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Title
Aztec redware Nahua pitcher.
Description
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.
Subject
[Pitchers--Mexico, Ceramic tableware--Mexico, Aztec sculpture--Mexico, Aztec art--Mexico, Nahua art--Mexico, Indigenous peoples--Antiquities]
Date
between 1470 and 1521
Title
Aztec redware Nahua pitcher.
Description
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.
Subject
[Pitchers--Mexico, Ceramic tableware--Mexico, Aztec sculpture--Mexico, Aztec art--Mexico, Nahua art--Mexico, Indigenous peoples--Antiquities]
Date
between 1470 and 1521
Title
Aztec redware Nahua pitcher.
Description
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.
Subject
[Pitchers--Mexico, Ceramic tableware--Mexico, Aztec sculpture--Mexico, Aztec art--Mexico, Nahua art--Mexico, Indigenous peoples--Antiquities]
Date
between 1470 and 1521
Title
Aztec head from a mold-made figure.
Description
Elaborate twisted hairdo: knotted on top. Female? Concentrations of broken figurines (flat) in household context or debris rather than public buildings or temples suggest a personal or family context. the figurine called "ginger bread" flats, were manufactured by pressing wet clay into clay molds. They were removed for drying, firing, and painting. Fingerprints on the back.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 600 and 1521
Title
Aztec head from a mold-made figure.
Description
Elaborate twisted hairdo: knotted on top. Female? Concentrations of broken figurines (flat) in household context or debris rather than public buildings or temples suggest a personal or family context. the figurine called "ginger bread" flats, were manufactured by pressing wet clay into clay molds. They were removed for drying, firing, and painting. Fingerprints on the back.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 600 and 1521
Title
Aztec head from a mold-made figure.
Description
Elaborate twisted hairdo: knotted on top. Female? Concentrations of broken figurines (flat) in household context or debris rather than public buildings or temples suggest a personal or family context. the figurine called "ginger bread" flats, were manufactured by pressing wet clay into clay molds. They were removed for drying, firing, and painting. Fingerprints on the back.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 600 and 1521
Title
Aztec head from a mold-made figure.
Description
Elaborate twisted hairdo: knotted on top. Female? Concentrations of broken figurines (flat) in household context or debris rather than public buildings or temples suggest a personal or family context. the figurine called "ginger bread" flats, were manufactured by pressing wet clay into clay molds. They were removed for drying, firing, and painting. Fingerprints on the back.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 600 and 1521
Title
Aztec head from a mold-made figure.
Description
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.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 600 and 1521
Title
Aztec head from a mold-made figure.
Description
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.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 600 and 1521
Title
Aztec head from a mold-made figure.
Description
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.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 600 and 1521
Title
Aztec head from a mold-made figure.
Description
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.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 600 and 1521
Title
Aztec quartz crystal rabbit pendant.
Description
According to Aztec mythology, the rabbit passed a group of Aztec gods as the second sun was resting at night. One of the gods grabbed the rabbit and pressed it against the second sun causing it to lose its heat and light. The decimated second sun became the rabbit in the moon.
Subject
[Pendants (Jewelry)--Mexico, Aztec sculpture--Mexico, Stone carving--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 800 and 1521
Title
Aztec quartz crystal rabbit pendant.
Description
According to Aztec mythology, the rabbit passed a group of Aztec gods as the second sun was resting at night. One of the gods grabbed the rabbit and pressed it against the second sun causing it to lose its heat and light. The decimated second sun became the rabbit in the moon.
Subject
[Pendants (Jewelry)--Mexico, Aztec sculpture--Mexico, Stone carving--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 800 and 1521
Title
Aztec quartz crystal rabbit pendant.
Description
According to Aztec mythology, the rabbit passed a group of Aztec gods as the second sun was resting at night. One of the gods grabbed the rabbit and pressed it against the second sun causing it to lose its heat and light. The decimated second sun became the rabbit in the moon.
Subject
[Pendants (Jewelry)--Mexico, Aztec sculpture--Mexico, Stone carving--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 800 and 1521
Title
Aztec quartz crystal rabbit pendant.
Description
According to Aztec mythology, the rabbit passed a group of Aztec gods as the second sun was resting at night. One of the gods grabbed the rabbit and pressed it against the second sun causing it to lose its heat and light. The decimated second sun became the rabbit in the moon.
Subject
[Pendants (Jewelry)--Mexico, Aztec sculpture--Mexico, Stone carving--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 800 and 1521
Title
Aztec quartz crystal rabbit pendant.
Description
According to Aztec mythology, the rabbit passed a group of Aztec gods as the second sun was resting at night. One of the gods grabbed the rabbit and pressed it against the second sun causing it to lose its heat and light. The decimated second sun became the rabbit in the moon.
