The ancient city of Teotihuacan, North America’s first metropolis, flourished for nearly eight centuries in central Mexico until its demise in 650 C.E. Known primarily for its massive architecture and monumental wall paintings, the city—and its dazzling artwork—inspired awe in its time, and continues to do so today. Made to Order, the first systematic study of more than 150 painted portable artworks produced in Teotihuacan, offers a unique, deeply informed perspective on the cultural practices and artistic techniques of the largest urban community in pre-Hispanic Mesoamerica. The painted vessels Cynthia Conides considers—featured here in finely reproduced full-color photographs—constitute nearly the entire body of material now available for analysis. With attention to their origins and provenance, wherever possible, the author views these objects from a range of vantage points, using ceramic chronologies to measure the changing characteristics and cultural significance of pictorial paintings on portable media. Her approach—ranging from stylistic analysis and narrative theory to theoretical perspectives on artistic exchange among artisans living and working in a thriving urban setting—reveals the importance of such objects to a city where social status, and the acquisition and display of its symbols, were paramount. This perspective is in turn grounded in new interpretations of the religious, social, and ritual contexts in which the objects functioned. The most complete analysis of both ceramics from excavations at Teotihuacan and those held in museum collections worldwide, Made to Order will become a standard source for specialists and students of pre-Columbian visual culture and archaeology, and a vital resource for those interested in cross-cultural ceramic studies.
In Memory Traces, art historians and archaeologists come together to examine the nature of sacred space in Mesoamerica. Through five well-known and important centers of political power and artistic invention in Mesoamerica—Tetitla at Teotihuacan, Tula Grande, the Mound of the Building Columns at El Tajín, the House of the Phalli at Chichén Itzá, and Tonina—contributors explore the process of recognizing and defining sacred space, how sacred spaces were viewed and used both physically and symbolically, and what theoretical approaches are most useful for art historians and archaeologists seeking to understand these places.Memory Traces acknowledges that the creation, use, abandonment, and reuse of sacred space has a strongly recursive relation to collective memory and meanings linked to the places in question, and reconciles issues of continuity and discontinuity of memory in ancient Mesoamerican sacred spaces. It will be of interest to students and scholars of Mesoamerican studies and material culture, art historians, architectural historians, and cultural anthropologists.
The ancient city of Teotihuacan, North America’s first metropolis, flourished for nearly eight centuries in central Mexico until its demise in 650 C.E. Known primarily for its massive architecture and monumental wall paintings, the city—and its dazzling artwork—inspired awe in its time, and continues to do so today. Made to Order, the first systematic study of more than 150 painted portable artworks produced in Teotihuacan, offers a unique, deeply informed perspective on the cultural practices and artistic techniques of the largest urban community in pre-Hispanic Mesoamerica. The painted vessels Cynthia Conides considers—featured here in finely reproduced full-color photographs—constitute nearly the entire body of material now available for analysis. With attention to their origins and provenance, wherever possible, the author views these objects from a range of vantage points, using ceramic chronologies to measure the changing characteristics and cultural significance of pictorial paintings on portable media. Her approach—ranging from stylistic analysis and narrative theory to theoretical perspectives on artistic exchange among artisans living and working in a thriving urban setting—reveals the importance of such objects to a city where social status, and the acquisition and display of its symbols, were paramount. This perspective is in turn grounded in new interpretations of the religious, social, and ritual contexts in which the objects functioned. The most complete analysis of both ceramics from excavations at Teotihuacan and those held in museum collections worldwide, Made to Order will become a standard source for specialists and students of pre-Columbian visual culture and archaeology, and a vital resource for those interested in cross-cultural ceramic studies.
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