<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0185-2574</journal-id>
<journal-title><![CDATA[Estudios de cultura maya]]></journal-title>
<abbrev-journal-title><![CDATA[Estud. cult. maya]]></abbrev-journal-title>
<issn>0185-2574</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Instituto de Investigaciones Filológicas]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0185-25742023000200045</article-id>
<article-id pub-id-type="doi">10.19130/iifl.ecm/62/000xs00146w02</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[La representación del espacio en el arte maya y su aplicación a las pinturas de la Acrópolis de Chi&#8217;ik Nahb de Calakmul]]></article-title>
<article-title xml:lang="en"><![CDATA[The Representation of Space in Maya Art and its use on the Chi&#8217;ik Nahb Acropolis of Calakmul]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Valencia Rivera]]></surname>
<given-names><![CDATA[Rogelio]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,rogelio.valencia.rivera@gmail.com  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2023</year>
</pub-date>
<volume>62</volume>
<fpage>45</fpage>
<lpage>73</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0185-25742023000200045&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0185-25742023000200045&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0185-25742023000200045&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Mediante el análisis de los diferentes recursos empleados por los artistas mayas con el fin de aportar profundidad a sus obras -con especial énfasis en los que se dedican a la representación de la configuración del espacio sobre el que se colocan las figuras-, se puede realizar una reconstrucción hipotética de la forma que tenía el lugar donde se llevan a cabo las acciones representadas en las pinturas de la Acrópolis de Chi&#8217;ik Nahb, en la ciudad maya de Calakmul. Este lugar era, probablemente, una explanada al aire libre, donde las personas se colocaban en filas, unas detrás de las otras, en la que se dedicaban a la distribución de sus productos. Pese a que la mayor parte de las técnicas empleadas por los mayas para la representación del espacio se pueden equiparar a aquellas usadas por otras culturas del pasado, anteriores a la griega, el uso de líneas oblicuas para representar estructuras escalonadas es apreciable en el caso de Calakmul y en algunos otros ejemplos tardíos, lo cual implicaría el inicio de la experimentación del arte maya con los principios más básicos de la perspectiva lineal.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract By analysing the different resources employed by the Maya artists in order to add depth to their works -with special emphasis on those dedicated to the representation of the configuration of the space on which the figures are placed-, a hypothetical reconstruction of the form of the place, where the actions depicted in the paintings of the Acropolis of Chi&#8217;ik Nahb, in the Maya city of Calakmul, took place, could be achieved. This place was probably an open-air esplanade, where people stood in rows, each group behind the other, where they engaged in the distribution of their products. Although most of the techniques used by the Maya, for the representation of space, can be compared to those employed by other cultures of the past, prior to the Greeks, the use of oblique lines to represent stepped structures is noticeable in the case of Calakmul and in some other late examples, which would imply the beginning of the experimentation of Maya art with the most basic principles of linear perspective.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[perspectiva espacial]]></kwd>
<kwd lng="es"><![CDATA[espacio pictórico]]></kwd>
<kwd lng="es"><![CDATA[pintura mural]]></kwd>
<kwd lng="es"><![CDATA[Chi&#8217;ik Nahb]]></kwd>
<kwd lng="es"><![CDATA[Calakmul]]></kwd>
<kwd lng="en"><![CDATA[spatial perspective]]></kwd>
<kwd lng="en"><![CDATA[pictorial space]]></kwd>
<kwd lng="en"><![CDATA[mural painting]]></kwd>
<kwd lng="en"><![CDATA[Chi&#8217;ik Nahb]]></kwd>
<kwd lng="en"><![CDATA[Calakmul]]></kwd>
</kwd-group>
</article-meta>
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