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Archaeology [Sticky] Archaeology by Prau123

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The Largest Pyramid in the World

 

 

 

 

 

 

 

 

 

We investigate the ruins of the world's biggest pyramid and recount the history of the people who made it, as best we know.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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The metal that was worth more than gold

 

 

 

 

 

 

 

 

 

 

 

 

Two chemists independently figured out how to extract aluminium using electricity in 1886. But the sheer coincidence of this historical event is nuts.

In 1886, an American named Charles Martin Hall and a Frenchman named Paul Héroult were both 22 years old. Working thousands of miles apart, with zero communication, they both independently realized that if you dissolve aluminium ore in a bath of molten cryolite and pass a high electrical current through it, pure aluminium separates out effortlessly.

Not only were they the exact same age when they made the identical discovery, but they were also born in the exact same year (1863) and died in the exact same year (1914). Their simultaneous genius gave birth to the modern Hall-Héroult process, permanently transforming a royal crown jewel into an everyday industrial commodity overnight.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Calakmul mural reveals Preclassic writing and mythology

 

 

 

 

 

 

 

 

 

 

 

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Jade across the Rockies: New research on stone celt artifacts helps map Indigenous trade routes

Nephrite jade tools were traded across cultural boundaries, became symbols of relationships forged

 

 
Stone celts, tools crafted from jade, were used for thousands of years by the Salish peoples of what is now British Columbia. A new study examines how they travelled eastward into Indigenous communities in Alberta, Saskatchewan and Manitoba. (Archaeological Survey of Alberta)

New research analyzing jade artifacts, unearthed east of the Rocky Mountains, sheds light on vast Indigenous trade networks that once cut across pre-colonial Western Canada.

For more than 3,000 years, pieces of nephrite jade were carefully hand-polished and sharpened into blades, chisels and axe heads. 

For central and coastal Salish communities in the Pacific Northwest, these tools — made of an incredibly durable stone found in shades of emerald green, black, yellow and white — were essential everyday items used to carve the wood that sustained daily life.

Some of these stone tools, however, travelled from where they were quarried in B.C. across the Rocky Mountains and have since been found in Alberta, Saskatchewan and Manitoba.

The Edmonton-based Archaeological Survey of Alberta led a https://url.uk.m.mimecastprotect.com/s/yHdiCM922f2jmyn4SwfKf87c0N?domain%3Ddoi.org&source=gmail&ust=1784998086443000&usg=AOvVaw1zovz-wlA5zbYJLAkwjBl f">peer-reviewed study of those tools, recently published in North American Archaeologist, that brought together researchers from the University of Alberta, University of British Columbia, University of Saskatchewan and Royal Saskatchewan Museum.

Their findings suggests these tools, known as stone celts, were highly coveted prestige items in the Prairies.

Crafted in what is now British Columbia, they were passed along to Dene and Cree communities east of the Rockies on extensive pre-contact trade networks that crossed cultural and linguistic boundaries.

The widespread distribution of such artifacts demonstrates that large social networks formed between Indigenous peoples across Western Canada, said Todd Kristensen, regional archaeologist with the Archaeological Survey of Alberta and the study's lead author.

“By the time it made its way across the Rockies around 1,000 years ago, the jade was more about cementing social alliances and networks — kind of a gift, as opposed to a functional tool," he said.

‘The mystery’

The study sought to answer questions that have lingered in anthropology for decades. The use of nephrite by pre-contact peoples in B.C. is well documented, but its presence east of the Rockies had received little attention, Kristensen said.

With no local nephrite deposits nor evidence of local crafting in the Prairies, researchers wanted to know where these artifacts originated from and how they arrived.

"In B.C., they would use them to make cedar dugout canoes and all kinds of other woodworking," Kristensen said. "In Alberta and Saskatchewan, where a few of these jade celts appear, it's a different story. 

“That was part of the mystery. Why do we have these jade artifacts showing up in a place where it doesn't seem like people really needed the jade in a functional sense?"

Researchers analyzed the 24 nephrite celts recorded east of the Rockies over the past 75 years. They confirmed their mineral composition and origin by using portable X-ray fluorescence, gamma spectrometry and specific gravity testing.

The results proved that each specimen came from the Fraser River region of B.C.

The study found that, on average, the celts travelled nearly 850 kilometres from their origin. Some travelled almost 1,500 kilometres.

 

This graphic from the Archaeological Survey of Alberta details all known locations where jade stone celts have been found east of the Rocky Mountains.

 
This graphic from the Archaeological Survey of Alberta details all known locations where jade stone celts have been found east of the Rocky Mountains. (Archaeological Survey of Alberta)

 

The study proposes several possible routes along which these items moved across the continent.

Interior Salish craftspeople may have traded with neighboring Dene groups, who then carried the celts east, across the Rockies, to share with Dene kin and ancestral Cree communities, the study suggests.

It also says Dene groups traveling west from northern Alberta, for trade fairs on the Fraser River, may have acquired the celts and brought them home, or Salish groups making trips east into Alberta’s mountain river valleys may have traded directly with western Dene communities.  

"We think that Dene people migrating through the region led to a new flourish of relationships that shot the jade east across the Rocky Mountains," Kristensen said.

"Jade might be a smoking gun that tells us of a new economic relationship that distributed goods in a different way."

'Beautiful object'

Manufacturing one nephrite celt required labour-intensive grinding and polishing. A smaller one often took more than 100 hours to make, while larger pieces could take up to 500 hours.

"To invest 100 hours in an object gives it a lot of meaning and value," Kristensen said.

Celts in the Pacific Northwest were continually re-sharpened and re-used as tools for generations. But those recovered by archaeologists in the parklands and boreal forests, where communities relied on birch bark and hide structures rather than heavy timber, were noticeably larger and showed minimal wear.

