Basis of a gnomonic paradigm in Mesoamerica : The case of Mayapan

Part of : Mediterranean archaeology & archaeometry : international journal ; Vol.16, No.4, 2016, pages 75-80

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75-80
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Abstract:
In the last decade we have found several examples of the role of the gnomonic triangle (formed by the vertical gnomon, the shadow and the sunlight coming from the Sun) in the site selection and orientation of buildings in ancient cultures. We have discussed the cases of Stonehenge and Newgrange, where the gnomonic factor (fg) are equal to 3 and 4, respectively, and with the aid of platonic gnomonic factor (fgp), its presence in Greece and Egypt; we have begun the search of a gnomonic paradigm as a manifestation of Astronomy in antiquity. In fact, our search has given several possibilities, or better, several possible forms for the paradigm: Through the fg and through the fgp. Astronomy, undoubtedly, began with the observation of the Sun and the Moon; well before the appearance of Star Astronomy, the apparent motion of the Sun in the daily sky and at the horizon along the year was recognized. Prior to that, we can think about man looking his shadow and acquiring conscience of Space and Time as proposed by R. Calvino. Now, we turn our attention to Mesoamerica where orientations of buildings to events on the Horizon (sunrise, sunset, and zenith passages) are well recognized, in order to find a gnomonic paradigm. In particular we analyze the case of Mayapan‟s El Castillo and Templo Circular; paying attention to the main orientations of the latter, as reported by Aveni and Milbrath in 2004, and J. Galindo in 2007. We have found that they could have been fixed by the shadows of a gnomon: at Winter Solstice a shadow implying fgp = 0; at Winter-Summer Solstices a fg = 1; and, at the day of Zenith Passage a fgp = 1 1/3; and, the East rising day a fgp= 1/3. These results allow us to suggest the existence of a gnomonic paradigm for Maya Culture.
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Keywords:
Templo Circular, gnomonic factor, Zenith Passage, gnomonic paradigm
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Περιέχει 4 εικόνες και 1 πίνακα
References (1):
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