Iconography and Art (Other Keyword)

DOCUMENT Citation Only Andrea Vazquez De Arthur.

This is an abstract from the "SAA 2019: General Sessions" session, at the 84th annual meeting of the Society for American Archaeology. For ancient civilizations with no form of writing, proper iconographic interpretation is an important tool for accessing the past. This is certainly true of ancient Andean civilizations, especially the Wari who produced some of the most captivating visual imagery of their time. However, Wari depictions of supernatural composite figures are so stylized that...

DOCUMENT Citation Only Nelda Issa Marengo.

En Mesoamérica las representaciones gráficas sobre guerra, violencia y conflicto, son una constante que se encuentran en diversos sitios y en diferentes periodos. Para el Epiclásico (650-900 A.D) en el centro de México, y para el Clásico Tardío/ Terminal (600-900 A.D) en el área Maya, esta temática comienza a presentar cambios, tiende a ser más explícita y a compartir algunos elementos entre sitios contemporáneos. Chichén Itzá floreció durante este momento de cambios y muestra de ello es la...

DOCUMENT Citation Only Andrew D. Turner.

In a myth that provided a charter for Mexica domination of Central Mexico, the deity Huitzilopochtli defeated his foes with a spear-thrower in the form of a fire serpent, or Xiuhcoatl. While Huitzilopochtli was a being unique to the Mexica, the Xiuhcoatl is generally considered to derive from an earlier entity referred to as the Teotihuacan War Serpent. Although the influence of Teotihuacan symbolism on later cultures of Central Mexico is undeniable, the portrayal of solar deities with...

DOCUMENT Citation Only Hideyuki Nishizawa.

Dramatic culture change occurred in the Central Andes at the onset of the Middle Horizon (MH) (AD 500-1000). During this period, a state society emerged in the Ayacucho Valley and expanded across Peru. Even before the emergence of this state, however, culture contact of the Ayacucho heartland had already started with some remote regions in the late part of the Early Intermediate Period (EIP). This far-reaching contact would have gradually been intensified toward the beginning of the MH. Indeed,...

DOCUMENT Citation Only Anna Brandeberry.

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. In “The Maya Scribe and His World,” Michael Coe published some of the first detailed photographs of a series of vases depicting ghoulish, supernatural characters identified by the Maya as “wahy.” With names like “Deer Death,” “Head Louse Spider Monkey,” and “Red Bile Death,” Coe and...

DOCUMENT Citation Only Melinda Martin.

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. Mississippian cosmologies were inextricably entangled with the sacred environment and landscape, often materialized through iconographic imagery and motifs. One example of such interwoven relationships may be seen in the imagery of other-than human beings; that is, preternaturals who control and often...

DOCUMENT Citation Only Charles Cheek.

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. Dress is an important way people interact with others. Modern concepts of dress include the entire body and how people adorn or change it. Maya rituals use specific sets of dress elements to convey not only what is happening but also to ensure the ritual was done correctly. After a brief review of women’s dress, I identify dress in ritual and...

DOCUMENT Citation Only India Kotis.

This is an abstract from the "SAA 2021: General Sessions" session, at the 86th annual meeting of the Society for American Archaeology. This research examines 2,400 samples of desktop graffiti (pictures or words that are drawn or etched into the wood of a writing desk) collected from a liberal arts college study space in Ohio, establishing chronology when possible. Much of what is written in the graffiti approximates patterns of discourse on social media websites like Reddit and Twitter. I...

DOCUMENT Citation Only Oswaldo Chinchilla.

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. An enduring contribution of “The Maya Scribe and His World” was Michael Coe’s call for attention to the Popol Wuj as a source for the interpretation of ancient Maya deities. Developed in subsequent works, this approach has yielded important insights on ancient Maya art and religion, and...

DOCUMENT Citation Only Jonah Augustine. Brandi MacDonald.

This is an abstract from the "SAA 2023: Individual Abstracts" session, at the 88th annual meeting of the Society for American Archaeology. This paper presents the results of a combined XRF and Raman spectroscopic analysis of pigments used in the production of Middle Horizon ceramics from Arani, Cochabamba, Bolivia, that are currently housed at the Denver Museum of Nature and Science. The two central questions that this analysis investigates are (1) which of these materials were produced in...

DOCUMENT Citation Only Alice Diaz.

The Zooanthropomorphic beings present on some artifacts of the cultural areas Tairona (Colombia), Gran Coclé (Panama) and Gran Chiriqui (Costa Rica) dating back to pre-Columbian times have often been identified as shamans. But what are the iconographic elements that are in favor of such a precise interpretation? To begin with, we did a thorough iconographical analysis aiming to determine taxonomically the animal component, the ratio between human and animal, and the precise anatomical elements...