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Copyright of Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Prehistoria y Arqueologia is the property of Cuadernos de Prehistoria y Arqueologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Stylos is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper we present a review about the murals located in the Temples of the Descending God (Temple 5) and the Frescos (Temple 16) at the pre-Columbian city of Tulum, Quintana Roo. We first study some of the characters dressed as gods, as Chahk, K'awil, Quetzalcóatl, and Xólotl. Secondly, we analyze the ritual paraphernalia, mostly composed of ceramic objects in the form of effigy urns, incense burners, idols, containers with offerings of corn in different preparations, and large jars used to contain liquids, presenting correspondences with the archaeological record. Afterwards, we analyze the intertwined serpents, as well as the vegetal elements that we identify with the flower and fruits of balché tree. Finally, these data are integrated in order to interpret the meaning of the Tulum murals in relation to the practice of bending over the maize stalks in the autumn, and also to the first fruits harvest, which coincides with the flowering of the balché tree and the beginning of the harvest of tajonal honey in Yucatán. [ABSTRACT FROM AUTHOR]

Copyright of APUNTES - Journal of Cultural Heritage Studies is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The chronology of the Temple of the Owls, a construction of unusual characteristics located in the group of the Initial Series at Chichen Itza, has proved a challenge for archaeologists during long time. The importance of the building resides in its unique iconography, and especially in the presence of a hieroglyphic text with a calendar date in a painted capstone. The dating of this inscription has been crucial to explain the combination of architectural, iconographic, and ceramic traits and styles associated with it. In this contribution we will propose a new interpretation of the calendric date, which contradicts the dating of the capstone in the ninth century accepted by most scholars, placing the inscription instead in the twelfth century. [ABSTRACT FROM AUTHOR]