Iconography and Art (Other Keyword)

DOCUMENT Citation Only Nicolas Naudinot. Michel Le Goffic. Elena Man-Estier. Patrick Paillet.

This is an abstract from the "SAA 2019: General Sessions" session, at the 84th annual meeting of the Society for American Archaeology. Succeeding the Magdalenian, the Azilian is one of the last techno-complexes of the Western Europe Upper Paleolithic. This period is characterized by major socio-cultural changes illustrated by techno-economic but also symbolic changes. One of the most famous elements of this process is the abandonment of naturalistic figurative art on portable pieces or on...

DOCUMENT Citation Only David Freidel. Juan Carlos Melendez.

This is an abstract from the "Magic, Spirits, Shamanism, and Trance" session, at the 89th annual meeting of the Society for American Archaeology. Classic Maya (CE 250–800) texts include a phrase k’a’ay u sak nikte’, faded his white flower, as a reference to the ending of the sweet breath of rulers and as a metaphor of their death. The breath—allegory of white flower—is evidently an allusion to soul force. Scholars identified on Tikal Stela 5 a reference for a White Flower Soul Container,...

DOCUMENT Citation Only Charles Cheek.

Dress is an object made up of other objects. I combine a practice approach with the chaîne opératoire and behavior chains methods to analyze technical and social acts involving dress objects. The analysis starts with one segment of the actions involving dress—the actual act of dressing. The study includes only court scenes that appear to memorialize historic events, although some of the observations and conclusions can be applied to other kinds of scenes and other media. After identifying the...

DOCUMENT Citation Only Noémie Galland.

This is an abstract from the "Underwater and Coastal Archaeology in Latin America" session, at the 89th annual meeting of the Society for American Archaeology. Recent archaeological work has revealed that the north-central coastal region of Peru had been the territory of a cultural entity that we recognize today as “Casma” between the ninth and fourteenth centuries AD. Some aspects of this culture remain largely unknown and require further investigation, particularly its iconography. It...

DOCUMENT Citation Only Lorraine Williams-Beck.

This is an abstract from the "SAA 2023: Individual Abstracts" session, at the 88th annual meeting of the Society for American Archaeology. Rampant idolatry and Mayan resistance to the religious conquest, narrated in Early Viceregal Yucatan documents, bespeaks an underlying visual component for continuing traditional religious practices. Franciscan rural chapels, churches, and convents interior mural paintings and architectural facade sculptural details provide the material signatures to...

DOCUMENT Citation Only Henry Bacha.

This is an abstract from the "SAA 2024: Individual Abstracts" session, at the 89th annual meeting of the Society for American Archaeology. This paper engages as its central problematic a recurrent iconographic motif—identified by scholars as depicting a ritualized drinking encounter between the Sapa Inka and his Colla (an ethnic polity of the Late Intermediate Period Lake Titicaca basin) counterpart—painted on keros (Andean ceremonial drinking vessels) produced in the colonial Viceroyalty of...

DOCUMENT Citation Only Katarzyna Radnicka-Dominiak.

This is an abstract from the "The Maya Wall Paintings of Chajul (Guatemala)" session, at the 88th annual meeting of the Society for American Archaeology. The revealing of Chajul mural paintings has opened a completely new chapter in the history of colonial art of Latin America. Most of today’s known examples of colonial art are located in churches or other buildings related to religious spheres, while Chajul murals cover walls of private houses of Ixil Maya families. Not only the location of...

DOCUMENT Citation Only William Fash. Nawa Sugiyama. Barbara Fash. Mariela Pérez Antonio. Alexis Hartford.

Two distinct excavation contexts from Front D in the Plaza of the Columns Complex yielded pictorial representations in different artistic media that strongly suggest the presence of Maya artists in Plaza 50, decades prior to the famous Teotihuacan "Entrada" of 378 C.E. in the Petén. Excavations at this civic-administrative structure at the heart of the ceremonial core of Teotihuacan have revealed a sequence of numerous plaster floors in Plaza 50 associated with Structure 44, whose form is...

