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If any of the following articles interest you, you may reach them through this link (go through link, then select thr record  number associated with the article from list below, for full-text articles, with images:

http://www.westga.edu/~library/temp.shtml

Record  1

 A Re-examination of the Mesoamerican Chacmool. By: Miller, Mary Ellen. Art Bulletin, Mar85, Vol. 67 Issue 1, p7, 11p

Abstract: Examines the Mesoamerican chacmool, a three-dimensional sculpture of reclining male figures by Augustus Le Plongeon. Identification of pre-Toltec prototype; Information on the Aztec chacmools found in the context of Templo Mayor in Mexico; Evidence of the development of Postclassic chacmool from classic Maya representations. (AN 5310316)

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Record: 2

The Identity of the Central Deity in the Aztec Calendar Stone. By: Klein, Cecilia F.. Art Bulletin, Mar75, Vol. 58 Issue 1, p1, 12p, 23bw;

Abstract: Analyzes the cosmological symbolism of the Aztec Calendar Stone. Function of the stone; Identity of the deity represented at the center of the stone; Information on several Aztec deities. (AN 5318707)

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Record: 3

Extreme Sport. By: Popson, Colleen P.. Archaeology, Sep/Oct2003, Vol. 56 Issue 5, p42, 7p, 1 map, 6c; Abstract: Focuses on the ulama de cadera, or hip ulama, a game popularized by Maya kings and Aztec warriors. How ulama has survived in western Mexico; Significance of modern ulama's deep roots for scholars that they became eager to understand how Precolumbian ball-games were played; Link of the Prehispanic ball-game to power and warfare. (AN 10530787)

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Record: 4

History, writing, and image in Maya art. By: Schele, Linda. Art Bulletin, Sep96, Vol. 78 Issue 3, p412, 5p; Abstract: Focuses on the relationship between writing and Maya art. Ongoing deciphering of the Maya hieroglyphic writing system; Contribution to the understanding of Maya cultural history; Coordination of different systems of information in objects; Creation mythology; Interaction between object, image, and writing. (AN 9609270287)

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Record: 5

Chinese Calligraphy and the Cultural Revolution. By: Da Zheng. Journal of Popular Culture, Fall94, Vol. 28 Issue 2, p185, 17p, 6bw; Abstract: This article highlights the role of calligraphy in the Cultural Revolution in China. It has been widely acknowledged that the Cultural Revolution from 1966 to 1976 was a political movement which destroyed the cultural heritage of China and led the country to the brink of cultural bankruptcy. It has not been emphasized, however, that this cultural destruction was performed with the weapon of culture itself. Calligraphy, a popular cultural form which has enjoyed the longest history in art and exerted great influence in the intellectual history of China, became such a weapon of destruction. Calligraphy actively manipulated the mass during the Cultural Revolution. The traditional Confucian elegance was replaced by a revolutionary passion and etiquette by a loyalty to Mao and his revolutionary line. In essence, the ideological function of calligraphy remained the same: consolidating the existent social order and system. People were given the right to write, but the revolutionary passion allowed in writing calligraphy was conditional: it should never transgress the limit prescribed. Any conspirational or bold activity, such as the dissonant voices expressed in the daring posters at Tian'anmen Square on April 5, 1976, or at the Democracy Wall in 1978, would immediately lead to the deprivation of this right. (AN 9508060228)

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Record: 6

Shiva Nataraja: Shifting Meanings of an Icon. By: Kaimal, Padma. Art Bulletin, Sep99, Vol. 81 Issue 3, p390, 30p, 1 chart, 3 diagrams, 2 maps, 24bw; Abstract: Focuses on Shiva Nataraja, a Hindu god in India. Description of the Hindu god; Influence of Amanda K. Coomaraswamy's essay `The Dance of Shiva' on Indian art history; Representations of Nataraja icons; Interpretation of Coomaraswamy on the Shiva dance; Information on the chronology of Nataraja images; Details on the images of Shiva Nataraja. (AN 2315377)

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Record: 7

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