘‘pyramid’’ proved to be an accretion of superim- research; and S.M. wrote the paper.
posed remodelings. Stylistic analysis of the ceramics found The authors declare no conflict of interest.
within the rubble core of each version suggests that construction This article is a PNAS Direct Submission.
began at some point between A.D. 420 and 620, and that the 1To whom correspondence should be addressed. E-mail: simonm3@sas.upenn.edu.
www.pnas.org cgi doi 10.1073 pnas.0904374106 PNAS November 17, 2009 vol. 106 no. 46 19245–19249
2. Fig. 2. Map showing the position of the Chiik Nahb complex within the center of the Calakmul site.
recessed moldings between the panels were also painted, either The paintings are currently undergoing cleaning and conser-
with continuations of the scenes or with short hieroglyphic texts. vation. The chemistry of the pigments, the technique of appli-
Some 30 individual scenes have been exposed on the lowest two cation, and methods to ensure the long-term preservation of the
tiers, while tests on the highest, unexcavated tier indicate that this murals are under study by Piero Baglioni and his team at the
originally carried as many as 16 more. Preservation ranges widely University of Florence. Although not produced by a true fresco
from good to very poor. We distinguish two phases of painting technique, provisional results suggest that the paints formed a
separated by a thin layer of stucco, seen most clearly where durable bond with the plaster surface similar in its effect to
damage to the surface of Phase 2 has exposed portions of Phase mezzo fresco. To consolidate the pictorial surface, calcium
1 beneath. The cleared surfaces have been analyzed with mul- hydroxide nanoparticles in an alcohol suspension have been
tispectral photography by Gene Ware of Brigham Young Uni- applied to mimic the original reaction that converts lime [cal-
versity, revealing some faint or obscured details that cannot cium hydroxide Ca(OH)2] into plaster (calcium carbonate
readily be seen with the naked eye. CaCO3) (9).
Fig. 3. The southeast corner of Structure Sub 1– 4 of the Chiik Nahb complex.
19246 www.pnas.org cgi doi 10.1073 pnas.0904374106 Carrasco Vargas et al.
3. of Phase 1, whose execution is less accomplished than Phase 2
and plainly the work of a different artist or artists. The two
phases of painting cover similar themes, but are not simple
reproductions of the same scenes and texts.
We cannot assess how much time passed between the painting
of Phase 1 and Phase 2, or how long before the latter was covered
by the next version, Structure Sub 1–3. The intensity of the colors
on Phase 2 could be seen to argue for a relatively short period
of exposure to the elements, but we lack sufficient data on the
stability of the paints and stucco surface to draw any conclusion
about this.
The murals are notable examples of Maya art, but their
scientific value lies primarily in the information conveyed in their
imagery. Earlier mural finds, such as those inside buildings at
Bonampak, Mexico, and San Bartolo, Guatemala, have contrib-
uted greatly to our understanding of Maya society and culture,
the former illuminating aspects of warfare and royal rituals, the
latter the deep antiquity of religious thought and writing (11–14).
The Calakmul murals differ in important ways. Lacking the fine
ceremonial garb of royal performance or any of the distinctive
markers of supernatural identity, they offer insights into quo-
tidian activities.
The paintings at Calakmul show groups of men, women, and
a child engaged in a range of different activities. The proportion
of women is very high compared to Maya art in general and
about one-third of the figures that survive in Phase 2 are female.
The image of an elderly woman is one of the only nonmytho-
logical depictions of its kind. Costumes range from simple
loincloths and tied-cloth headbands to more elaborate headgear
and clothing decorated with painted or woven designs. Such
distinctions probably reflect differing social status. Several fig-
ures, male and female, wear broad-brimmed hats likely woven
from a vegetable fiber. Women often wear face-paint, sometimes
extending below the neckline, and both sexes wear ear orna-
Fig. 4. Scene of a bearer carrying a large pot using a tumpline over his ments, necklaces, and pendants. Most scenes include images of
forehead.
ceramic vessels, baskets, or various types of bound sacks and
packages. A number show people preparing and dispensing
foodstuffs together with others who consume them. Other
The colors used are blue, green, and a variety of yellows, reds,
characters are engaged in transportation: bearers are weighed
and browns applied to a background of gray-white stucco with a
down with large pots or rope-tied bundles, each carried with a
pinkish hue (10). The Phase 1 murals have six colors, whereas tumpline over the forehead in traditional Maya fashion (Fig. 4).
Phase 2 has 16 distinct colors and hues. Both phases used One man stretches out a striped blanket or cloak, while others
reddish-brown underpainting to plan the images, while final extend twisted cords. Another figure is accompanied by a scarlet
delineation was made with a black-brown line, which in Phase 2 macaw perched on a pole stand. In one scene, pin-like objects of
has often decayed to a pinkish red. Each of the panels is framed uncertain function protrude from baskets.
by a painted red band. In most places the painting shows a The hieroglyphs that accompany the scenes provide invaluable
continuous line that must have been applied rapidly, with data for their interpretation. All of the most legible hieroglyphs
ANTHROPOLOGY
corrections made in several areas. Some of the depicted human come from Phase 2, where they serve as captions. Thus we find
figures are out of proportion, which is most noticeable in the ke-le-ma keleem ‘‘young man’’ close to the image of a male who
relative sizes of the heads and shoulders. This is especially true is intermediate in height between adjacent adults and a child.
