Made available in DSpace on 2016-08-29T14:12:12Z (GMT). No. of bitstreams: 1 tese_5859_jorcy dissertação.pdf: 7865121 bytes, checksum: 8b01816af150b685f1f4463e0dca729b (MD5) Previous issue date: 2014-08-15 / Neste trabalho analisamos as representações sobre os indígenas produzidas por Diego Rivera enquanto pintor muralista. O movimento de pintura mural fez parte das políticas do Estado pós-revolucionário para construção de uma nação moderna nos parâmetros ocidentais. O grande problema era incluir neste ideal nacionalista os grupos distintos que participaram do processo revolucionário, entre eles, as numerosas populações indígenas excluídas, social, econômica e culturalmente da sociedade Mexicana. Com base nas perspectivas antropológicas formulou-se o indigenismo, política sistemática e unilateral dirigida aos indígenas com o intuito de mexicanizá-los. Este projeto tinha como objetivo central a defesa da verdadeira e única identidade mexicana, a mestiça, no sentido de mescla entre a cultura ocidental e indígena. Dentro desse contexto, inicia-se oficialmente em 1922, o muralismo mexicano. Ele surge como elemento fundamental para divulgação de representações sobre o ser mexicano, e, portanto, essencial para legitimação simbólica do Estado nacional. Entretanto, assim como o próprio discurso indigenista institucional apresentou variações, já que seus intelectuais não falaram todos com uma só perspectiva, os muralistas não representaram o índio e a nação em termos únicos. Neste sentido, trabalharemos com escritos e pinturas murais dos anos de 1920 aos anos de 1940 produzidos por Diego Rivera. O intuito é entender como o pintor se apropriou dos discursos indigenistas da época e criou suas representações de indígenas e de nação.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas. Programa de Pós-Graduação em História. / Made available in DSpace on 2012-10-20T12:51:39Z (GMT). No. of bitstreams: 1 191786.pdf: 11105888 bytes, checksum: 0bf2519346f17419b42cda2e8152bb60 (MD5) / Análise do mecenato Capanema através dos afrescos dos "ciclos econômicos", executados pelo pintor Cândido Portinari (1903-1962), para compor o "moderno" edifício do Ministro da Educação e Saúde Pública projetado pela equipe de Lúcio Costa e Oscar Niemeyer. O ministro Capanema esteve à frente do Ministério de 1934 a 1945, onde promoveu uma verdadeira "revolução" na área da cultura e da educação no Brasil, ao congregar artistas e intelectuais no afã da construção de um projeto de "Brasil-Moderno". Para desvendar o universo do Ministério Capanema, seguiu-se a trilha da história dos intelectuais desenvolvida pela historiografia francesa (Sirinelli e Trebitsch), tendo como premissa que, as cartas e as revistas literárias são analisadas como "lugar de sociabilidade intelectual". Sob esta perspectiva, Portinari não foi um "pintor oficial", nem a sua "arte engajada. No contexto do Estado Novo (1937-1945) - nacionalista e ufanista -, em que as imagens da brasilidade são evocadas para construir a nação, a obra portinariana foi apropriada pelo regime porque possuía uma linguagem e uma imagística brasileiras. Entretanto, os afrescos dos "ciclos econômicos" não cumpriram o objetivo da politização da arte, não alcançando públicos massivos em face de sua localização.

