Iconography and Art (Other Keyword)

1-25 (107 Records)

Abbreviated Imagery on Cajamarca Cursive Ceramics (2018)
DOCUMENT Citation Only Jeanette Nicewinter.

Paintings on fineware ceramic vessels and spoons by the pre-Hispanic Cajamarca culture of the north highlands of present-day Peru emphasize an abstracted and expressionistic aesthetic unlike their north coast neighbors, the Transitional Moche culture, and their contemporaries, the Wari state. During the Middle Horizon (c. 600 - 1000 CE), the Cajamarca culture's paintings developed a greater emphasis on human and animal imagery while maintaining an abstraction of forms. The figures are reduced to...


Animal Imagery in the Postclassic Yearbearer Pages of the Codex Borgia (2019)
DOCUMENT Citation Only Susan Milbrath.

This is an abstract from the "Animal Symbolism in Postclassic Mesoamerica: Papers in Honor of Cecelia Klein" session, at the 84th annual meeting of the Society for American Archaeology. Animals are prominent in annual rituals performed at the end of the year, as seen on page 49-52 of the Codex Borgia. Animals attacking each other and scenes of struggle involving animals and anthropomorphic gods are related to sequences in the yearbearer cycle that define the Calendar Round. Yearbearer...


An Animal Kingdom at Chichen Itza, Yucatan, Mexico (2019)
DOCUMENT Citation Only Cynthia Kristan-Graham.

This is an abstract from the "Animal Symbolism in Postclassic Mesoamerica: Papers in Honor of Cecelia Klein" session, at the 84th annual meeting of the Society for American Archaeology. At the Postclassic Maya city of Chichen Itza, buildings, planned spaces, and imagery blend with the landscape to form meta-narratives. One instance is the Sacred Cenote, a limestone sinkhole that was a major focus of rituals. The cenote rim features frogs/toads carved from the living rock, and at one time...


Animal Masters, Guardian Animals, and Masters of Animals in Eastern North American (2019)
DOCUMENT Citation Only David Dye.

This is an abstract from the "Supernatural Gamekeepers and Animal Masters: A Cross-Cultural Perspective" session, at the 84th annual meeting of the Society for American Archaeology. In this presentation I discuss beliefs that focus on "supernatural" animals and associated charter myths, regalia, and ceramic effigies. Three forms of transcendental animals are evident in eastern North America: animal masters, guardian animals, and masters of animals. Animal masters control the availability and...


Atributos y función de las deidades del Clásico en el Centro de Veracruz: una propuesta metodológica (2018)
DOCUMENT Citation Only Ivonne Reyes Carlo.

Una constante en la Costa del Golfo es utilizar elementos de deidades del Altiplano (Tláloc por ejemplo) para interpretar las representaciones de seres con características sobrenaturales pertenecientes a esta área de estudio. Si bien, podrían existir rasgos iconográficos que justificaran esas semejanzas no podemos únicamente traslapar elementos similares entre unas imágenes y otras ya que sólo se obtiene una propuesta parcial sobre su interpretación y tal vez nos aleje de su significado...


Banqueting with Tutankhamun: A Case Study in Determining the Function and Meaning of an Unprovenanced Artifact (2018)
DOCUMENT Citation Only Michael Tritsch.

A striking example of the sophistication of the vitreous materials industry at the time it was produced, a faience bead depicting Tutankhamun drinking from a white lotus chalice possesses tremendous symbolic meaning that reflects the mores of the ancient Egyptian culture of the time. Although a published piece from the Eton College Collection, this is the first time extensive research has been performed on this unprovenanced artifact bought on the antiquities market in the late 1800s. Production...


Becoming Divine: Stone Sculpture and Deity Impersonation in Classic Veracruz Visual Culture (2018)
DOCUMENT Citation Only Caitlin Earley.

Recent study of an hacha from Classic-period Veracruz in the collection of the Metropolitan Museum of Art reveals that hachas and palmas may have been used as costume elements in ritual performances related to the ballgame. As costume elements, these sculptures would have allowed actors to assume the identity of captives, rulers, or deities. This accords well with iconographic evidence of ballgame-related ritual performances in Veracruz, and suggests comparisons with artworks from other...


Bonampak Will Never Be Finished: Some Remarks in Honor of Steve Houston (2019)
DOCUMENT Citation Only Mary Miller.

This is an abstract from the "Decipherment, Digs, and Discourse: Honoring Stephen Houston's Contributions to Maya Archaeology" session, at the 84th annual meeting of the Society for American Archaeology. One might think that the 2013 publication of Miller and Brittenham on Bonampak would have closed discussion of these paintings for a few years. But the complexity and richness of the subject continues to yield both details and to add to the big picture of the three-room program of late 8th...


The Casas Grandes Flower World and its Antecedents in Northwest Mesoamerica and the U.S. Southwest (2019)
DOCUMENT Citation Only Michael Mathiowetz.

