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The lost wax technique was used to create this copper nose ring. The nose ring was fabricated in beeswax, embedded in a fine clay mold, heated to dry out the clay mold and melt the wax out. Molted metal is poured into the negative space mold to form the copper nose ring. The molten copper cools and solidifies. The hot mold/metal is placed into cool water to break the mold and free the copper nose ring. (6)
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The majority of the female figurines are nude. This suggests the culture did not wear clothing, the figurines were dressed in perishable clothing, or missing earth pigments were used to indicate clothing. The figurine illustrates hairstyle and types of jewelry including ear plugs. (1)
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The male figure represents a shaman, a man of knowledge. He sits close to his pregnant wife, who holds her left hand to her face. Her pose is very common for pregnant females. The area above her right hand is painted black, which is unusual. The shaman's pose seems to be reassuring and comforting. (6)
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The Maya concept of beauty involved body modification. The heads of newborn babies were bound with boards to flatten the forehead. Little balls of resin between the eyes induced crossed eyed. Long straight noses were created by filling the gap with resin or wax. The ears, lips, and septum of the nose were pieced to hold adornment. (6)
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The Maya domesticated their dogs for household pets and hunting animals. They were raised for food, a heat source (hot water bottle) and sacrificial animal. The god Quetzalcoatl or Feathered Serpent's twin brother was called Xolotl. He was believed to help guide souls through Xibalba or the underworld. The esquintla wears an Aztec heart amulet around his neck. (6)
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The Maya elite enjoyed drinking cool frothy chocolate water laced with chile or vanilla. The mirror image on this chocolate vessel represents the severed head of the young corn god of the Maya Hero Twins, Hunahpu and Xbalanque. The pseudo-glyphs around the neck of the pot are decorative. (6)
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The Mezcala culture in Guerrero is known for its stone sculptures of temples, abstract humans and animals. This large solid female ceramic type is unique. They didn't create other types of ceramic figurines. This figurine wears a headdress, ear ornaments and projections on her legs that could represent scarification or musical leg instruments. The groove from her chest to abdomen suggests ritual sacrifice or caesarian birth. (1)
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The Mixtec and the Aztec excelled in metalwork. Archaeologists believe metalsmithing moved from South America to Central America and into West Mexico. The Mixtec and the Tarascan favored copper, while the Aztec went for the gold. Needless to say, the conquistadores love gold and that is why there are few examples of this extraordinary craftsmanship. (4)
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The Mixtec and the Aztec excelled in metalwork. Archaeologists believe metalsmithing moved from South America to Central America and into West Mexico. The Mixtec and the Tarascan favored copper, while the Aztec went for the gold. Needless to say, the conquistadores love gold and that is why there are few examples of this extrordinary craftsmanship. (6)
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The Mixtec craftsmen were known to be exceptional artisans. The black obsidian and gold labret reflects that fact. The obsidian was core flaked, pressure flaked, drilled, and abraded. Gold foil was formed around the finished labret. All of these procedures required great skill, patience, and care and unbelivable amount of time. (6)
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The Mixtec culture excelled in the time consuming lapidary and metallurgy arts. The stone-work required chipping, drilling, sawing, abrading, and polishing. The goldsmithing involved melting, forging, burnishing, folding and cutting metal. (6)
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The Mixtec of Oaxaca, known for their fine craftsmanship, excelled in all mediums. This pair of earflares are exceptional. The black volcanic obsidian, thin enough for light to pass through, surrounds an embossed avian on a golden disc (4)
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The Mixtec sculpture represents a man squatting on the ground with his arms folded on top of his knees. These sculptures called penates are usually small personal amulets. The form of the body remains rectangular and divided into three square areas. They were mass produced for personal use. This large penate is unusual, because he wears a mask and a corn headdress. The Aztec name for this God is Centeotl, the young male corn God. (6)
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The Nahuatl word "tecuhtli" means "Lord" and "mictlan" means "the underworld." Therefore, Mictlantecuhtli means Lord of the Underworld or Death. He rules the realm of the dead with his wife, Mictlancihuatl. (6)
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The Nopiloa culture produced elaborate press mold figures. This figure appears to be a male elite. He wears a tasseled headdress, large disc earrings, a pendant necklace, bracelets, and a dual strapped body covering with an elaborate raptor design. The purpose of this articulated figure is not known. The figure is in poor condition. There is a significant amount of wear, but no significant cracks. There is lots of fading and small scratches on the surfaces of the figure. The ears have holes. The arms and legs are attached to the torso of the figure's body by pins. Overall, the figure is fragile and not structurally safe. (6)
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The number three appears to have significance. It appears as three legs, three solid bands, three stepped spiral rings and two of those rings are divided into three quadrants. There are three realms in Mesoamerica: Heaven, the Sky, Earth, the living world, and the Underworld, the land of the dead. (12)
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The object is in good condition. There are wooden sticks holding the wheels in place. The mouth has an opening with a red pigment in the center of the mouth. The eyes have black pigment. The object is made of buff clay with black and red pigment. There is a large hole in the under stomach of the figure. (6)
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The Olmec and the Maya wore jade or jadeite beads, necklaces, and ear spools. The Maya elite placed a jade bead in the mouths of their dead as a sign of rebirth. The quadrapartite design represents the four cardinal directions and the hole the fifth direction or the Axis Mundi. (5)
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The only source for green obsidian is located at Pachuca in the modern Mexican state of Hidalgo near Teotihuacan. The point was formed by core flaking and refined with pressure flaking. The Pachuca source was controlled by the Teotihuacanos during the Classic period and later by the Toltecas and Aztecas during the Post Classic period. (6)
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The open design of this censer lightens the censer and allows the incense to burn better. The design combines a step motif as well as the woven mat motif. The two feet contain pellets to create a rattler noise. (6)
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