Subject
[Pendants (Jewelry)--Mexico, Aztec sculpture--Mexico, Stone carving--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 800 and 1521
Title
Copper human face pendant : 2.
Description
These hollow, open-back copper masks were cast usin the lost wax technique. There is a strap across the back so they could be secured to a headdress or a textile. The masks contained small bells which would tingle when moved.
Subject
[Pendants (Jewelry)--Mexico, Purépecha art--Antiquities, Mixtec art--Antiquities, Aztec art--Mexico, Indigenous Peoples--Antiquities]
Date
between 900 and 1200
Title
Copper human face pendant : 2.
Description
These hollow, open-back copper masks were cast usin the lost wax technique. There is a strap across the back so they could be secured to a headdress or a textile. The masks contained small bells which would tingle when moved.
Subject
[Pendants (Jewelry)--Mexico, Purépecha art--Antiquities, Mixtec art--Antiquities, Aztec art--Mexico, Indigenous Peoples--Antiquities]
Date
between 900 and 1200
Title
Copper human face pendant : 2.
Description
These hollow, open-back copper masks were cast usin the lost wax technique. There is a strap across the back so they could be secured to a headdress or a textile. The masks contained small bells which would tingle when moved.
Subject
[Pendants (Jewelry)--Mexico, Purépecha art--Antiquities, Mixtec art--Antiquities, Aztec art--Mexico, Indigenous Peoples--Antiquities]
Date
between 900 and 1200
Title
Copper human face pendant : 2.
Description
These hollow, open-back copper masks were cast usin the lost wax technique. There is a strap across the back so they could be secured to a headdress or a textile. The masks contained small bells which would tingle when moved.
Subject
[Pendants (Jewelry)--Mexico, Purépecha art--Antiquities, Mixtec art--Antiquities, Aztec art--Mexico, Indigenous Peoples--Antiquities]
Date
between 900 and 1200
Title
Copper human face pendant : 2.
Description
These hollow, open-back copper masks were cast usin the lost wax technique. There is a strap across the back so they could be secured to a headdress or a textile. The masks contained small bells which would tingle when moved.
Subject
[Pendants (Jewelry)--Mexico, Purépecha art--Antiquities, Mixtec art--Antiquities, Aztec art--Mexico, Indigenous Peoples--Antiquities]
Date
between 900 and 1200
Title
Copper human face pendant : 2.
Description
These hollow, open-back copper masks were cast usin the lost wax technique. There is a strap across the back so they could be secured to a headdress or a textile. The masks contained small bells which would tingle when moved.
Subject
[Pendants (Jewelry)--Mexico, Purépecha art--Antiquities, Mixtec art--Antiquities, Aztec art--Mexico, Indigenous Peoples--Antiquities]
Date
between 900 and 1200
Title
Copper turtle bell pendant.
Description
The turtle bell was first formed with beeswax. Then the turtle bell wax model was embedded in a fine clay material. The clay matrix and the beeswax mold was slowly heated to melt the wax; hardening the clay mixture and creating a hollow negative turtle space. Molten copper was poured into the hollow space; it hardened and formed the turtle bell.
Subject
[Pendants (Jewelry)--Mexico, Decoration and ornament--Mexico, Purépecha art--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Turtles--Art, Indigenous Peoples--Antiquities]
Date
between 900 and 1200
Title
Copper turtle bell pendant.
Description
The turtle bell was first formed with beeswax. Then the turtle bell wax model was embedded in a fine clay material. The clay matrix and the beeswax mold was slowly heated to melt the wax; hardening the clay mixture and creating a hollow negative turtle space. Molten copper was poured into the hollow space; it hardened and formed the turtle bell.
Subject
[Pendants (Jewelry)--Mexico, Decoration and ornament--Mexico, Purépecha art--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Turtles--Art, Indigenous Peoples--Antiquities]
Date
between 900 and 1200
Title
Copper turtle bell pendant.
Description
The turtle bell was first formed with beeswax. Then the turtle bell wax model was embedded in a fine clay material. The clay matrix and the beeswax mold was slowly heated to melt the wax; hardening the clay mixture and creating a hollow negative turtle space. Molten copper was poured into the hollow space; it hardened and formed the turtle bell.
Subject
[Pendants (Jewelry)--Mexico, Decoration and ornament--Mexico, Purépecha art--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Turtles--Art, Indigenous Peoples--Antiquities]
Date
between 900 and 1200
Title
Copper turtle bell pendant.
Description
The turtle bell was first formed with beeswax. Then the turtle bell wax model was embedded in a fine clay material. The clay matrix and the beeswax mold was slowly heated to melt the wax; hardening the clay mixture and creating a hollow negative turtle space. Molten copper was poured into the hollow space; it hardened and formed the turtle bell.