This is an abstract from the "The Flower World: Religion, Aesthetics, and Ideology in Mesoamerica and the American Southwest" session, at the 84th annual meeting of the Society for American Archaeology. One of the key issues in the study of the Flower World complex is determining the chronology and nature of its transmission from Mesoamerica to the U.S. Southwest. Scholars contend that the most clear material culture and symbolic evidence indicates that the Flower World was present in the...


Chichen Itza and the Early Postclassic International Style (2018)
DOCUMENT Citation Only Jeremy Coltman.

Chichen Itza has long deserved an approach based on an analysis of the art and iconography of the site for its own merits rather than the continually frustrating analysis that results from attempts to project Late Postclassic religious stories on to the site. Effortlessly blending themes of paradise and militarism, Chichen Itza drew on a wide array of styles that appear in strikingly similar ways indicating the workings of an Early Postclassic International Style that simultaneously integrated...


Classic Veracruz Tuxtlas Polychrome Ceramics (2019)
DOCUMENT Citation Only Cherra Wyllie.

This is an abstract from the "SAA 2019: General Sessions" session, at the 84th annual meeting of the Society for American Archaeology. Tuxtlas Polychrome ceramics of south-central Veracruz, Mexico occupy a visible presence in precolumbian museum collections. Boldly rendered deities and zoomorphic figures are the focal point of bowls, plates, and vases, their images alluding to a complex supernatural world. While well represented among the corpus of Classic Veracruz artifacts, these vessels...


Color Me Red: A Preliminary Examination of Pigments in the Moquegua Valley, Peru (2019)
DOCUMENT Citation Only Cyrus Banikazemi.

This is an abstract from the "Exploring Culture Contact and Diversity in Southern Peru" session, at the 84th annual meeting of the Society for American Archaeology. This preliminary study explores how pigments were sourced and manufactured in the Moquegua valley of southern Peru. The ethnohistoric and archaeological records provide ample evidence of the economic, religious, and social significance of colors and pigments in the pre-Columbian Andean world; however, there currently exists little...


Connecting Hohokam Art and Iconography (2019)
DOCUMENT Citation Only Victoria Evans. Linda Gregonis.

This is an abstract from the "SAA 2019: General Sessions" session, at the 84th annual meeting of the Society for American Archaeology. All cultures use symbols to convey ideas. In archaeological contexts those symbols have become ways to define and differentiate archaeological cultures. But what did the symbols mean to the artisans who created them? The art that Hohokam craftspeople produced embodied the world (seen and unseen) as they understood it. They were influenced by weather, animals...


Considerations Regarding the Sculptures Commonly Called "Standard-Bearers" (2019)
DOCUMENT Citation Only Diego Matadamas Gomora. Angel Gonzalez Lopez.

This is an abstract from the "Crossing Boundaries: Interregional Interactions in Pre-Columbian Times" session, at the 84th annual meeting of the Society for American Archaeology. Many images in the iconographic corpus from Pre-Hispanic Basin of Mexico belong to forms which were created and reproduced either in codices, mural painting, ceramics, and sculpture. Some examples are the attires of deities, specific icons used to represent natural elements, like rain, comets, even the Sun, and...


Constructing Identity in the Swabian Aurignacian (2019)
DOCUMENT Citation Only Ewa Dutkiewicz. Sibylle Wolf. Nicholas J. Conard.

This is an abstract from the "Culturing the Body: Prehistoric Perspectives on Identity and Sociality" session, at the 84th annual meeting of the Society for American Archaeology. The human body plays a significant role in constructing identity. According to Bourdieu (1974, 1976), the habitus, displays the social status and the role of the individual within a society. Group membership manifests itself with symbols like personal ornaments, the choice of emblematic objects, and their...


Coyolxauhqui’s Serpents (2019)
DOCUMENT Citation Only Elizabeth Aguilera. Emily Umberger.

This is an abstract from the "Animal Symbolism in Postclassic Mesoamerica: Papers in Honor of Cecelia Klein" session, at the 84th annual meeting of the Society for American Archaeology. This study focuses on questions about serpents and gender associations in Aztec art--questions raised by a ceramic fragment located in storage in the Brooklyn Museum. On it Coyolxauhqui, the enemy of the Aztecs’ supernatural patron, Huitzilopochtli, is depicted with two different types of imaginary serpents, a...


"A Curious Ambivalence": The Iconography of Long-Distance Trade Goods in Postclassic Mexico (2018)
DOCUMENT Citation Only Elliot Lopez-Finn.

The Postclassic Mexica maintained what Sophia and Michael Coe (2005) refer to as a "curious ambivalence" regarding cacao: despite its prevalence in everyday life as currency, the plant rarely appears in artistic programs and consumption was highly restricted via sumptuary laws that controlled social behavior. The visual scarcity of this crop extends into divine imagery – for instance, cacao remained an important aspect of Ek’ Chuah, the Postclassic Maya merchant god, but does not appear among...