DOCUMENT Citation Only Caitlin Earley.

This is an abstract from the "A Celebration and Critical Assessment of "The Maya Scribe and His World" on its Fiftieth Anniversary" session, at the 88th annual meeting of the Society for American Archaeology. Among Michael Coe’s many contributions to Maya studies with his landmark show and publication “The Maya Scribe and His World” was the observation that imagery on Classic Maya ceramics is different from imagery on carved stone monuments. Coe notes this gap between ceramic and stone...

DOCUMENT Citation Only Emilie Carreón Blaine.

This is an abstract from the "New Perspectives on Ritual Violence and Related Human Body Treatments in Ancient Mesoamerica" session, at the 86th annual meeting of the Society for American Archaeology. The purpose of this collaboration is to present the results of the analysis of a human skull located at the center of the ball court of Santa Rosa, Chiapas, and to review the implications it presents for the study of the Mesoamerican ball game and its relationship to human sacrifice. It is a...

DOCUMENT Citation Only Elizabeth Baquedano.

This is an abstract from the "Misinformation and Misrepresentation Part 1: Reconsidering “Human Sacrifice,” Religion, Slavery, Modernity, and Other European-Derived Concepts" session, at the 89th annual meeting of the Society for American Archaeology. The Aztecs and other Mesoamerican peoples were exceptionally aware and observant of their natural world and the cycles of nature, particularly the alternation of the seasons. Many of their representations were aptly identified with the dry or...

DOCUMENT Citation Only Davide Domenici.

This is an abstract from the "Bringing the Past to Life, Part 1: Papers in Honor of John M. D. Pohl" session, at the 89th annual meeting of the Society for American Archaeology. The Museo delle Civiltà (Rome) holds two famous Late Postclassic Mesoamerican knife-handles, sculpted in wood and encrusted with a mosaic of turquoise, malachite, lignite, Spondylus, Strombus, mother-of-pearl, and gold. Both represent crouching figures—one anthropomorphic and the other zoomorphic—facing toward the...

DOCUMENT Citation Only Cyrus Banikazemi.

The ethnohistoric and archaeological records provide ample evidence of the ideological significance of metals and pigments in the pre-Columbian Andean world. This study explores the use of these materials in the complex decorative techniques utilized by the Inca when finishing stone vessels.This research integrates data generated from ethnohistoric sources, portable X-Ray Fluorescent (pXRF) tests, and reconstructive experimentation in order to provide a better understanding of how metals and...

DOCUMENT Citation Only Carol Rodríguez.

This study explores a recurrent problem in the archaeological field. How to start the analysis of archaeological material? Specifically, how to analyze a ceramic sample stylistically? Based on research carried out at the Cerro de Oro archaeological site on the south coast of Peru, the author proposes a methodology that covers identifiable aspects in most data groups. The study of decorative techniques, the identification of iconographic designs and the observation of distribution patterns will...

DOCUMENT Citation Only Leszek Pawlowicz.

This is an abstract from the "SAA 2023: Individual Abstracts" session, at the 88th annual meeting of the Society for American Archaeology. Modern methods of 3D characterization, like photogrammetry and structured light scanning, can capture high-resolution models of inscribed surfaces. Visualization and enhancement of surface details on these models can be limited by the computational requirements for manipulating high face and vertex counts. We present several methods for working around...

DOCUMENT Citation Only Carolyn Tate.

This is an abstract from the "The Role of Women in Mesoamerican Ritual" session, at the 88th annual meeting of the Society for American Archaeology. One of the most elaborate tomblike deposits at La Venta may commemorate a female ritualist, possibly a midwife. This paper explores the contents and surroundings of Tomb C and relates them to the widespread imagery of women and pre-birth humans at this Middle Formative ritual and pilgrimage site. It uses analogies with Mixe ritual as evidence for...

DOCUMENT Citation Only Larry Steinbrenner.

