Understanding the ways in which human communities define themselves in relation to landscapes has been one of the crucial research questions in anthropology. This book addresses this question in the context of the classic Maya culture that thrived in the lowlands of the Yucatan peninsula and adjacent parts of Guatemala, Belize, and Western Honduras from 350 to 900 CE. Tokovinine explores the striking juxtaposition of similar cultural values and distinct political identities by looking at how identities were formed and maintained in relation to place, thus uncovering what classic Maya landscapes were like in the words of the people who created and experienced them.

Based on the comprehensive study of one of the most important collections of Maya art in the United States, Ancient Maya Art at Dumbarton Oaks is a scholarly introduction to one of the great traditions of sculpture and painting in ancient America.

Color is an integral part of human experience, so common as to be overlooked or treated as unimportant. Yet color is both unavoidable and varied. Each culture classifies, understands, and uses it in different and often surprising ways, posing particular challenges to those who study color from long-ago times and places far distant. Veiled Brightness reconstructs what color meant to the ancient Maya, a set of linked peoples and societies who flourished in and around the Yucatan Peninsula of Mexico and Central America. By using insights from archaeology, linguistics, art history, and conservation, the book charts over two millennia of color use in a region celebrated for its aesthetic refinement and high degree of craftsmanship.

The authors open with a survey of approaches to color perception, looking at Aristotelian color theory, recent discoveries in neurophysiology, and anthropological research on color. Maya color terminology receives new attention here, clarifying not just basic color terms, but also the extensional or associated meanings that enriched ancient Maya perception of color. The materials and technologies of Maya color production are assembled in one place as never before, providing an invaluable reference for future research.

From these investigations, the authors demonstrate that Maya use of color changed over time, through a sequence of historical and artistic developments that drove the elaboration of new pigments and coloristic effects. These findings open fresh avenues for investigation of ancient Maya aesthetics and worldview and provide a model for how to study the meaning and making of color in other ancient civilizations.