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El articulo discute sobre la escritura jeroglífica de Xochicalco con el enfoque de del sistema de escritura del Epiclásico en Mesoamérica y los avances recientes prometedores en los últimos 15 años mediante la documentación e investigación de este sistema de escritura.

Copyright of Potestas: Estudios del Mundo Clásico e Historia del Arte is the property of Potestas Estudios del Mundo Clasico e Historia del Arte 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.)

At the end of the decade of the 90's of the 20th century, the Calakmul Archaeological Project reported an unfinished monument, listed by Martin as Stela 117, which was found in Structure IV. On the front, the hieroglyphics were uncarved, but still show a figure carrying warrior attributes sitting on a throne located on the top of a witz basement with a toponymic name. In the monument's informative card at the Museo de la Arquitectura Maya of the Baluarte de la Soledad (in Campeche, México) where it is exhibited, mentions that it's an "Early Classic lintel in which it's represented K'altun Hix" who was one of the early ajawtaak of the Kaan dynasty. However, formally the monument does not seems like a lintel, stylistically it does not coincide with the proposed chronology and, also, the Kaan dynasty was not installed in Calakmul yet during the Early Classic. Therefore, through the iconographic analysis of the monument, with and emphasis on the symbolic elements that are still preserved and taking into account the historical and archaeological context of the Structure IV, we will discuss the possible temporality, the type of monument and who the character represented could be. [ABSTRACT FROM AUTHOR]

El artículo analiza las pinturas murales en Mesoamérica y el arte de expresar información a través de signos gráficos. El artículo también analiza los jeroglíficos dibujados en los Murales y el papel de los muralistas mesoamericanos en el dibujo.

The article titled "Baroque Triumphs: Seventh Volume. The Baroque Festival. The Kingdoms of the Crown of Aragon" is a review of the book coordinated by Antonio Gozalbo and Pablo González. The book is part of the Baroque Triumphs collection, which seeks to analyze and catalog the festive representations of Baroque art in the territories that were part of the Spanish Monarchy. The seventh volume focuses on the kingdoms of the Crown of Aragon, including the Kingdom of Aragon, the Kingdom of Mallorca, and the Principality of Catalonia. The book contains maps, photographs, and hieroglyphics that have been rigorously studied in their respective chapters. Additionally, the book includes a catalog of 308 images related to the festive representations. [Extracted from the article]

Copyright of Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura 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 Revista Espanola de Antropologia Americana is the property of Universidad Complutense de Madrid 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 Revista Espanola de Antropologia Americana is the property of Universidad Complutense de Madrid 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.)

When the grammatical contents are addressed in primary and secondary education classrooms, especially those related to syntax and morphology, the teachers perceive the rejection they provoke among the students: they must pay close attention and dedicate considerable effort, but without that translates into a better use of the language, at least immediately. Hieroglyphics, as a habitual pastime, usually present messages that, by their way of solving, have a very direct link with the pragmatic level of the language. The solutions to the hidden message favor the use of linguistic elements and syntactic structures that are very important for the use of the language. The hieroglyphs acquire a didactic potential that is necessary to take advantage of. The collection and analysis of 725 hieroglyphics have shown that, with the answers they suggest, they facilitate the treatment of very diverse grammatical contents: affirmations, questions, sentences, nouns, various prepositional phrases, among others. They also pose structures and linguistic elements very common and known by speakers, sayings and phrases, which favor the expansion of vocabulary. The potential of the hieroglyph as a didactic resource is highlighted and teachers are suggested to use it in the classrooms. [ABSTRACT FROM AUTHOR]

El artículo discute el sitio arqueológico maya de Moral-Reforma en México, conocido por sus grandes estructuras ceremoniales, monumentos jeroglíficos y vínculos con Calakmul y Palenque. Hacia el 850 d.c, que se independizó bajo el gobierno de Cráneo de Halcón.

