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A basic blackware vessel called a florero has been transformed into the image of the Storm God, Tlaloc. The Rain God holds an incense bag in his right hand and a lightning bolt in his left. The Tlaloc vessel with goggled eyes, ears with ear spools, and fangs emerging from a curved mouth held water for ritual ceremonies. (6)
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A brownware stamp features a plumed undulating rattlesnake. Post Classic Aztec myth speaks of his forceful breath which caused the newly created sun to move. His name is Ehecatl-Quetzalcoatl, the plumed serpent of wind, rain, and agricultural fertility. (5)
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A circular bowl with four triangles incorporate a net design as well as an abstract macaw head. The design executed with a red-brown pigment on the inside of the bowl repeats to complete the design, a basic concept of Casas Grandes ceramics. (6)
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A Colima ceramicist hand formed and appliqued this zoomorphic whistle. The avian form has a fleshy comb or crest and it displays a splayed tail, but not sufficient details to identify the species. (6)
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A dignified woman sits very straight, looking forward with her hands to her side resting on her skirt. She wears a pair of ear spools, a necklace and bracelets representing jade adornments. On her arms there are circular marks, possibly jaguar marks. All the details in this statuette indicate this elite lady is very special. (6)
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A female figure stands with her hands on her swollen abdomen with a smile on her face. Geometric stars decorate her eyes, nose-mouth area, and the sides of her abdomen. (6)
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A flake has been knocked off an obsidian core. The flake was thinned, shaped, and sharpened by pressure flaking. Finally, this blade was embedded into a shaft of a spear. (5)
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A large carved shell section in the form of a spiral bracelet, with an upper flared cuff. The elaborate incised decoration depicts a standing anthropomorphic figure with outstretched arms wearing a large bird headdress. (1)
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A large ceramic bowl stands on tripodal vented, conical legs. The interior has a four-quadrant herringbone design. (1)
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A macehead can symbolize power and authority, but this macehead represents transformation. All the animals depicted on this macehead have the ability to move symbolically or physically from the underworld to the living world to the heavens of gods and ancestors. Individually, they represent different concepts: abundance, fertility, rebirth, renewal, and transformation. (6)
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A macehead is a symbol of power, authority, and an object of destruction. The dog heads could represent food, companionship, warmth, or a guide or visitor to the underworld. Turn the macehead over and there are two horned frogs, a good source of a hallucinogenic drug. The poison allowed a shaman access to other worlds. The frog is associated with renewal, change, or transformation and fertility. (6)
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A major concept in Mesoamerica is duality or opposition. These figures represent a child beginning to develop and a mature female beginning to decline. The two together represent life and death evolving. (6)
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A male Chupicuaro figure wears a headdress, a wrapped left arm, and a left knee pad. He wears the basic equipment needed to play the Mesoamerican ballgame with a rubber ball. (6)
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A male figure, wearing an unusual crested headdress, sits in the classic Mesoamerican position. His facial expression suggests a mourner or a person under the influence of a drug. (6)
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A male musician sits upon a drum. The act of sitting on a drum suggests shamanic flight. In other words, the music's rhythm aids the drummer and others into an altered state of consciousness or being aware of one's surroundings. (6)
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A male sits with a female, husband and wife. The concept of duality is expressed in opposites; male-female; young-old; day-night; sunrise-sunset; sun-moon; and life-death. The concept of duality is found throughout our world and the Mesoamerican world. (6)
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A male sits with his right knee drawn to his body and he rests his right elbow on it. He touches his left shoulder with his right hand. He has traces of black pigment on his eyes, mouth, upper arms, clothing, and right leg. (6)
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A male standing figure wears a yoke around his waist and a leather wrap around his left hand. This ball player wears a rounded headdress, ear spools, a necklace, a knee pad, and sandals. A black petroleum material, chapopote, has been painted on his headdress, his hips, and groin. (6)
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A Maya pendant and a scorpian pendant. Both pendants are circular. (2)
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A molcajete is used to grind plant materials. This ceremonial tripodal bowl shows no wear pattern. The feet of the bowl are hollow with clay pellets inside. When you shake the bowl, you hear a rattling sound. Two felines decorate the shoulder of the bowl. (1)
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A mother sits with her legs straight out. She holds her child very securely with one arm wrapped around him. She holds the child with great protection and at the same time she presents the child. (5)
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