BUL VS RITHMOMACHY

Bul (also called Buul, Boolik or Puluc) is a running-fight board game originating in Mesoamerica, and is known particularly among several of the Maya peoples of Belize and the Guatemalan highlands. It is uncertain whether this game dates back to the pre-Columbian Maya civilization, or whether it developed in the post-colonial era after the arrival of the Spanish conquistadores. Stewart Culin described the game in the 24th Annual Report of the Bureau of American Ethnology: Games of North American Indians published in 1907. R. C. Bell referred to the game in Board and Table Games from Many Civilizations. Both of these descriptions were based on the eyewitness accounts of others. Lieve Verbeeck, a linguist studying Mayan language, witnessed the modern version of the game being played by Mopan and Kekchi Maya in Belize It is not known exactly when the game was developed or what the original rules were as very few records survived the invasion by the conquistadors between the 15th and 17th centuries. Stewart Culin organised the games in his anthology into those he thought had an influence from Europe in their creation. Bul is not listed among these, and in his opinion the game must have developed before Europeans arrived in Central America. There are a variety of ways to play the game, as Verbeeck's account shows. The game could be played by two people, or by two equal-sized teams. The overall objective is to capture and subsequently kill the playing pieces of the opposition, so the game is in essence a war game. The playing area is divided into equal spaces using rods placed parallel to each other. The two players have control of a base at either end of the play area. The players take an even number of stones or figurines (or any suitable playing piece) and place them in their respective bases.

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Rithmomachy (or Rithmomachia, also Arithmomachia, Rythmomachy, Rhythmomachy, or several other variants; sometimes known as The Philosophers' Game) is a highly complex, early European mathematical board game. The earliest known description of it dates from the eleventh century. A literal translation of the name is "The Battle of the Numbers". The game is much like chess, except most methods of capture depend on the numbers inscribed on each piece. It has been argued that between the twelfth and sixteenth centuries, "rithmomachia served as a practical exemplar for teaching the contemplative values of Boethian mathematical philosophy, which emphasized the natural harmony and perfection of number and proportion. The game, Moyer argues, was used both as a mnemonic drill for the study of Boethian number theory and, more importantly, as a vehicle for moral education, by reminding players of the mathematical harmony of creation." Very little, if anything, is known about the origin of the game. Medieval writers attributed it to Pythagoras, but no trace of it has been discovered in Greek literature, and the earliest mention of it is from the time of Hermannus Contractus (1013–1054). The name, which appears in a variety of forms, points to a Greek origin, the more so because Greek was little known at the time when the game first appeared in literature. Based upon the Greek theory of numbers, and having a Greek name, it is still speculated by some that the game originated in Greek civilization, perhaps in the later schools of Byzantium or Alexandria. The first written evidence of Rithmomachia dates to around 1030, when a monk named Asilo created a game that illustrated the number theory of Boëthius' De institutione arithmetica, for the students of monastery schools. The rules of the game were improved shortly thereafter by another monk, Hermannus Contractus from Reichenau, and in the school of Liège. In the following centuries, Rithmomachia spread quickly through schools and monasteries in the southern parts of Germany and France. It was used mainly as a teaching aid, but gradually intellectuals started to play it for pleasure. In the 13th century Rithmomachia came to England, where famous mathematician Thomas Bradwardine wrote a text about it. Even Roger Bacon recommended Rithmomachia to his students, while Sir Thomas More let the inhabitants of the fictitious Utopia play it for recreation. The game was well enough known as to justify printed treatises in Latin, French, Italian, and German, in the sixteenth century, and to have public advertisements of the sale of the board and pieces under the shadow of the old Sorbonne.

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