The Art and Iconography of Late Post-Classic Central Mexico: A Conference at Dumbarton Oaks, October 22nd and 23rd, 1977Elizabeth Hill Boone |
Contents
| 1 | |
| 7 | |
| 37 | |
| 73 | |
RICHARD F TOWNSEND | 111 |
JEROME A OFFNER | 141 |
BODO SPRANZ | 159 |
NANCY P TROIKE | 175 |
JILL LESLIE FURST | 207 |
H B NICHOLSON | 227 |
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Common terms and phrases
American analysis appear Archaeology arms associated Aztec band body Borgia carried Central ceremonies clothed Coast Codex Codex Borbonicus Codex Borgia codices Colombino-Becker communication COMPLEX concept considered costume cotton culture Deer deities depictions earth elements examples express facing female fertility figures figurines flexed forward four function gestures goddess gods hand head headdress held Historia holding human identified important included indicate interpretation Late legs Lord major male Malinalco manuscripts meaning Mesoamerican Mexico Mixtec Mixteca-Puebla Museo Nacional de Antropología nature Nicholson Oaxaca objects origin painted period person pictorial pictured pose position possible Post-Classic postures present Press quechquemitl region representations represented request ritual Sahagún scene sculpture seated shown shows sides significant similar sources standing stone style Subgroup suggested symbolic temple tion Tlazolteotl tradition University Valley Veracruz wearing Xochiquetzal
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Page 1 - Greeks but in each case the subject matter was idealized and beautified in art. The Aztecs, like the Romans, were a brusque and warlike people who built upon the ruins of an earlier civilization that fell before the force of their arms and who made their most notable contributions to organization and government. The Toltecs stand just beyond the foreline of Aztecan history and may fitly be compared to the Etruscans. They were the possessors of a culture derived in part from their brilliant contemporaries...
Page 224 - With the break-up of this latter center, an outpouring of migrants, "civilized" Toltecs as well as "barbaric" Chichimeca, evidently overran the southern region. Far from obliterating its stylistic traditions, however, these newcomers appear to have readily accepted them, the Toltec groups probably fusing their own well-developed and similar stylistic canons with those they encountered. The southern tradition, therefore, continued with little basic change, as evolved Cholulteca and Mixtec, eventually...
Page 221 - ... influence in recent Mesoamerican archeology, the MixtecaPuebla concept. Vaillant, in three important studies published between 1938 and 1941 (Vaillant 1938, 1940, 1941) created this construct as a by-product of his attempt to erect a general interpretational scheme for the prehistory of Mesoamerica, with special reference to central Mexico. Boiled down to essentials, Vaillant visualized the development and crystallization of what he variously termed a "culture...
Page 221 - Oaxaca immediately following the Teotihuacan period, during the "Chichimec" interregnum in the Valley of Mexico. He saw it as diffusing into the Valley, especially at Culhuacan, and providing "the source and inspiration of Aztec civilization" (1941 : 83). He also believed that elements of this "culture" were carried throughout Mesoamerica, from Sinaloa in the north to Nicaragua in the south, chiefly by actual migratory movements. So important did he view this impact that he labeled his fifth and...
Page 223 - ... water, fire and flame, heart, war (atl-tlachinolli, shield, arrows, and banner), mountain or place, "downy feather ball," flower (many variants), stylized eyes as stars, stepped fret (xicalcoliuhqui), sliced spiral shell (ehecacozcatl), and the twenty tonalpohualli signs. One of the most frequent and diagnostic symbol groups is the row of alternating skulls and crossed bones (often combined with hearts, severed hands, etc.). Zoomorphic forms are quite distinctive and easily recognizable, particularly...
Page 221 - ... culture" were carried throughout Mesoamerica, from Sinaloa in the north to Nicaragua in the south, chiefly by actual migratory movements. So important did he view this impact that he labeled his fifth and final major time division of pre-Hispanic Mesoamerica the "Mixteca-Puebla Period" (1941 : Chart 1). Vaillant never presented a systematic exposition of his concept, but in two brief passages he indicated in general terms its major elements : a carefully defined polytheism, the tonalpohualli,...
Page 11 - Watch carefully how your noblewomen, your ladies, our ladies, the noblewomen , who are artisans , who are crafts women , dye [the thread], how they apply the dyes [to the thread], how the heddles are set, how the heddle leashes are fixed ... It is not your destiny, it is not your fate, to offer [for sale] in people's doorways, greens, firewood, strings of chiles, slabs of rock salt, for you are a noblewoman. [Thus], see to the spindle, the batten ... [Sahagun 1950-82, Book...
Page 224 - Ixtlilxochitl, et al.}, who may have been the masters of a political empire rivaling and contending with that of Tula. With the break-up of this latter center, an outpouring of migrants, "civilized" Toltecs as well as "barbaric" Chichimeca, evidently overran the southern region. Far from obliterating its stylistic traditions, however, these newcomers appear to have readily accepted them, the Toltec groups probably fusing their own well-developed and similar stylistic canons with those they encountered.
Page 11 - Pay heed to, apply yourself to, the work of women, to the spindle, the batten. Watch carefully how your noblewomen, your ladies, our ladies, the noblewomen, who are artisans, who are craftswomen, dye [the thread], how they apply the dyes [to the thread], how the heddles are set, how the heddle leashes are fixed. ... It is not your destiny, it is not your fate, to offer [for sale] in people's doorways, greens, firewood, strings of chiles, slabs of rock salt, for you are a noblewoman. [Thus], see to...