A Dark Horse of the Early Postclassic: The Site of El Cerrito (Querétaro, Mexico) and Its Relationship to Chichen Itza and Tula (2018)
DOCUMENT Citation Only Jesper Nielsen. Christophe Helmke. Fiorella Fenoglio.

Ever since the first attempts to explain the close correspondences (in iconography, architecture, and writing) between Chichen Itza and Tula in the Early Postclassic it has been assumed that it was mainly between these two cities, sometimes even called "twin Tollans", that the extended and intense contact between Northern Yucatan and central Mexico took place. A tendency among Mesoamericanists not to look further to the north and west, to present states such as Guanajuato and Querétaro, have...


Deciphering Social Structure: A Cognitive Approach in Examining Casma and Chimú Ceramic Iconography (2018)
DOCUMENT Citation Only India Kotis. Jenna Hurtubise.

The choices groups make in the type of decorative techniques and styles on ceramics are referential to key components of a group’s social structure. This research examines social aspects of the Casma and Chimú using a cognitive approach in analyzing iconographic elements on elite ceramics from Pan de Azucár, located in the Nepeña Valley, Peru. Casma ceramics are locally made vessels where no two are alike and are characteristically defined by the presence of circle-and-dot and serpentine...


A Decorated Bone Pendant from Patipampa (2019)
DOCUMENT Citation Only Zachary Critchley.

This is an abstract from the "Seeing Wari through the Lens of the Everyday: Results from the Patipampa Sector of Huari" session, at the 84th annual meeting of the Society for American Archaeology. The 2018 Patipampa excavations at Huari resulted in the discovery of a wealth of remarkable artifacts with potentially far-reaching implications for our understanding of Middle Horizon iconography, including a small bone pendant from a possible gallery space. This bone pendant was noted for a...


Designing Influence: Aesthetic Choices and Group Identity in Decorated Ceramics of Late Postclassic Etlatongo, Oaxaca, Mexico (2018)
DOCUMENT Citation Only Alexis Clark.

During the Late Postclassic (A.D. 1200-1520) in the Mixteca Alta of Oaxaca, Mexico, aesthetic qualities of ceramics were utilized as both decorative values and tools for negotiating the creation of group identities and ideologies within communities. Through a stylistic analysis of Yanhuitlan Red on Cream type ceramics recovered from excavations at the site of Etlatongo, in the Nochixtlán Valley, I explore how these vessels and the motifs depicted on them were used during the creation of...


Dioses de Agua y Montaña. El paisaje ritual y las deidades enmascaradas de la costa este de Los Tuxtlas (2018)
DOCUMENT Citation Only Lourdes Budar.

El corredor costero al este de Los Tuxtlas, delimitado por los Volcanes de Santa Marta y San Martín Pajapan, el mar del Golfo de México y las Lagunas de Sontecomapan y del Ostión, es una zona que se caracterizó por la multiculturalidad y la variedad de patrones debido a la presencia de un sistema portuario que estuvo activo desde el periodo Formativo medio hasta el Clásico tardío (1200 aC-1000 dC). Así mismo, la presencia de estos elementos naturales que lo delimitan fue y sigue siendo el...


Domestic vs. Elite Religious Cults: Revisiting the Huastec Tlazolteotl-Ixcuina Deity Complex (2018)
DOCUMENT Citation Only Kim Richter. María Eugenia Maldonado Vite.

Pre-Columbian Huastec stone sculptures and clay figurines for the most part have been interpreted as deities and assumed to belong to the same religious cult. They also have typically been interpreted through a central Mexican lens and been identified as and associated with Late Postclassic central Mexican deities. Female figures in particular have been interpreted as Tlazolteotl, the central Mexican goddess of parturition, sexuality, and purification—a deity thought to be closely related to the...


Duck. Duck. Goose? A Ceramic Survey Grows into a Primer on Variability (2019)
DOCUMENT Citation Only Julia Clifton.

This is an abstract from the "How to Conduct Museum Research and Recent Research Findings in Museum Collections: Posters in Honor of Terry Childs" session, at the 84th annual meeting of the Society for American Archaeology. A systematic survey of archaeological vessels in the collections of the Museum of Indian Arts & Culture in Santa Fe revealed almost 100 bird form jars, frequently referred to as duck pots or shoe jars, from New Mexico and its border environs. The survey found, among other...


Eagles, Falcons, and Vultures: The Birds on the Platform of the Eagles and Jaguars at Chichen Itza (2019)
DOCUMENT Citation Only Cecelia Klein.

This is an abstract from the "Animal Symbolism in Postclassic Mesoamerica: Papers in Honor of Cecelia Klein" session, at the 84th annual meeting of the Society for American Archaeology. All sixteen birds carved on the sides of the Platform of the Eagles and Jaguars at Chichen Itza have been traditionally identified as eagles. Because each pair of birds flanks a large relief of a seated jaguar holding a heart, it has been assumed in the past that the platform celebrated military orders like...