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This abstracted male figure wears a multi-horned headdress, a necklace, an incised cloth mantle and a loin cloth. He seems to be standing as if in a trance. His ears have been pierced. (6)
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This anthropomorphic zoomorphic stamp illustrates a humanized monkey warrior, which carries a mace-like weapon and a shield. On his waist appears a longitudinal cross section of a shell, which can stand for Quetzalcoatl. The monkey image relates to Quetzalcoatl. (4)
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This bowl has a wide interior band with three stylized zoomorphs (probably deer) surrounded by what appears to be an energy field. This design is similar to the life force design of the Huichol Indians of Sinaloa. (1)
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This ceremonial object could be the top of a jar, a staff, a scepter or a macehead. On the top of the form, there is a seated elite figure holding his hand out. The slanted side is decorated with three canines, possibly dogs or coyotes. The style of the object is called Copador, which was made in El Salvador or Honduras. (6)
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This codex style vessel represents a scene for the underworld, Xilbaba. An aged Maya god emerges from the mouth of the bearded dragon, Ochu Chan. Behind the old God appears the profile image of the Jeslure (sic) God, a god important to Maya nobility. In front of the old god is an offering vessel with human bones, an eyeball, and a severed hand. (6)
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This crescent-shaped pectoral has two pointed ends, which can be interpreted as a two-headed bird, a caiman, or an iguana. The pectoral represents duality and transformation. (6)
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This drummer is a musical whistle. Music plays an important role in all societies. Drummers are used to set the rhythm of the music. This drummer wears a double-horned headdress and a pair of armbands. (6)
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This effigy is in poor condition. Broken and poorly reconstructed, suffer from a flaking slip and a poor paint application. The red and black decorative slip do not touch and the black slip suggests the vassal was made in the Villa Ahumada area of northern Chihuahua. (6)
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This figure has been perforated twice, probably to form a pendant. Most of these pendants are female. This nude male wears a horned headdress (a shaman) and a mantle off his left shoulder across his chest. His hands close to his groin indicate he is a fertility amulet. (6)
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This group of ten well formed ceramic vessels date to the Post Classic Period. They were created with brown clay, dried, burnished, and incised. The incised designs vary from none to good to incised poor craftsmanship. The shiny surface is produced by burnishing, while the black surface is created in a smoking firing. (6)
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This hollow, open-back copper maskette was cast using the lost-wax technique. The owl maskette was formed first in bees wax. The bees wax maskette was embedded in a super fine material such as clay. The clay and beeswax maskette was slowly heated melting out the bees wax and hardening the clay matrix. Molten metal was poured into the empty maskette are and cooled. (7)
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This incomplete figure was press molded. The orange clay, called orangeware, suggests mazapan ceramics. The flat gingerbread figure was a female holding a child and sometimes a small image of herself. She probably represents Precious Flower-Quetzalbird, Goddess of Flowers and Love. The Figure represents the commoners concern with fertility, health, and well-being. Note: Fingerprint present. (4)
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This Jalisco couple sits cross-legged on a bench. Their raised status suggests an elite pair. Similar pieces have depicted them embracing. (6)
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This little "pretty lady" shows the fashion of the day; a flat headdress, ear flares or spools and a feathered necklace. Her swollen belly indicates pregnancy and fertility (1)
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This Maya hacha contains images of a hunchback offering his head, an acrobat with his feet facing the back of his head, a profile of an individual and a serpent or jaguar holding a head in its mouth. They all represent self-sacrifice, transformation, and death which occur during the ballgame. (6)
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This miniature articulated figure came from Tlapacoya, a site in the southeastern part of Mexico City. The press-molded head and formed body are atypical of Teotihuacan. Her separate head supports an elaborate headdress with appliques. The body with modeled breasts has been appliqued with a necklace and a belly button design. The arms and legs are handmade. (6)
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This non-matching pair of plugs represent a different style of body adornment used by the non-elite. They came in different sizes and shapes suitable to the wearer. The banana plug was worn by the Aztec and the Gulf Coast Huastec. It is possible they could be nose ornaments or ear plugs. (4)
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This polychrome ceramic bowl was created with a flaring rim bowl. The bowl's cream slip background has been decorated with brown netted triangles, a red-brown step-fret band, and an orange geometric band. (6)
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This processional group consists of nine figures. Five figures wear headdresses and hold weapons. The remaining four represent nude prisoners, a female, a male, and two adolescents or possibly a family unit. (6)
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This redware pitcher has a step-fret design around its neck, which references mountains and rain. A wide body band contains a large floral element that suggests a peyote bud. (6)
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