Due to the influence of the Greek-speaking immigrants who flocked into the city of Rome over the course of the 7th and 8th centuries, there was an explosion of interest in the cults of saints and their relics, one manifestation of which was the efflorescence in the depiction of saints' lives on the church walls. Five of these cycles survive--albeit in various stages of preservation--and portray the martyrdoms of Quiricus and Julitta, Erasmus, the Forty Martyrs of Sebaste, Callixtus, and Paul and Anastasius. As the largest surviving body of early hagiographical cycles, the paintings serve as the standard of comparison for later works, but they have yet to be fully studied in the art historical literature. The aim of this dissertation is to help correct this oversight, and to examine the cycles, in the context of their cultural and architectural settings, in order to come to an understanding of how early hagiographical cycles functioned. The dissertation begins with an examination of the evidence for pre-8th century cycles, Biblical and non-Biblical, extant and non-extant, produced in any medium in Byzantium or the West. The aim is to discover patterns, either in the make-up of the cycles, or the contexts for their use. The paintings in Rome are then carefully analysed, both in terms of their content and archaeological context, in combination with the surviving hagiographical, liturgical, and historical texts. The conclusion reached is that non-Biblical hagiographical cycles first gained popularity in the East, where they were most commonly found decorating either the tombs of saints, or their reliquary shrines. Their appearance in Rome can be closely linked to the influence of the Greek-speaking immigrants, to the cults of saints and relics that they promulgated, and to the special veneration accorded the non-Biblical saint by members of the lay population. The cycles most commonly decorate chapels, or chapel-like spaces, that are located in diaconiae, the charitable institutions founded in Rome at the end of the 7th century, and whose administration was largely the responsibility of the lay community. Furthermore, as several of the cycles seem to decorate private chapels, perhaps provided to the wealthy laity in return for their donations to the church, they emerge as the early ancestors of the works found in the private chapels, decorated for rich benefactors, which proliferate in the late Middle Ages. / Graduate

Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-06-29Bitstream added on 2014-06-13T20:27:36Z : No. of bitstreams: 1 andriani_bc_me_ia.pdf: 2743782 bytes, checksum: fd4bf7871fa96a94c6fc4d66b9ab6746 (MD5) / Universidade Estadual Paulista (UNESP) / A Arte de Rua se tornou uma forte manifestação cultural ao longo dos últimos trinta anos, elaborando uma linguagem própria e se estabelecendo no mercado artístico. Contudo, o reconhecimento deste tipo de prática enquanto arte ainda é paradoxal, pois tange diversos pontos problemáticos nas relações sociais. A intervenção chega aos olhos do espectador sem pedir permissão, insere-se no contexto urbano quase que naturalmente, e em alguns casos chega a se camuflar como se já fosse parte da arquitetura. Seja qual for a sua base estética, a intervenção urbana alcança um vasto espectro de espectadores, mesmo que eles não queiram. O que se pretende nesta dissertação não é catalogar de forma cartesiana os diversos estilos encontrados nas ruas, mas sim refletir acerca desta prática, sobre seu funcionamento, seus desdobramentos, em uma leitura mais densa e tanto quanto possível objetiva / Street Art became a strong cultural manifestation during the last thirty years, creating a personal language and establishing itself into the art market. However, recognizing this practice as an art form is still a paradox. The intervention comes to the viewer's eyes without permission, inserts itself almost naturally into the urban context, and in some cases camouflages as it was already part of the architecture. Whatever the aesthetic bases are, the urban intervention reaches a huge specter of viewers, even if they don't want to. What is intended in this work is not to catalogue the different styles found in the streets in a Cartesian way, but supply a denser and as possible objective reading about this practice and also reflect about hot it works and unfolds

