The contributors to this volume present extensive new evidence from archaeology, iconography, and epigraphy to offer a more nuanced understanding of the interaction between the Early Classic Maya and Teotihuacan. Winner, Choice Outstanding Academic Book, 2005 Since the 1930s, archaeologists have uncovered startling evidence of interaction between the Early Classic Maya and the great empire of Teotihuacan in Central Mexico. Yet the exact nature of the relationship between these two ancient Mesoamerican civilizations remains to be fully deciphered. Many scholars have assumed that Teotihuacan colonized the Maya region and dominated the political or economic systems of certain key centers—perhaps even giving rise to state-level political organizations. Others argue that Early Classic rulers merely traded with Teotihuacan and skillfully manipulated its imported exotic goods and symbol sets to increase their prestige. Moving beyond these traditional assumptions, the contributors to this volume present extensive new evidence from archaeology, iconography, and epigraphy to offer a more nuanced understanding of the interaction between the Early Classic Maya and Teotihuacan. Investigating a range of Maya sites, including Kaminaljuyu, Copán, Tikal, Altun Ha, and Oxkintok, they demonstrate that the influence of Teotihuacan on the Maya varied in nature and duration from site to site, requiring a range of models to explain the patterns of interaction. Moreover, they show that the interaction was bidirectional and discuss how the Maya in turn influenced Teotihuacan.

Debate has been fierce about the date and extent of influence of the central Mexican culture of Teotihuaca on the Maya. This volume, which aims to bring the debate up-to-date, comprises thirteen essays that draw on recent archaeological evidence, particularly burials and ceramic assemblages, to recreate the region's ethnicity during the Early Classic period. Evidence of interaction is also found in carved monuments and architectural design. Includes an extensive bibliography.

Northeast of modern-day Mexico City stand the remnants of one of the world's largest preindustrial cities, Teotihuacan. Monumental in scale, Teotihuacan is organized along a three-mile-long thoroughfare, the Avenue of the Dead, that leads up to the massive Pyramid of the Moon. Lining the avenue are numerous plazas and temples, which indicate that the city once housed a large population that engaged in complex rituals and ceremonies. Although scholars have studied Teotihuacan for over a century, the precise nature of its religious and political life has remained unclear, in part because no one has yet deciphered the glyphs that may explain much about the city's organization and belief systems. In this groundbreaking book, Annabeth Headrick analyzes Teotihuacan's art and architecture, in the light of archaeological data and Mesoamerican ethnography, to propose a new model for the city's social and political organization. Challenging the view that Teotihuacan was a peaceful city in which disparate groups united in an ideology of solidarity, Headrick instead identifies three social groups that competed for political power—rulers, kin-based groups led by influential lineage heads, and military orders that each had their own animal insignia. Her findings provide the most complete evidence to date that Teotihuacan had powerful rulers who allied with the military to maintain their authority in the face of challenges by the lineage heads. Headrick's analysis also underscores the importance of warfare in Teotihuacan society and clarifies significant aspects of its ritual life, including shamanism and an annual tree-raising ceremony that commemorated the Mesoamerican creation story.

First comprehensive English-language book on the largest city in the Americas before the 1400s. Teotihuacan is a UNESCO world heritage site, located in highland central Mexico, about twenty-five miles from Mexico City, visited by millions of tourists every year. The book begins with Cuicuilco, a predecessor that arose around 400 BCE, then traces Teotihuacan from its founding in approximately 150 BCE to its collapse around 600 CE. It describes the city's immense pyramids and other elite structures. It also discusses the dwellings and daily lives of commoners, including men, women, and children, and the craft activities of artisans. George L. Cowgill discusses politics, economics, technology, art, religion, and possible reasons for Teotihuacan's rise and fall. Long before the Aztecs and 800 miles from Classic Maya centers, Teotihuacan was part of a broad Mesoamerican tradition but had a distinctive personality that invites comparison with other states and empires of the ancient world.

For more than a millennium the great Mesoamerican city of Teotihuacan (c. 150 B.C.E. - 750 C.E.) has been imagined and reimagined by a host of subsequent cultures, including our own. Mesoamerica's Classic Heritage engages the subject of the unity and diversity of pre-Hispanic Mesoamerica by focusing on the classic heritage of this ancient city. This new volume is the product of several years of research by members of Princeton University's Moses Mesoamerican Archive and Research Project and Mexico's Proyecto Teotihuacán. Offering a variety of disciplinary perspectives - including the history of religions, anthropology, archaeology, and art history - and a wealth of new data, Mesoamerica's Classic Heritage examines Teotihuacan's rippling influence across Mesoamerican time and space, including important patterns of continuity and change, and its relationships, both historical and symbolic, with Tenochtitlan, Cholula, and various Maya communities. The contributors to Mesoamerica's Classic Heritage offer a wide range of individual interpretations, but they agree that Teotihuacan, more than any other pre-Hispanic center, was a paradigmatic source that formed the art and architecture, cosmology and ritual life, and conceptions of urbanism and political authority for significant parts of the Mesoamerican world. This great city achieved the prestige of being the site of the creation of the cosmos and of effective social and political space in Mesoamerica through its capacity to symbolize, perform, and export its imperial authority. These essays reveal the different ways in which Teotihuacan's classic heritage both fed and fed on the dynamic interactivity of the entire area. Whether or not a paradigm shift in Mesoamerican studies is taking place, certainly a new contextual understanding of Teotihuacan and the diversities and unities of Mesoamerica is emerging in these pages.

Founded in the first century BCE near a set of natural springs in an otherwise dry northeastern corner of the Valley of Mexico, the ancient metropolis of Teotihuacan was on a symbolic level a city of elements. With a multiethnic population of perhaps one hundred thousand, at its peak in 400 CE, it was the cultural, political, economic, and religious center of ancient Mesoamerica. A devastating fire in the city center led to a rapid decline after the middle of the sixth century, but Teotihuacan was never completely abandoned or forgotten; the Aztecs revered the city and its monuments, giving many of them the names we still use today. Teotihuacan: City of Water, City of Fire examines new discoveries from the three main pyramids at the site—the Sun Pyramid, the Moon Pyramid, and, at the center of the Ciudadela complex, the Feathered Serpent Pyramid—which have fundamentally changed our understanding of the city’s history. With illustrations of the major objects from Mexico City’s Museo Nacional de Antropología and from the museums and storage facilities of the Zona de Monumentos Arqueológicos de Teotihuacan, along with selected works from US and European collections, the catalogue examines these cultural artifacts to understand the roles that offerings of objects and programs of monumental sculpture and murals throughout the city played in the lives of Teotihuacan’s citizens. Published in association with the Fine Arts Museums of San Francisco. Exhibition dates: de Young, San Francisco, September 30, 2017–February 11, 2018 Los Angeles County Museum of Art (LACMA), March–June 2018