The authors of Masks of the Spirit present modern English translations of the important myths of the Olmec, Toltec, Maya, and Aztec civilizations of pre-Columbian Mesoamerica, along with the strange imagery of the original codices and stallae. Illustrated with 100 photographs (25 in color) of crucial monuments, murals, masks, and friezes.
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The authors of Masks of the Spirit present modern English translations of the important myths of the Olmec, Toltec, Maya, and Aztec civilizations of pre-Columbian Mesoamerica, along with the strange imagery of the original codices and stallae. Illustrated with 100 photographs (25 in color) of crucial monuments, murals, masks, and friezes.
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Book is in very good condition and may include minimal underlining highlighting. The book can also include From the library of labels. May not contain miscellaneous items toys dvds etc. We offer 100% money back guarantee and 24 7 customer service.
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Hardcover in dust jacket. Clean text-NO writing, NO highlighting to text. Very good. Some light wear to dust jacket. VG/VG-reading copy. Oversized. Clean text--NO writing, NO highlighting to text. PLEASE NOTE: Domestic US media (standard) US orders ONLY. NO international orders.
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Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority!
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Very good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!
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New York. 1992. November 1992. Harper Collins. 1st American Edition. Very Good in Dustjacket. 0062505289. 456 pages. hardcover. Jacket design by Michele Wetherbee. Illustration by Stefan Gutermuth. keywords: Central America Mythology Literature Latin America. FROM THE PUBLISHER-Beginning with the earliest goddess-worshiping village cultures from around 6, 000 B.C., Roberta and Peter Markman take us into a fierce and breathtakingly wondrous world of were-jaguars, obsidian butterflies, feathered serpents, snake women, and living skeletons-the world of the Popol Vuh of the Quiche Maya; Tlaltecuhtli, the Earth Monster; Chichen ltza; and the mysterious fall of the great city of Teotihuacan. This stunning collection of original tales, legends, and historical accounts explores the rich tapestry of Mesoamerican narrative myths that have survived the Conquest. Some of the narratives in this selection are presented here for the first time in English translations of their original texts, while other antiquated translations have been updated. We are fortunate to be able to present what remains of one of the world's great mythological traditions, ' write the Markmans, ‘and even in these ‘fragments shored against the ruins' we can still sense the magnificence of that tradition. ' From the ancient goddess of Zohalpico, perhaps the earliest known image of the village cultures, The Flayed God chronologically traces the development of the myths of creation, fertility, rulership, hero journeys, and migration within the urban mythic traditions of the Olmec, Toltec, Maya, Mixtec, and Aztec cultures. Richly illustrated throughout with the strange and compelling imagery of the original codices, stelae, friezes, murals, figurines, masks, and statues, The Flayed God is among the most coherent and eminently readable volumes to date on the Mesoamerican experience. The flayed god of the title is Xipe Totec, the metaphoric embodiment of the cyclical pattern of all life, a pattern promising the rebirth of man and man's sustenance, the corn, but requiring sacrificial death for the accomplishment of that rebirth. ' He is depicted with his face covered by a mask made from the taut skin of a sacrificial victim, a mask through which we can see the wearer's own living eyes and mouth, and he also wears the skin of the flayed one as a garment. In the ritual to this god, the priest donned the skin of the victim, ‘representing in this sense the dead covering of the earth in the dry season of winter before the new vegetation bursts forth in spring. ' In THE FLAYED GOD, the Markmans have created a unique and dynamic synthesis of Mesoamerican history, folklore, mythology, and cosmology. This work is a landmark in the field of Mesoamerican scholarship, informed by a poetic vision and passion for the richness and brilliance of ‘all the strange and exalted creatures that populate the profoundly metaphoric tales and images of this incredibly rich tradition. ' inventory #17762.
