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Mayan Writing Andrea Ranada Mayan Writing Andrea M. Ranada.

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Presentation on theme: "Mayan Writing Andrea Ranada Mayan Writing Andrea M. Ranada."— Presentation transcript:

1 Mayan Writing Andrea Ranada Mayan Writing Andrea M. Ranada

2 The Maya Scribe Typical appearance: Hair wrapped with a head cloth A “stick bundle” attached to the head cloth The occasional stick-like tool included in the headdress A sarong tied at the waist (its length may vary). Scribes had a special status in society Some kings and queens were also scribes The Maya worshipped the gods of writing, one of them being Rabbit God.

3 Mayan Writing Surfaces

4 Limestone Limestone is abundant in the Yucatán peninsula Freshly excavated limestone is fairly soft and easily manipulated, but eventually hardens upon exposure to air The picture on the left is from the Tablet of the 96 Hieroglyphs at Palenque on limestone.

5 Volcanic Tuff Found at Copán (limestone was rare in this region) Extremely durable under the humid conditions of the area Produced remarkable three-dimensional sculptures The picture above depicts the Moon Goddess with the Rabbit God. It is from a bench in the scribal compound of Copán.

6 Plaster and Paper Plaster (calcium carbonate) is commonly used on the walls of ancient Mayan architecture Plaster can be found on the surface of all four Maya codices, suggesting that the scribes did not directly write on the paper, but more on plaster- like surfaces Amate is the paper used by the Maya; it is made from the inner bark of wild fig trees Papermaking process: Boil inner bark fibers Soak it in lime Layer fibers in grid formation Compress to combine the layers into a sheet

7 Other Surfaces Jade Pottery Wood Bone Shell

8 Mayan Writing Tools Carving and Incising Tools No evidence that it was made of metal Most likely stone chisels were used on monumental stone On bone, wood, and shell, hafted obsidian blades were probably used Brush and Quill Pens Brush pens supposedly similar to traditional Chinese brush pens Quill pens were used for more thinner lines and more precise designs Inkpots and Inks The Maya used conch shells cut in half lengthwise as inkpots Black and red pigments were typically used on the codices

9 The Maya Codices The inner bark of wild fig trees were used to form the sheets of paper. Horizontal sheets were made and folded accordion-style to form the Maya books These folded sheets had script and illustrations on both sides and possibly wood or leather served as covers. The Maya books served a general purpose of presenting calendrical and celestial systems, including but not limited to:  Venus cycle tables  Eclipse tables  Pictures of ceremonies & deities  Multiplication tables  A 260-day sacred almanac

10 The 260-day count

11 The Paris Codex Katuns (20 years) Tuns (360 days) The grand cycle is 13 katuns, and after 13 katuns, history is supposed to repeat itself. The codex only documents 11 katuns (at least 2 pages are missing). The center of each codex page has an image of the deity that rules that katun (one katun is documented per page). Hieroglyphic text about prophecies and rituals frames these images.

12 The Madrid Codex Also known as the Tro- Cortes, because at some point the codex split into two parts (1 st part Tro, 2 nd part Cortes) and was found at separate occasions in Spain This codex seems to be purely about divination It does not contain astronomy, prophecies, or multiplication tables, but it does contain a 260-day almanac.

13 The Grolier Codex A recent discovery Only half (10 pages) of it has been found It primarily deals with the 582- day Venus cycle Each page deals with one part of the cycle Each part has a sinister deity dominating that part of the cycle The deities are sinister because the Mesoamerican mentality considers all aspects of the planet as “ill-omened”.

14 The Dresden Codex Consists of several 260-day almanacs as well as Venus, eclipse, and multiplication tables. The almanacs were divided vertically into t’ols Each division corresponds to a sacred Maya year (tzolkin) Each year is a period of 260 days, or a tonalpohualli Each t’ol has a calendrical glyph with hieroglyphic text within four glyph blocks above it Each calendrical glyph indicates a day in the sacred calendar, and right below it is an image of a god or some sort of protagonist, such as the Moon Goddess.

15 Conclusion The purpose of Mayan writing, specifically in codices, is to document celestial events and calendrical systems. The Grolier and Dresden codices deal with more astronomical instances. The Paris Codex concerns katuns and tuns. The Madrid Codex remains purely divinatory. The content of the four codices all truly represent the remarkable achievements of the ancient Maya.

16 The End


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