Houve, durante meados do século vinte, diversos episódios de colaborações entre artistas e arquitetos no Uruguai, especialmente em Montevidéu, que contribuíram significativamente para a história da arquitetura e arte moderna no país. Estes episódios, marcados por alguns personagens em comum, porém de características distintas, se relacionaram à temática da integração plástica e culminaram em obras significativas dentro do panorama da arquitetura moderna Latino-americana. Diversos foram os arquitetos e artistas que de alguma forma ou outra colaboraram para estes episódios, porém se propõe analisar quatro obras de três arquitetos, que se aproximam, em alguns aspectos, através de determinadas características em comum: A Residência Mario Lorieto em Montevidéu, do arquiteto Ernesto Leborgne e colaborações dos artistas Francisco Matto, Manuel Pailós, Horácio Torres, Julio Alpuy, Edwin Studer e Manuel Otero (1964), a Residência do arquiteto Mario Payssé Reyes em Montevidéu e os murais de Edwin Studer, Julio Alpuy, Francisco Matto, Augusto Torres e Elsa Andrada (1954), o Seminário Arquidiocesano em Toledo (Zona rural de Montevidéu) do arquiteto Mario Payssé Reyes e os murais de Horácio Torres (1961) e, por último, o Urnário do Cemitério Norte de Montevidéu, do arquiteto Nelson Bayardo e mural de Edwin Studer (1959). Procura-se, através deste trabalho, melhor compreender as trajetórias de Leborgne, Payssé e Bayardo, a importância das obras destes arquitetos e suas contribuições à temática da integração plástica dentro da história da arquitetura moderna. Busca-se também entender as relações entre artes e arquitetura que integram suas obras e identificar as características que as aproximam. / There was, during the mid-twentieth century, numerous episodes of collaborations between artists and architects in Uruguay, especially in Montevideo, which contributed significantly to the history of architecture and modern art in the country. These episodes, defined by some characters in common, though of certain different features, were related to the theme of plastic integration and culminated in important works within the overview of Latin American modern architecture. Many were the architects and artists who in some way or another contributed to these episodes, though it is intended to analyze four works by three architects, which approximate, in some aspects, through certain characteristics in common: Mario Lorieto’s Residence in Montevideo, of the architect Ernesto Leborgne and collaborations of the artists Francisco Matto, Manuel Pailós, Horácio Torres, Julio Alpuy, Edwin Studer and Manuel Otero (1964), The Residence of the architect Mario Payssé Reyes in Montevideo and murals by Edwin Studer, Julio Alpuy, Francisco Matto Augusto Torres and Elsa Andrada (1954), The Archdiocesan Seminary in Toledo (Rural area of Montevideo) of the architect Mario Payssé Reyes and murals by Horácio Torres (1961) and, finally, The North Cemetery Ossuary in Montevideo, of the architect Nelson Bayardo and mural by Edwin Studer (1959). It is sought, throughout this work, to better comprehend the trajectories of Leborgne, Payssé and Bayardo, the importance of the works of these architects and their contribution towards the theme of plastic integration within the history of modern architecture. It is also pursued to understand the relations between arts and architecture which integrate their works and the characteristics which approximate them.

A frame can be understood to act as something both complementary and even intrinsic to the work it houses. But the frame also acts as more than just a physical object. It serves as a guiding principle, perhaps even a controlling device, in the sense that it provides a context for the work as well as informing the way in which a work is read. Acting with the image it surrounds, it links the artwork to the surrounding space as well as the viewer. In this study, I explore these various functions and effects by providing an overview of framing devices that have been used by artists in the West as well as referring to guiding principles that some museums in South Africa have used when making choices about the ways in which they frame works in their collections. This examination provides a context for my paintings. Based on photographs of the walls of various small galleries in the Eastern Cape, my works take as their subject the notion of the ‘frame’ as both a physical object and the marker of a historically contextualized viewpoint.

