Pub Date : 2021-11-15DOI: 10.14324/111.444.2041-9015.1286
Rosamund E. Fitzmaurice, Tia B. Watkins, J. Awe
Patolli is a “dice game” found in Classic andPostclassic period (CE 250-900/1000, CE 900/1000-1492) contexts throughoutMesoamerica. This paper provides an overview of ethnohistoric sources andprevious archaeological research on patolli to contextualize recent discoveriesof boards and other graffiti at the Classic Maya centre of Xunantunich, Belize.We examine the placement of patolli boards relative to graffiti figureswithin two galleries in the site’s north palace complex to understand theirrelationship with each other and their possible significance within the centreitself. Finally, we present possible interpretations for patolli andgraffiti from the Terminal Classic Maya centre of Xunantunich, Belize rangingfrom commemoration, competition, and divination or ritually related activities.
{"title":"Play and Purpose: The Relationship Between Patolli and Graffiti at Xunantunich, Belize","authors":"Rosamund E. Fitzmaurice, Tia B. Watkins, J. Awe","doi":"10.14324/111.444.2041-9015.1286","DOIUrl":"https://doi.org/10.14324/111.444.2041-9015.1286","url":null,"abstract":"Patolli is a “dice game” found in Classic andPostclassic period (CE 250-900/1000, CE 900/1000-1492) contexts throughoutMesoamerica. This paper provides an overview of ethnohistoric sources andprevious archaeological research on patolli to contextualize recent discoveriesof boards and other graffiti at the Classic Maya centre of Xunantunich, Belize.We examine the placement of patolli boards relative to graffiti figureswithin two galleries in the site’s north palace complex to understand theirrelationship with each other and their possible significance within the centreitself. Finally, we present possible interpretations for patolli andgraffiti from the Terminal Classic Maya centre of Xunantunich, Belize rangingfrom commemoration, competition, and divination or ritually related activities.","PeriodicalId":253342,"journal":{"name":"Special Issue: Timeless Spaces 2019 Conference Proceedings","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129243889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-15DOI: 10.14324/111.444.2041-9015.1285
Ioannis Nakas
Ship graffiti are one of the most common illustrations or vandalismsfound on the walls of medieval and post-medieval monuments in Mediterraneancountries. A multitude of vessels of various types and sizes have been carvedor drawn by the people of the Middle Ages on monuments, such as the Parthenonand the cathedral of Majorca, and humble buildings, such as cisterns and baths. Who made these graffiti? And why? Their occurrence in places of worship(churches, mosques) indicates that they were tokens of suppliance and votives,but equally common is their appearance in secular buildings, often related withwater (baths, fountains, etc.). Moreover, their quality ranges from simplistic‘banana boats’ to highly accurate representations of ship hulls and theirrigging. This paper will examine certain case studies of medieval Mediterraneangraffiti and propose different scenarios for the nature of their engravers orpainters and the circumstances which led to their creation. Its aim is toexplore the complicated relationship between the creation of ship graffiti andthe contemporary world.
{"title":"Between Mariners, Pirates and Priests: An Introduction to The World of Ship Graffiti In Medieval Mediterranean","authors":"Ioannis Nakas","doi":"10.14324/111.444.2041-9015.1285","DOIUrl":"https://doi.org/10.14324/111.444.2041-9015.1285","url":null,"abstract":"Ship graffiti are one of the most common illustrations or vandalismsfound on the walls of medieval and post-medieval monuments in Mediterraneancountries. A multitude of vessels of various types and sizes have been carvedor drawn by the people of the Middle Ages on monuments, such as the Parthenonand the cathedral of Majorca, and humble buildings, such as cisterns and baths. Who made these graffiti? And why? Their occurrence in places of worship(churches, mosques) indicates that they were tokens of suppliance and votives,but equally common is their appearance in secular buildings, often related withwater (baths, fountains, etc.). Moreover, their quality ranges from simplistic‘banana boats’ to highly accurate representations of ship hulls and theirrigging. This paper will examine certain case studies of medieval Mediterraneangraffiti and propose different scenarios for the nature of their engravers orpainters and the circumstances which led to their creation. Its aim is toexplore the complicated relationship between the creation of ship graffiti andthe contemporary world.","PeriodicalId":253342,"journal":{"name":"Special Issue: Timeless Spaces 2019 Conference Proceedings","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114496932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-15DOI: 10.14324/111.444.2041-9015.1284
John Buglass
The commonest images were the outlines ofshoes, hands and sailing ships. A seemingly odd combination of imagery but onethat, when looked at in detail, throws significant light on to the life andtimes in the 18th and 19th centuries in a Yorkshire coastal town. This paperwill examine in more detail some of the information that can be obtained from alarge collection of post-medieval graffiti of shoe and ship outlines that canbe related to a specific time and place. Although the tower of St Oswald's contained examples of awide range of graffiti including hands, fish, peel notations, love hearts andeven a possible 'plague doctor' the focus of this paper is primarily on theshoe outlines and ship images as there would simply not be space to discuss allthe examples in detail.