Fig. 5. Scene showing the serving and drinking of ul ‘‘maize-gruel.’’ The hieroglyphic caption aj ul ‘‘Maize-gruel person’’ (AJ u-lu) appears at top left.
Carrasco Vargas et al. PNAS November 17, 2009 vol. 106 no. 46 19247
4. Fig. 6. Hieroglyphic spellings of two titles from the murals: (A) aj ix’im
‘‘Maize-grain person’’ (AJ-i-xi-ma); (B) aj atz’aam ‘‘Salt person’’ (AJ-a tz’a-mi).
The majority of texts share a common formula that begins with
the agentive term aj, a word applied to either sex that can be Fig. 7. Scene showing a woman with ceramic cylinder vessels in a basket. The
glossed as ‘‘person.’’ In every case aj is followed by the name of hieroglyphic caption reads aj jaay ‘‘Clay-vessel person’’ (AJ ja-yi).
a particular foodstuff or material. Thus AJ u-lu aj ul ‘‘Maize-
gruel person’’ accompanies a man with a large pot, dish, and
spoon, shown facing another individual who drinks from a bowl and the varying roles of festivals, gift-giving, communal feasting,
as a second, female server looks on (Fig. 5). Another scene shows and exchange, all of which are attested in ethnohistorical sources.
a woman with a basket loaded with maize-bread tamales who These murals evidently depict one or more of these activities and
offers them on a basketwork-platter to a man that eats one. The thereby portray an ancient social mechanism that has left no
associated caption reads AJ wa-WAAJ-ji aj waaj ‘‘Maize-bread other evidence of its existence.
person.’’ These two types of prepared maize are joined by the
unprocessed form, previously unattested in the Maya script, as Materials and Methods
a group of figures shown with bowls and a tied sack are labeled Investigation of Structure 1 began with the clearance of covering vegetation
and the removal of earth and stone debris. Where the original lines of the
with the sequence AJ i-xi-ma aj ixi’m for ‘‘Maize-grain person’’
building were clear, fallen masonry blocks were reset using a limestone mortar
(Fig. 6A). Salt was another important staple of the Maya diet and
mixed with small quantities of cement. Exploration of the interior began at its
a scene that features a man with a basket and spoon carries the southeastern corner, where a tunnel approximately 0.7 m wide was driven in
form AJ-a tz’a-mi for aj atz’aam ‘‘Salt-person,’’ a second unat- a northerly direction at ground level using hand tools. This encountered and
tested spelling in the script (Fig. 6B). Another consumable passed through the damaged facades of three previous versions: Sub 1–1, Sub
¸
appears in the caption AJ ma-ya for aj mahy ‘‘Tobacco person,’’ 1–2, and Sub 1–3. After about 2 m, the excavation came to the painted facade ¸
which shows two men, one holding a spatula and pot that of Sub 1– 4 and thereafter proceeded laterally to follow its surface. Ultimately,
presumably held a powdered or processed form of the leaf. One the work opened a cavity around the whole southeastern corner approxi-
lone woman who has a basket with cylindrical pots in it is mately 5 m on each side and 3.5 m in height, reaching the top of the second
identified as AJ ja-yi aj jaay ‘‘Clay-vessel person’’ (Fig. 7). tier. This method was repeated for the southwestern, northeastern, and
It is clear that the purpose of most of the Phase 2 captions is northwestern corners of the building (in that order), leaving the consolidated
to establish generic descriptions of the figures portrayed, without final version of Structure 1 as a protective enclosure. The third, highest tier on
identifying any of them as a particular individual. The personal the southeast corner was briefly explored from above and then reburied. We
are currently developing a plan for the long-term conservation of the murals
names and lordly honorifics so common in Maya texts are absent
that will allow for the exposure and study of the third tier. Evidence for two
here. The three large hieroglyphs repeated within several of the
earlier versions, Sub 1–5 and Sub 1– 6, was gained from a tunnel 6 m long and
inset moldings may be rather different. These provide the name 0.8 m wide heading west that was sunk into the remains of the eastern
or title of a female, although her relevance to the painted stairway of Sub 1– 4. Fragments of ceramic vessels were recovered from the
program and to the structure as a whole is currently enigmatic. interior fill of each version of the building for style-dating analysis.
Discussion ACKNOWLEDGMENTS. We thank our colleagues from the Consorzio per lo
The full implications of these finds will take time to evaluate and sviluppo dei Sistemi a Grande Interfase (CSGI) at the University of Florence and
requires the exposure of all of the paintings. Ongoing excavations the Ancient Textual Imaging Group at Brigham Young University for their
will more fully situate Structure 1 within the wider archaeolog- technical contributions. The Calakmul Archaeological Project (Proyecto Ar-
queologico de Calakmul) was supported by the Mexican Government agency
´
ical context of the Chiik Nahb complex and aid its interpretation. of Consejo Nacional para la Cultura y las Artes-Instituto Nacional de Antro-
We have very little hard information about the social processes pología e Historia (CONACULTA-INAH), the Government of the State of
by which foodstuffs and goods circulated within Maya polities Campeche, and Fomento Cultural Banamex.
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ANTHROPOLOGY
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