[EN] This paper presents the study of the corpus of mural paintings of the initial gothic period, existing in the contemporary territory of the Valencian Community, from a technical viewpoint, both stylistically as material. Most of these group of mural paintings have been hidden and therefore ignored for ages, behind walls or under layers of plaster and over paintings. This findings, most of the times by chance, happened during the refurbishment of buildings that generally had a ruinous state. This fact determines that, by the conservation conditions, the pathologies that these mural paintings present may be different to other works with similar technical features. The picture groups are individually analyzed, identifying their historical and geographical circumstances, background and references to other arts, and the study of the conservation status, mode of the crafting and the materials components analysis. Each of the groups are identified and catalogued, with all their characteristic features, to elaborate a comparative study of them, in order to find common lines that define the existing corpus. An historical and technical itinerary through the valencian mural gothic painting is developed, as well as a study of the original execution, composition of the materials on the mural holder and the pictorial layer, with which determine different trends and influences, depending on the geographical areas where they are located. / [ES] Este trabajo presenta el estudio del corpus de pinturas murales del periodo gótico inicial, existentes en el actual territorio de la Comunidad Valenciana, desde una óptica técnica, tanto a nivel estilístico como matérico. La mayor parte de estos conjuntos pictóricos han estado ocultos y por tanto ignorados durante largo tiempo, tras muros o bajo capas de enlucidos y pinturas superpuestas. Sus descubrimientos, la mayor parte de las veces fortuitos, se produjeron durante obras de remodelación en edificios que presentaban generalmente un estado ruinoso. Este hecho determina que, por las condiciones de conservación, las patologías que presentan sean diferentes a otras obras con características técnicas similares. Se analizan individualmente los conjuntos pictóricos, identificando circunstancias históricas y geográficas, antecedentes y referencias en otras artes, además del estudio del estado de conservación, el modo de factura y la analítica de componentes. Se identifican y catalogan cada uno de los conjuntos con todos sus trazos característicos, para pasar posteriormente a realizar un estudio comparativo entre ellos, con el fin de encontrar trazos comunes que definen el corpus existente. Se hace un recorrido histórico y técnico por la pintura mural gótica, un estudio de las técnicas de ejecución originales, la composición de los materiales en los soportes murales y la capa pictórica, con las cuales determinar diversas tendencias e influencias, dependiendo de las zonas geográficas donde se encuentran. / [CAT] Aquest treball presenta l'estudi del corpus de pintures murals del període inicial del gòtic, existents a l'actual territori de la Comunitat Valenciana, des d'un punt de vista tècnic, a nivell estilístic i matèric. La major part d'aquests conjunts pictòrics han estat ocults i per tant ignorats durant molts anys, rere murs o baix capes de lluïts i pintures superposades. Els seus descobriments, la majoria de les vegades fortuïts, succeïren durant obres de remodelació en edificis que presentaven generalment un estat ruïnós. Aquest fet determina que, per les condicions de conservació, les patologies que presenten siguen diferents a altres obres amb característiques tècniques semblants. S'analitzen individualment els conjunts pictòrics, identificant circumstàncies històriques i geogràfiques, antecedents i referències en altres arts; a més s'estudia l'estat de conservació, el mode de factura i l'analítica dels materials compositius. S'identifiquen i cataloguen cadascun dels conjunts amb tots els seus trets característics, per a passar posteriorment a realitzar un estudi comparatiu entre ells, per tal de trobar trets comuns que defineixen el corpus existent. Es fa un recorregut històric i tècnic per la pintura mural gòtica, un estudi de les tècniques d'execució originals, la composició dels materials en els suports murers i la capa pictòrica, amb les quals determinar les diverses tendències i influències, depenent-hi de les zones geogràfiques on es troben. / Rubio Mifsud, AI. (2015). La Pintura Mural Gòtica Lineal a Territori Valencià. Statu Quo del corpus conegut. Estudi i Anàlisi per a la Seua Conservació [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/59466 / TESIS