{"title":"Feet of Lead; Ships of Lead","authors":"John Buglass","doi":"10.14324/111.444.2041-9015.1284","DOIUrl":"https://doi.org/10.14324/111.444.2041-9015.1284","url":null,"abstract":"The commonest images were the outlines ofshoes, hands and sailing ships. A seemingly odd combination of imagery but onethat, when looked at in detail, throws significant light on to the life andtimes in the 18th and 19th centuries in a Yorkshire coastal town. This paperwill examine in more detail some of the information that can be obtained from alarge collection of post-medieval graffiti of shoe and ship outlines that canbe related to a specific time and place. Although the tower of St Oswald's contained examples of awide range of graffiti including hands, fish, peel notations, love hearts andeven a possible 'plague doctor' the focus of this paper is primarily on theshoe outlines and ship images as there would simply not be space to discuss allthe examples in detail.","PeriodicalId":253342,"journal":{"name":"Special Issue: Timeless Spaces 2019 Conference Proceedings","volume":"122 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133160761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-15DOI: 10.14324/111.444.2041-9015.1287
C. Helmke, J. Źrałka
The significantcorpus of ancient Maya graffiti (c. 200 BC-AD 950) attests to the widespreadpractice of secondarily altering architectural surfaces during the course oftheir use. For the most part this corpusis highly figurative and includes a series of schematic elements that attest totheir production by the hands of a variety of agents. As one of the largestcorpora of graffiti from any early civilization, the figural representationsinclude a wide array of themes. Somegraffiti feature complex, narrative scenes that document important moments ofritual life of the ancient Maya. Almost paradoxically, amid the intricate andhighly figurative scenes are hieroglyphic graffiti. What do these writtengraffiti record, and what is the degree of literacy that these attest to? Thisraises a series of interesting questions including whether written and figuralgraffiti were etched onto walls by the same individuals, or whether theserepresent different social segments each leaving their mark. From theseobservations follow a series of important ramifications as to authorship, theuse of the built environment as well as the motivations behind the graffitiitself.
{"title":"Writing amidst the Scribbles: The Role and Place of Writing in Ancient Maya Graffiti","authors":"C. Helmke, J. Źrałka","doi":"10.14324/111.444.2041-9015.1287","DOIUrl":"https://doi.org/10.14324/111.444.2041-9015.1287","url":null,"abstract":"The significantcorpus of ancient Maya graffiti (c. 200 BC-AD 950) attests to the widespreadpractice of secondarily altering architectural surfaces during the course oftheir use. For the most part this corpusis highly figurative and includes a series of schematic elements that attest totheir production by the hands of a variety of agents. As one of the largestcorpora of graffiti from any early civilization, the figural representationsinclude a wide array of themes. Somegraffiti feature complex, narrative scenes that document important moments ofritual life of the ancient Maya. Almost paradoxically, amid the intricate andhighly figurative scenes are hieroglyphic graffiti. What do these writtengraffiti record, and what is the degree of literacy that these attest to? Thisraises a series of interesting questions including whether written and figuralgraffiti were etched onto walls by the same individuals, or whether theserepresent different social segments each leaving their mark. From theseobservations follow a series of important ramifications as to authorship, theuse of the built environment as well as the motivations behind the graffitiitself.","PeriodicalId":253342,"journal":{"name":"Special Issue: Timeless Spaces 2019 Conference Proceedings","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127555397","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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