Copyright of Revista Espanola de Antropologia Americana is the property of Universidad Complutense de Madrid 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 Church of the Annunciation was once the temple of the Casa Profesa of the Company of Jesus in Seville. The emblematic program of the dome (ca. 1756-1767) is composed of a sequence of 16 hieroglyphs, whose objective is an apology for the Society of Jesus and his charism. It makes sense at a time when the Society of Jesus is going through a serious crisis by imposing the regalist policies of enlightened despotism. This article is the second part of the one published in this same magazine in number 11 (January-June, 2017). [ABSTRACT FROM AUTHOR]

The Church of the Annunciaton was once the temple of the Casa Profesa of the Company of Jesus in Seville. The emblematic program of the dome (ca. 1756-1767) is composed of a sequence of 16 hieroglyphics, whose objective is an apology for the society of Jesus and his charism. the present first part of the study deals with the chronology and initiates the iconographic analysis of this program based, inter alia, on two essential Jesuit references: Carlo Bovio y Jacobus Boschius. [ABSTRACT FROM AUTHOR]

Copyright of Imago (22549633) is the property of IMAGO Revista de Emblematica y Cultura Visual 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 aim of this paper is the analysis of the presence of symbolic culture in the celebration of the beatifi cation of Teresa of Avila in 1614 in all the territories of the Spanish Monarchy. The consultation of festive relations reveals the enormous amount of emblematic material in the different venues that hosted it, because the main events have their corresponding “hieroglyph” as emblem, empress or device. An overview will allow us to recognize the degree of assimilation of the emblematic language in Spain at the beginning of the 17th Century in its dual purpose docere-delectare, as well as its relationship with other components of the Baroque celebration, such as the Visual Arts, devotional and hagiographic books, poetry and sacred oratory; and, at the same time, we rebuild physically some hieroglyphics composed for the occasion, from their original sources and descriptions preserved in the festive chronicles. [ABSTRACT FROM AUTHOR]

Copyright of Revista Espanola de Antropologia Americana is the property of Universidad Complutense de Madrid 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.)

El artículo discute cómo descifrar los jeroglíficos de una vasija descubierta por investigadores del Instituto Nacional de Antropología (INAH) durante las excavaciones arqueológicas en la ruta del Tren Maya y el contexto de origen de la vasija.

This article deals with the relevance of the eagle as an emblematic and symbolic animal that appears in sermons and hieroglyphics of funeral rites of the Spanish Monarchy queens, especially in the Latin American Viceroyalties. The main aim of the article is to show the significance of the links between the image of the Biblical strong woman, particularly the Apocalypses eagle-woman, with the Spanish queens, and their relation to the apocalyptic Marian cults in the Latin American viceroyalties. [ABSTRACT FROM AUTHOR]

El artículo discurre sobre el proceso de descifrar y interpretar los jeroglíficos mayas y nahuas. El autor describe los conceptos utilizados para estudiar la escritura de estos grupos indígenas desde el siglo 19. Se provee una serie de ejemplos de los símbolos y jeroglíficos copiados de la escultura y los manuscritos de los mayas y nahuas, así como lo que significan.

El artículo describe la significancia y filosofía de la arqueología, y describe hallazgos descubiertos en el Templo de las Inscripciones al sitio Palenque de México. Se analizan hieroglíficos encontradas en el templo, y se proveen transcripciones que describen una figura de nombre K'inich Janaab' Pakal.

El artículo discurre sobre un monumento mesoamericano llamado la Estela de la Mojarra que demuestra un sistema de escritura antigua de jeroglíficos. Se describe el diseño de la estela, la cual bosqueja un personaje de perfil rodeado por glifos relacionados con lenguaje olmeca, según el autor. Se analiza el debate académico sobre los orígenes y el significado del monumento, que fue descubierto en un río en el sitio arqueológico de La Mojarra en Veracruz, México.