[ES] La limpieza de superficies pictóricas es uno de los procedimientos con mayor complejidad conceptual y dificultad técnica de los llevados a cabo durante un proceso de restauración. La aplicación en sucesivas intervenciones de estratos protectores o para refrescar la superficie pictórica mural, fue un procedimiento habitual y muy extendido hasta no hace tanto tiempo. Las sustancias aplicadas, en la mayoría de los casos, son productos insolubles en agua. Ejemplo de ello serían las ceras, los distintos polímeros sintéticos o los barnices naturales entre otros muchos materiales. La problemática que surge con el uso de este tipo de sustancias hidrofóbicas se debe a la penetración del material en la red porosa de la obra, y a la consecuente fragilidad que esto genera en su superficie. Este hecho provoca que la retirada de estos productos del estrato pictórico sea tremendamente complicada. Los procedimientos tradicionales de eliminación de estas sustancias de naturaleza mixta, implican el empleo de medios mecánicos o disolventes orgánicos. En consecuencia, se trata de intervenciones potencialmente agresivas con la pintura mural al fresco. Debido a estas razones, los sistemas nanoestructurados, como las soluciones micelares y las microemulsiones, se están considerando como una alternativa para la remoción de esta clase de productos. El propósito del estudio que aquí se presenta, consiste en analizar las clases de agentes de limpieza empleados para eliminar este tipo de estratos, así como, la búsqueda de nuevos tratamientos eficientes sí, pero incidiendo especialmente en su no toxicidad. Los productos de limpieza seleccionados para su evaluación son: soluciones micelares, microemulsiones y emulsiones sin tensoactivos. Tras la publicación de algunas intervenciones llevadas a cabo con éxito en Italia, esta investigación persigue revisar los sistemas nanoestructurados que forman parte de la nueva paleta de agentes de limpieza a disposición del conservador-restaurador. Confrontando las características constitutivas de la pintura mural italiana, con la casuística propia de las obras españolas y en concreto del barroco valenciano. Para ello, se ha establecido un marco experimental que ha permitido analizar los resultados de diversas pruebas tanto en probetas realizadas ex profeso, como en las pinturas murales de las iglesias de San Nicolás y de los Santos Juanes, situadas ambas en la ciudad de Valencia. El procedimiento experimental ha permitido observar ventajas y desventajas de los sistemas nanométricos que necesariamente, deben ser evaluadas para aportar conclusiones que faciliten la labor del conservador-restaurador al enfrentarse a este tipo de problemática. Este estudio ha conseguido diseñar una alternativa viable, eficaz y no tóxica, mediante el empleo de emulsiones sin tensoactivos, que intenta resolver los inconvenientes encontrados en la práctica a la hora de trabajar con los sistemas nanométricos en obras murales del barroco valenciano. Esta línea de investigación abre un amplio campo de estudio científico con ambiciosas posibilidades futuras que pueden ser claves en la salvaguarda del patrimonio artístico. / [CAT] La neteja de superfícies pictòriques és un dels procediments amb major complexitat conceptual i dificultat tècnica dels duts a terme durant un procés de restauració. L'aplicació en successives intervencions d'estrats protectors o per refrescar la superfície pictòrica mural, va ser un procediment habitual i molt estès fins no fa tant de temps. Les substàncies aplicades, en la majoria dels casos, són productes insolubles en aigua. Exemple d'això serien les ceres, els diferents polímers sintètics o els vernissos naturals entre molts materials. La problemàtica que sorgeix amb l'ús d'aquest tipus de substàncies hidrofòbiques es deu a la penetració del material a la xarxa porosa de l'obra, i a la conseqüent fragilitat que això genera en la seua superfície. Aquest fet provoca que la retirada d'aquests productes de l'estrat pictòric sigui tremendament complicada. Els procediments tradicionals d'eliminació d'aquestes substàncies de naturalesa mixta, impliquen l'ús de mitjans mecànics o dissolvents orgànics. En conseqüència, es tracta d'intervencions potencialment agressives amb la pintura mural al fresc. A causa d'aquestes raons, els sistemes nanoestructurats, com les solucions micelars i les microemulsions, s'estan considerant com una alternativa per a la remoció d'aquesta classe de productes. El propòsit de l'estudi que aquí es presenta, consisteix a analitzar les classes d'agents de neteja emprats per eliminar