This suggests the stone celts were no longer functional tools as they travelled further away; they were prestige items.

Kristensen compares them to sentimental items someone today might keep on display on a desk or mantelpiece.

“It's a beautiful object, but the real value is the relationship that delivered it,” he said.

Pre-contact people are typically portrayed as isolated hunter-gatherers, but the study paints an alternate picture, Kristensen said.

“We sometimes think of people as adapting through hunting and gathering enough tools and foods and resources to stay alive. But relationships were just as important," he said.

“That's what this jade study is helping us understand.” 

Kisha Supernant, director of the Institute of Prairie and Indigenous Archaeology at the University of Alberta, said the research challenges the idea that pre-contact Indigenous groups were isolated, instead demonstrating human connections and long-distance travel across the western landscape.

Supernant praised the researchers for engaging with Indigenous communities, as well as bridging the gap between their data and the broader context of pre-contact Indigenous cultures.

“That brings that human element — and that is essential, because archaeology, fundamentally, is trying to understand the people of the past,” she said.

Kristensen emphasized that the study relied heavily on citizen science, as almost all 24 artifacts were originally found by farmers plowing their fields, rather than during formal archaeological excavations.

Moving forward, he said, the research team plans to engage with Indigenous communities to pair their findings with traditional oral histories.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Jade across the Rockies: New research on stone celt artifacts helps map Indigenous trade routes | CBC News

 

 

 


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EL AZUL MAYA (The Maya Blue)

 

 

 

 

 

 

 

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Azul maya (Maya Blue) is a unique, highly durable bright turquoise pigment created by pre-Columbian Mesoamerican cultures using indigo and palygorskite clay.
 
Composition and Durability
  • Ingredients: Made from a mixture of organic indigo dye extracted from the añil plant (Indigofera suffruticosa) and an inorganic palygorskite clay mineral.
  • Chemical Bond: Gentle heating locks the organic dye molecules inside the microscopic tunnels of the clay structure.
  • Resistance: It exhibits extreme resistance to weathering, acid, strong sunlight, and biological degradation, surviving intact on ancient ruins for over a millennium.
Historical and Cultural Use
  • Applications: Utilized extensively on mural paintings (such as at Bonampak and Chichen Itza), ceramics, sculptures, and codices.
  • Ritual Significance: Associated with Chaak, the Maya rain god; the color was used to paint sacrificial victims and ceremonial altars during important invocation rituals.
  • Timeline: Flourished from approximately the 8th century CE through the post-conquest colonial period, after which the precise production technique was lost for centuries until modern scientific rediscovery.

 

 

 

 

 

 

 

 

 

Maya blue is a unique, bright turquoise pigment created by pre-Columbian Mesoamerican cultures like the Maya, famous for its intense resistance to weather, acids, and time. It is made by combining a natural plant dye (indigo) with a special type of mineral clay (palygorskite) and heating them together.
 
Composition and Creation
  • Ingredients: Organic indigo from the añil plant mixed with fibrous palygorskite (attapulgite) clay.
  • The Process: Heating the mixture gently binds the organic dye inside the microscopic tubular channels of the clay.
  • Durability: Unlike normal indigo dye that fades in sunlight, Maya blue withstands heavy rain, heat, and harsh chemicals.
Historical Use
  • Art and Architecture: Used widely on murals, pottery, sculptures, and codices from roughly the 8th century until the 19th century.
  • Sacred Rituals: Associated with the rain god Cha'ac; people painted sacrificial victims and altars blue to pray for rain and good crops.

 

 

 

 

 

 

 

 

 

Maya blue(Spanish: azul maya) is a vibrant, pre-Columbian turquoise-blue pigment created by Mesoamerican civilizations like the Maya and Aztecs. Unlike other ancient blues that faded over time, Maya blue is highly celebrated for its exceptional durability, maintaining its brilliant hue for over a thousand years despite exposure to extreme heat, humidity, and corrosive acids. 
 
How It Was Made
 
The creation of Maya blue was a sophisticated technological achievement that bridged organic chemistry and mineralogy: 
  • The Ingredients: It was made by chemically bonding indigo (a plant dye derived from añil leaves) with palygorskite (a rare, fibrous mineral clay).
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  • The Process: Ancient craftspeople fused these ingredients under heat ranging between 212°F and 300°F (100°C–150°C).
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  • The Secret: This heating trapped the indigo dye molecules securely inside the natural molecular channels of the clay, shielding the pigment from weathering and degradation. Copal incense resin was also used during the ritual production process.
Cultural and Religious Significance
 
For Mesoamerican cultures, the color blue was deeply sacred and symbolic: 
  • The Rain God: The hue was directly associated with Chaac (the Maya rain deity) and Tlaloc (the Aztec rain deity).
  • Human Sacrifice: During times of severe drought, priests painted sacrificial victims entirely in Maya blue before offering them to the gods, hoping to bring rain.
  • Art and Writing: The pigment was used broadly across murals (such as those at Chichén Itzá and Bonampak), pottery, statues, and sacred hieroglyphic manuscripts called codices.
The Lost and Found Recipe
 
While Western Europe treated blue as a luxury scarcer than gold, Maya blue was produced reliably in Mesoamerica for a thousand years. However, following the Spanish conquest, the complex manufacturing process was forgotten and became "extinct" by the late 17th to 18th century. Modern scientists only successfully decoded its exact chemical composition in the late 20th century. In recent years, local artists and researchers in Mexico have managed to recreate authentic batches using indigenous botanical knowledge passed down through generations. 

 

 

 

 

 

 

 

 

 

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