Copyright of Revista Espanola de Antropologia Americana is the property of Universidad Complutense de Madrid 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 Ruins of Oxpemul, Campeche represent a fortified royal court in the Peten Campechano and the Calakmul Basin some 25 kms north of the major regional center of Calakmul. Oxpemul's larger nucleus to the north is perched on a 45.50 m high mesa. Its settlement pattern closely resembles that of Calakmul and El Mirador. There is a smaller nucleus to the south. Oxpemul has 21 stelae with some 18 altars fronting them. Many of the stelae with human figures and hieroglyph texts are standing and well preserved. Several altars are also graced with texts with one appearing to be a deity figure. Oxpemul is associated with a stone throne emblem glyph that appears in texts five or more times. A 9 km² map has been made of the area surrounding Oxpemul's two nuclei that includes several major and minor groups as well as aguadas, canteras and sascaberas. [ABSTRACT FROM AUTHOR]

The article discusses hieroglyphics depicting public celebrations and disseminated as propaganda in public spaces by the Spanish empire as a means to retain influence over local elites in its territories in Europe and the Americas. It explains that thousands of painted hieroglyphics on the theme of Baroque festivities placed in plazas, on streets, and on buildings were designed to appeal to a racially diverse audience and represented one of the empire's primary means of public persuasion. The article notes that the first recorded hieroglyphics used in Spain were produced by the Jesuits of Madrid, Spain in honor of their deceased benefactor, empress Marie of Austria in 1603.

Copyright of Revista Espanola de Antropologia Americana is the property of Universidad Complutense de Madrid 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.)

El artículo discurre sobre el desarrollo de las escuelas de escribas y caligrafía en el ciudad antigua maya de Ek' Balam en el estado de Yucatán, México. El autor analiza los jeroglíficos de la región y describe la historia de su estudio arqueológico y antropológico. También menciona la importancia de los jeroglíficos en entender la estructura social de la ciudad, especialmente información acerca de los gobernadores y reyes. Se proveen ejemplos de los jeroglíficos.

El artículo discute la relación entre la palabra y el imagen en los códices nahuas. El trabajo intenta enfocar específicamente en el uso de la imagen indígena dentro de estos códices en comparación con la imagen contaminada por los gráficos de la escritura europea. Es interesante notar que el símbolo para el acto de hablar es la voluta, una referencia de la creación del hombre por el dios Quetzalcóatl.

El artículo habla de la escritura de los mexicas. Esta forma de escritura, aunque parece sencillo, ha mostrado un gran diversidad y flexibilidad. Se compuso por varios procedimientos de notación como pictográfico que dio una representación gráfica de un objeto o un tema. La estructura de este tipo de escritura es bastante fácil de entender porque, después de la conquista de México, el náhuatl fue registrado en forma escrita utilizando el alfabeto latino.

El artículo habla de varias ciudades perdidas mayas. Se encuentra varios nombres de ciudades y asentamientos en los textos glíficos del Clásico. Sin embargo, ha sido difícil identificar los topónimos y nombres con lugares concretos. Estas dificultades existen porque son lugares reales que los arqueólogos no han encontrado todavía o porque son tierras míticas.

El artículo discute la ciudad de Dos Pilas, Guatemala. La ciudad es reconocida por sus numerosas esculturas y textos jeroglíficos que vienen del período Clásico maya. Dos Pilas contiene 16 estelas, 19 altares y cuatro escaleras jeroglíficas. En 643 d. C. , la cuidad fue atacado por el gobernante Yuhknoom Ch'een y el rey de Dos Pilas se refugió en K'inich Pa' Witz, ahora conocido como Aguateca. Hoy en día, el sitio esta habitado por los mayas k'ek'chi.

El artículo discute la ciudad de Copán, Honduras en relación con el arte y la escritura maya. La ciudad es reconocido por la calidad de sus esculturas en piedra. También es el lugar con mayor número de textos jeroglíficos dentro del mundo maya. Las civilizaciones de hoy pueden aprender de esta comunidad sobre su larga historia y su eventual colapso.

El artículo presenta dos imágenes de los dioses remeros de la mitología maya. Se puede encontrar las dos imágenes, dibujado en hueso, en Tikal, Guatemala. Representan los nombres de los dioses remeros en los textos jeroglíficos con los glifos "k'in" y "akbal" y son identificado con el dios de la lluvia.