aquest tipus d'estrats, així com, la recerca de nous tractaments eficients sí, però incidint especialment en la seua no toxicitat. Els productes de neteja seleccionats per a la seua avaluació son: solucions micelars, microemulsions i emulsions sense tensioactius. Després de la publicació d'algunes intervencions dutes a terme amb èxit a Itàlia, aquesta investigació persegueix revisar els sistemes nanoestructurats que formen part de la nova paleta d'agents de neteja que es troba a disposició del conservador-restaurador. Confrontant les característiques constitutives de la pintura mural italiana, amb la casuística pròpia de les obres espanyoles i en concret del barroc valencià. Per a això, s'ha establert un marc experimental que ha permès analitzar els resultats de diverses proves tant en provetes realitzades expressament, com en les pintures murals de les esglésies de Sant Nicolau i dels Sants Joans, situades totes dues a la ciutat de València. El procediment experimental ha permès observar avantatges i desavantatges dels sistemes nanomètrics que necessàriament, han de ser evaluades per a aportar conclusions que faciliten la tasca del conservador-restaurador al enfrontar-se a aquest tipus de problemàtica. Aquest estudi ha aconseguit dissenyar una alternativa viable, eficaç i no tòxica, mitjançant l'ús d'emulsions sense tensioactius, que intenta resoldre els inconvenients trobats en la pràctica a l'hora de treballar amb els sistemes nanomètrics en obres murals del barroc valencià. Aquesta línia de recerca obre un ampli camp d'estudi científic amb ambicioses possibilitats futures que poden ser claus en la salvaguarda del patrimoni artístic. / [EN] The cleaning of pictorial surfaces is one of the most complex restoration processes in the field of Conservation. It is both conceptually challenging and technically rigorous. The application of different layers of coatings that serve to either protect the mural painting or to resaturate the pictorial surface, was a habitual and widespread practice that endured until only recently. In most cases, the applied materials were and remain insoluble in water. Examples of some of these substances include waxes, various synthetic polymers, or natural and synthetic varnishes among many other materials. The major problem that arises from the use of the aforementioned products is a result of their ability to penetrate into the artwork's porous network. This penetration can severely compromise the stability of the painting's surface and renders the removal of these products from the pictorial layer tremendously complicated. Traditional cleaning methods also employ mechanical action and include the use of organic solvents. These types of interventions are potentially aggressive to fresco mural paintings. Consequently, nanostructured systems, such as micellar solutions and microemulsions, are being considered as alternatives for their removal. The aim of this study is to analyse different cleaning agents used to eliminate hydrophobic materials from the fresco mural paintings while investigating new, efficient and non-toxic treatment options. The cleaning products selected for analysis include micellar solutions, microemulsions and emulsions without surfactants. After the publication of some recent successful innovations made in Italy, this research aims to review the nanostructured systems available as cleaning agents for mural paintings to the conservator-restorer. It also attempts to analyse the effects of these substances while bearing in mind the constitutive differences between Italian and Spanish mural paintings, specifically in paintings from the Baroque period in the Spanish city of Valencia. To this end, an experimental framework has been established that enables the results of various tests to be analysed both on mock-up samples done ex professo, and in situ samples on mural paintings from the Valencian churches of San Nicolás and Santos Juanes. The described experimental procedure has allowed for the observation of advantages and disadvantages inherent in nanometric systems, which will provide findings that facilitate the work of practising conservator-restorers grappling with these types of problems. This study has resulted in the development of an effective and non-toxic alternative solution that employs emulsions without surfactants. This new solution takes steps towards rectifying practical disadvantages associated with current emulsion-based cleaning systems. This line of research opens up a wide field of scientific study with broad future possibilities integral to the successful safeguarding of artistic heritage. / La