This is an abstract from the "Postclassic Mesoamerica: The View from the Southern Frontier" session, at the 86th annual meeting of the Society for American Archaeology. The beautiful polychrome ceramics of Pacific Nicaragua’s Sapoá period (800–1300 CE) have long been touted as the southernmost manifestation of the Mixteca-Puebla phenomenon in lower Central America. Traditionally, these ceramics have been treated as de facto cultural markers of two independent migrant groups of Mesoamerican...

DOCUMENT Citation Only Madelaine Azar.

This is an abstract from the "Dancing through Iconographic Corpora: A Symposium in Honor of F. Kent Reilly III" session, at the 86th annual meeting of the Society for American Archaeology. Symbolically charged ceramic rim-effigy bowls, characterized by figural head and tail adornments, are hallmarks of the Late Mississippian period in the central Mississippi River valley (CMV). Hundreds of whole rim-effigy bowls, most often depicting serpents, birds, or humans, have been collected at sites...

DOCUMENT Citation Only Andrew D. Turner.

This is an abstract from the "The Movement of People and Ideas in Eastern Mesoamerica during the Ninth and Tenth Centuries CE: A Multidisciplinary Approach Part I" session, at the 88th annual meeting of the Society for American Archaeology. As numerous studies have noted, changes in themes, compositions, and content in Maya stone monuments from the ninth and tenth centuries present a departure from their Classic counterparts, which in turn appears to reflect changes in social structure and...

DOCUMENT Citation Only Abigail Lewis. Jaime Awe.

This is an abstract from the "SAA 2024: Individual Abstracts" session, at the 89th annual meeting of the Society for American Archaeology. Monkeys are prominently featured in Maya creation narratives, in Maya art, and more rarely in burial contexts. Despite their apparent importance in Maya ideology, however, previous research on monkeys in the Maya world has primarily focused on their primatological, and linguistic significance. In contrast to those studies, this research investigates the...

DOCUMENT Citation Only Michael Tritsch.

This is an abstract from the "SAA 2019: General Sessions" session, at the 84th annual meeting of the Society for American Archaeology. Receiving little scholarly attention to date, most prior work on the tomb of Amenemhet at Beni Hasan has either focused on the translation of the titles and autobiography inscribed in and around the door jamb or on the description of the tomb scenes and accompanying decorations. To gain a more comprehensive understanding of this richly decorated structure,...

DOCUMENT Citation Only Alexandre Tokovinine.

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. This paper explores a set of mythical narratives on Classic Maya pottery (550-800 C.E.), which involve Huk Si’ip, the divine keeper of animals, and Itzam Kokaaj, the celestial creator of animals. Most of these narratives form part of a larger theogony cycle where the elderly gods of animals, sky, earth, and fire...

DOCUMENT Citation Only Katherine McCarthy.

This is an abstract from the "Teotihuacan: Multidisciplinary Research on Mesoamerica's Classic Metropolis" session, at the 86th annual meeting of the Society for American Archaeology. The murals at Teotihuacan have become a common source of fascination in the archaeology and scholarly considerations of the site. Although the site itself may need no introduction, the murals that decorate its walls have been studied with a level of uncertainty. Often depicting complex and abstract...

DOCUMENT Citation Only Christine VanPool. Todd VanPool.

This is an abstract from the "Coloring the World: People and Colors in Southwestern Archaeology" session, at the 84th annual meeting of the Society for American Archaeology. Color symbolism was undoubtedly important to the Medio period (AD 1200–1450) Casas Grandes folks. Red, black, and white designs decorate their pottery, but excavations at Paquimé reveal that the Medio Period farmers used a variety of mineral pigments for painted murals and/or for makeup and body paint. They also conducted...

DOCUMENT Citation Only Kelley Hays-Gilpin. Robert Mark. Evelyn Billo.

This is an abstract from the "The Role of Rock Art in Cultural Understanding: A Symposium in Honor of Polly Schaafsma" session, at the 84th annual meeting of the Society for American Archaeology. Our daily news brings much shouting about building giant walls to divide neighbor from neighbor. We optimistically turn our attention to walls that brought people together—Puebloan painted walls. In the 1960s, the painted kiva walls of Pottery Mound, near Albuquerque, brought artist Polly Schaafsma...