Subject
[Pendants (Jewelry)--Mexico, Decoration and ornament--Mexico, Purépecha art--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Turtles--Art, Indigenous Peoples--Antiquities]
Date
between 900 and 1200
Title
Copper turtle bell pendant.
Description
The turtle bell was first formed with beeswax. Then the turtle bell wax model was embedded in a fine clay material. The clay matrix and the beeswax mold was slowly heated to melt the wax; hardening the clay mixture and creating a hollow negative turtle space. Molten copper was poured into the hollow space; it hardened and formed the turtle bell.
Subject
[Pendants (Jewelry)--Mexico, Decoration and ornament--Mexico, Purépecha art--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Turtles--Art, Indigenous Peoples--Antiquities]
Date
between 900 and 1200
Title
Copper turtle bell pendant.
Description
The turtle bell was first formed with beeswax. Then the turtle bell wax model was embedded in a fine clay material. The clay matrix and the beeswax mold was slowly heated to melt the wax; hardening the clay mixture and creating a hollow negative turtle space. Molten copper was poured into the hollow space; it hardened and formed the turtle bell.
Subject
[Pendants (Jewelry)--Mexico, Decoration and ornament--Mexico, Purépecha art--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Turtles--Art, Indigenous Peoples--Antiquities]
Date
between 900 and 1200
Title
Copper human face pendant : 1.
Subject
[Pendants (Jewelry)--Mexico, Purépecha art--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 900 and 1200
Title
Copper human face pendant : 1.
Subject
[Pendants (Jewelry)--Mexico, Purépecha art--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 900 and 1200
Title
Copper human face pendant : 1.
Subject
[Pendants (Jewelry)--Mexico, Purépecha art--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 900 and 1200
Title
Copper human face pendant : 1.
Subject
[Pendants (Jewelry)--Mexico, Purépecha art--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 900 and 1200
Title
Copper human face pendant : 1.
Subject
[Pendants (Jewelry)--Mexico, Purépecha art--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 900 and 1200
Title
Copper human face pendant : 1.
Subject
[Pendants (Jewelry)--Mexico, Purépecha art--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 900 and 1200
Title
Copper human face pendant : 1.
Description
Metal: lost wax technique; copper; oxidized verdigris pattern
Subject
[Pendants (Jewelry)--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Tarascan art--Mexico, Indigenous peoples--Antiquities.]
Date
between 900 and 1200
Title
Copper human face pendant : 1.
Description
Metal: lost wax technique; copper; oxidized verdigris pattern
Subject
[Pendants (Jewelry)--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Tarascan art--Mexico, Indigenous peoples--Antiquities.]
Date
between 900 and 1200
Title
Copper human face pendant : 1.
Description
Metal: lost wax technique; copper; oxidized verdigris pattern
Subject
[Pendants (Jewelry)--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Tarascan art--Mexico, Indigenous peoples--Antiquities.]
Date
between 900 and 1200
Title
Copper human face pendant : 1.
Description
Metal: lost wax technique; copper; oxidized verdigris pattern
Subject
[Pendants (Jewelry)--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Tarascan art--Mexico, Indigenous peoples--Antiquities.]
Date
between 900 and 1200
Title
Copper human face pendant : 1.
Description
Metal: lost wax technique; copper; oxidized verdigris pattern
Subject
[Pendants (Jewelry)--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Tarascan art--Mexico, Indigenous peoples--Antiquities.]
Date
between 900 and 1200
Title
Copper human face pendant : 1.
Description
Metal: lost wax technique; copper; oxidized verdigris pattern
Subject
[Pendants (Jewelry)--Mexico, Mixtec art--Mexico, Aztec art--Mexico, Tarascan art--Mexico, Indigenous peoples--Antiquities.]
Date
between 900 and 1200
Title
Aztec obsidian piercer.
Description
Volcanic glass or obsidian has been knapped to form a long hilted object. This piercer could be used in auto-sacrifice to cause blood to flow. Obsidian cuts flesh without tearing it.
Subject
[Spears--Mexico, Weapons--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 900 and 1521
Title
Aztec obsidian piercer.
Description
Volcanic glass or obsidian has been knapped to form a long hilted object. This piercer could be used in auto-sacrifice to cause blood to flow. Obsidian cuts flesh without tearing it.
Subject
[Spears--Mexico, Weapons--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 900 and 1521
Title
Aztec obsidian piercer.
Description
Volcanic glass or obsidian has been knapped to form a long hilted object. This piercer could be used in auto-sacrifice to cause blood to flow. Obsidian cuts flesh without tearing it.
Subject
[Spears--Mexico, Weapons--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 900 and 1521
Title
Aztec obsidian piercer.
Description
Volcanic glass or obsidian has been knapped to form a long hilted object. This piercer could be used in auto-sacrifice to cause blood to flow. Obsidian cuts flesh without tearing it.
Subject
[Spears--Mexico, Weapons--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 900 and 1521
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