presente tesis doctoral se ha realizado gracias a la concesión de varias becas y de una estancia breve en Estados Unidos con la que se opta a La Mención Doctorado Internacional. Estas ayudas han resultado indispensables para la elaboración y llegada a término de este trabajo de investigación: • Contratos pre-doctorales del Programa para la Formación de Personal Investigador (FPI) de la Universitat Politècnica de València-Subprograma 1. Convocatoria 2015 financiada por la Universitat Politècnica de València. El período de disfrute de la beca fue de 01/02/2016 al 30/06/2016. • Ayudas para la contratación de personal investigador de carácter predoctoral (DOCV núm. 7738, de 10.03.2016). Cofinanciadas por el Fondo Social Europeo (FSE) de acuerdo con el Programa Operativo de FSE 2014-2020 de la Comunitat Valenciana financiada por la Consellería de Educación, Investigación, Cultura y Deporte de la Generalitat Valenciana. Duración de la ayuda: 01/07/2016 hasta el 31/01/2019. • Para optar al título de Mención Doctorado Internacional, se ha llevado a cabo parte de la investigación, en uno de los centros más relevantes en el campo de la Conservación y la Restauración de Estados Unidos. El Museo Winterthur, adscrito al Winterthur/University of Delaware Program in Art Conservation bajo la supervisión de Joyce Hill Stoner y Richard Wolbers. Esta estancia predoctoral de tres meses de duración, fue posible gracias a la concesión de una de las Subvenciones para estancias de contratos predoctorales en centros de investigación fuera de la Comunidad Valenciana, Cofinanciadas por el Fondo Social Europeo (FSE) de acuerdo con el Programa Operativo de FSE 2014-2020 de la Comunitat Valenciana financiada por la Consellería de Educación, Investigación, Cultura y Deporte de la Generalitat Valenciana. Período: 01/09/2017 hasta el 01/12/2017. Parte de los resultados de esta estancia se reflejan en el capítulo VI de esta tesis. / Pérez Benito, P. (2019). Microemulsiones, soluciones micelares y emulsiones sin tensoactivos en la limpieza de pintura mural al fresco [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/124826 / TESIS

In this dissertation, I examine the political organization of Maya states during the Classic period (AD 550-950) through the workings of an institutional order whose practices came to light in excavations at Xultun, Guatemala. Archaeological, artistic, and epigraphic evidence shows that members of this order, called Taaj, lived, worked and instructed others at a household compound called Los Sabios. Members specialized in indigenous Maya sciences and high-level ritual that were instrumental in the organized, astronomically-timed public ceremonies and crafted spectacles by which local sovereigns communicated and maintained political authority. The Taaj order first surfaced on a mural found within a small, central structure of Los Sabios. The artist(s) depicted three male Taaj members and two novices dressed in uniforms and labeled with ranked titles, with a high-ranking Taaj gesturing in ritual toward the enthroned ruling sovereign as the other Taaj look on. The mural also served as a palimpsest for scientific and astronomical calculations painted over and around the figures of the scene. Eventually, residents closed off this mural room and converted it into a mausoleum under which they buried a man dressed in the same uniform as the Taaj depicted on the mural. As household sub-floor burials were typical among the Maya, this discovery affirms that these Taaj resided at Los Sabios. Papermaking tools found throughout the residence suggest the Taaj recorded their scientific and ritual knowledge in barkpaper books. Such tools were also found buried with a woman at Los Sabios, showing her key role in creating books alongside the Taaj, despite her omission from the mural. Taaj has long been overlooked as a title, but my reconsideration of the term as it occurs elsewhere reveals its widespread use as such and indicates these Taaj figures existed throughout Maya area. These discoveries shed unexpected new light on governance and social organization among the Maya. Together, they reveal a political structure in which rulers relied on the expertise and secret knowledge of the Taaj to help sustain local systems of sovereignty as well as forms of class-based inequality that characterized Classic Maya society until the time of its collapse. / 2017-05-01

京都大学 / 0048 / 新制・課程博士 / 博士(生命科学) / 甲第19865号 / 生博第346号 / 新制||生||46(附属図書館) / 32901 / 京都大学大学院生命科学研究科高次生命科学専攻 / (主査)教授 渡邊 直樹, 教授 松田 道行, 教授 根岸 学 / 学位規則第4条第1項該当 / Doctor of Philosophy in Life Sciences / Kyoto University / DFAM