This is the first comprehensive book on Aztec art: eleven chapters illustrated with seventy-five superb color plates and hundreds of photographs, supplemented by maps and diagrams. Temple architecture, majestic stone sculpture carved without metal tools, featherwork and turquoise mosaic, painted books, and sculptures in terra cotta and rare stones - all are here. Pasztory has placed these major works of Pre-Columbian art in a historical context, relating them to the reigns of individual rulers, events in Aztec history, and the needs of different social groups from the elite to the farmer. She focuses on the little-known aspects of the aesthetics, poetry and humanity of the Aztecs.
This book is the first comprehensive study and reinterpretation of the unique arts of Teotihuacan, including architecture, sculpture, mural painting, and ceramics. Comparing the arts of Teotihuacan - not previously judged "artistic" - with those of other ancient civilizations, Ester Pasztory demonstrates how they created and reflected the community’s ideals. Most people associate the pyramids of central Mexico with the Aztecs, but these colossal constructions antedate the Aztecs by more than a thousand years. The people of Teotihuacan, who built the pyramids as part of a city of unprecedented size, remain a mystery.
At its heart, Pasztory's thesis is simple and yet profound. She asserts that humans create things (some of which modern Western society chooses to call "art") in order to work out our ideas - that is, we literally think with things. Pasztory draws on examples from many societies to argue that the art-making impulse is primarily cognitive and only secondarily aesthetic. She demonstrates that "art" always reflects the specific social context in which it is created, and that as societies become more complex, their art becomes more rarefied."--Jacket.
At its heart, Pasztory's thesis is simple and yet profound. She asserts that humans create things (some of which modern Western society chooses to call "art") in order to work out our ideas - that is, we literally think with things. Pasztory draws on examples from many societies to argue that the art-making impulse is primarily cognitive and only secondarily aesthetic. She demonstrates that "art" always reflects the specific social context in which it is created, and that as societies become more complex, their art becomes more rarefied."--Jacket.
A wonderful book about the myths and theories, some plausible and some preposterous, that have accumulated over the ages about the origins of the peoples of ancient America. Esther Pasztory treats them all with wisdom and wit ... If all this were not enough, Esther Pasztory, turns her conclusion into the most readable introduction we now have of what everyone needs to know about ancient American art. Nothing could be a more appealing and acute entry into the subject as a whole. From the foreword by David Freedberg, PhD, author of The Power of Images Why, today, do ... farfetched ideas enjoy the popularity that they do? Dr. Pasztory is a highly respected art historian with an international reputation in the field of pre-Columbian art. She is especially well known for her work at the ancient city of Teotihuacan in Central Mexico. Having spent a long career studying the works of the great civilizations of the Americas, no one is better qualified than she to provide an answer. From the introduction by William A. Haviland, PhD, coauthor of textbooks including Anthropology: The Human Challenge
In the past fifty years, the study of indigenous and pre-Columbian art has evolved from a groundbreaking area of inquiry in the mid-1960s to an established field of research. This period also spans the career of art historian Esther Pasztory. Few scholars have made such a broad and lasting impact as Pasztory, both in terms of our understanding of specific facets of ancient American art as well as in our appreciation of the evolving analytical tendencies related to the broader field of study as it developed and matured. The essays collected in this volume reflect scholarly rigor and new perspectives on ancient American art and are contributed by many of Pasztory’s former students and colleagues. A testament to the sheer breadth of Pasztory's accomplishments, Visual Culture of the Ancient Americas covers a wide range of topics, from Aztec picture-writing to nineteenth-century European scientific illustration of Andean sites in Peru. The essays, written by both established and rising scholars from across the field, focus on three areas: the ancient Andes, including its representation by European explorers and scholars of the nineteenth century; Classic period Mesoamerica and its uses within the cultural heritage debate of the twentieth and twenty-first centuries; and Postclassic Mesoamerica, particularly the deeper and heretofore often hidden meanings of its cultural production. Figures, maps, and color plates demonstrate the vibrancy and continued allure of indigenous artworks from the ancient Americas. “Pre-Columbian art can give more,” Pasztory declares, and the scholars featured here make a compelling case for its incorporation into art theory as a whole. The result is a collection of essays that celebrates Pasztory’s central role in the development of the field of Ancient American visual studies, even as it looks toward the future of the discipline.
This book is the first comprehensive study and reinterpretation of the unique arts of Teotihuacan, including architecture, sculpture, mural painting, and ceramics. Comparing the arts of Teotihuacan - not previously judged "artistic" - with those of other ancient civilizations, Ester Pasztory demonstrates how they created and reflected the community’s ideals. Most people associate the pyramids of central Mexico with the Aztecs, but these colossal constructions antedate the Aztecs by more than a thousand years. The people of Teotihuacan, who built the pyramids as part of a city of unprecedented size, remain a mystery.
Daughter of the Pyramids Naomi is writing a novel set in ancient Mexico and accidentally turns into her heroine, Marigold. Marigold is on a journey from her home in the city of the pyramids, Teotihuacan, to the Maya city of Tikal. While Naomi experiences Marigolds adventures, including a passion for a mysterious Maya lord, she is also desperate to get back to her own world in Morristown, New Jersey. She discovers the secret of time travel but no longer knows whether she wants to live in the present or the past. And, which man will she choose, the young archaeologist or the ruler of Tikal? Colonial Tales are eight short stories set in Colonial Mexico and deal with love, friendship, and betrayal in the New World.
In the sixteenth century, when the Spanish conquistadors defeated the Aztec empire in Mexico and the Inca empire in Peru, they discovered not only treasure but a long tradition of sophisticated art from Mesoamerica and the Andes. In this beautifully written and illustrated book, Esther Pasztory surveys the art of these two areas, placing it within the historical and social contexts of these two cultural traditions. Drawing on a vast range of material, including monumental sculpture, woven textiles, pottery portrait heads, gold masks, and illustrated codices, Pasztory contrasts the human-centered art of Mesoamerica with the cosmic emphasis in the Andes. She reveals the effects of colonialism on the art, as well as the curious power that Pre-Columbian art has in turn exerted on Western art, both in the development of art theory and the creation of art works. By comparing and contrasting Andean and Mesoamerican traditions, using a wide variety of images, Pasztory is able to unlock some of the elaborate myths and belief systems that form part of their cultures. Esther Pasztory is the Lisa and Bernard Selz professor in Pre-Columbian Art History and Archaeology at Columbia University and has written extensively on Pre-Columbian art and architecture. Among her books are Aztec Art and Teotihuacan: An Experiment in Living.
In the past fifty years, the study of indigenous and pre-Columbian art has evolved from a groundbreaking area of inquiry in the mid-1960s to an established field of research. This period also spans the career of art historian Esther Pasztory. Few scholars have made such a broad and lasting impact as Pasztory, both in terms of our understanding of specific facets of ancient American art as well as in our appreciation of the evolving analytical tendencies related to the broader field of study as it developed and matured. The essays collected in this volume reflect scholarly rigor and new perspectives on ancient American art and are contributed by many of Pasztory’s former students and colleagues. A testament to the sheer breadth of Pasztory's accomplishments, Visual Culture of the Ancient Americas covers a wide range of topics, from Aztec picture-writing to nineteenth-century European scientific illustration of Andean sites in Peru. The essays, written by both established and rising scholars from across the field, focus on three areas: the ancient Andes, including its representation by European explorers and scholars of the nineteenth century; Classic period Mesoamerica and its uses within the cultural heritage debate of the twentieth and twenty-first centuries; and Postclassic Mesoamerica, particularly the deeper and heretofore often hidden meanings of its cultural production. Figures, maps, and color plates demonstrate the vibrancy and continued allure of indigenous artworks from the ancient Americas. “Pre-Columbian art can give more,” Pasztory declares, and the scholars featured here make a compelling case for its incorporation into art theory as a whole. The result is a collection of essays that celebrates Pasztory’s central role in the development of the field of Ancient American visual studies, even as it looks toward the future of the discipline.
Daughter of the Pyramids Naomi is writing a novel set in ancient Mexico and accidentally turns into her heroine, Marigold. Marigold is on a journey from her home in the city of the pyramids, Teotihuacan, to the Maya city of Tikal. While Naomi experiences Marigolds adventures, including a passion for a mysterious Maya lord, she is also desperate to get back to her own world in Morristown, New Jersey. She discovers the secret of time travel but no longer knows whether she wants to live in the present or the past. And, which man will she choose, the young archaeologist or the ruler of Tikal? Colonial Tales are eight short stories set in Colonial Mexico and deal with love, friendship, and betrayal in the New World.
Poems that were written through the years for relatives and friends. The author has lived a very full life throughout her 94 years so she has the opportunity to write not only for relatives but also for friends. Researching and writing about Thomas Jefferson, she also met interesting individuals. Hopefully, this book will reflect the expansive nature of her life.
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