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Title
Aztec stone sculpture.
Description
Elaborate twisted hairdo: knotted on top -- possibly a 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, Stone carving--Mexico, Art--Mexico, Indigenous peoples--Antiquities]
Date
between 100 and 1425
Title
Aztec stone sculpture.
Description
Elaborate twisted hairdo: knotted on top -- possibly a 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, Stone carving--Mexico, Art--Mexico, Indigenous peoples--Antiquities]
Date
between 100 and 1425
Title
Aztec stone sculpture.
Description
Elaborate twisted hairdo: knotted on top -- possibly a 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, Stone carving--Mexico, Art--Mexico, Indigenous peoples--Antiquities]
Date
between 100 and 1425
Title
Aztec stone sculpture.
Description
Elaborate twisted hairdo: knotted on top -- possibly a 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, Stone carving--Mexico, Art--Mexico, Indigenous peoples--Antiquities]
Date
between 100 and 1425
Title
Aztec stone sculpture.
Description
Elaborate twisted hairdo: knotted on top -- possibly a 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, Stone carving--Mexico, Art--Mexico, Indigenous peoples--Antiquities]
Date
between 100 and 1425
Title
Aztec stone sculpture.
Description
Elaborate twisted hairdo: knotted on top -- possibly a 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, Stone carving--Mexico, Art--Mexico, Indigenous peoples--Antiquities]
Date
between 100 and 1425
Title
Aztec body stamp : undulating serpent.
Description
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.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 1200 and 1521
Title
Aztec body stamp : undulating serpent.
Description
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.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 1200 and 1521
Title
Aztec body stamp : undulating serpent.
Description
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.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 1200 and 1521
Title
Aztec body stamp : undulating serpent.
Description
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.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 1200 and 1521
Title
Aztec body stamp : undulating serpent.
Description
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.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 1200 and 1521
Title
Aztec body stamp : monkey warrior.
Description
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.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 1200 and 1521
Title
Aztec body stamp : monkey warrior.
Description
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.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 1200 and 1521
Title
Aztec body stamp : monkey warrior.
Description
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.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 1200 and 1521
Title
Aztec body stamp : monkey warrior.
Description
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.
Subject
[Aztec sculpture--Mexico, Ceramic sculpture--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 1200 and 1521
Title
Aztec skull censer : articulable jaw one death.
Description
The censer's image combines a skull and a left arm with a predominate index figure. The index figure hand incorporates a rattle. The skull and figure can be read as "One Death". The skull has been painted with twenty-two marigold flowers and thirteen arrows, which all point to death.
Subject
[Aztec sculpture--Mexico, Ceramic censers--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities, Ceramic sculpture--Mexico]
Date
between 1325 and 1521
Title
Aztec skull censer : articulable jaw one death.
Description
The censer's image combines a skull and a left arm with a predominate index figure. The index figure hand incorporates a rattle. The skull and figure can be read as "One Death". The skull has been painted with twenty-two marigold flowers and thirteen arrows, which all point to death.
Subject
[Aztec sculpture--Mexico, Ceramic censers--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities, Ceramic sculpture--Mexico]
Date
between 1325 and 1521
Title
Aztec skull censer : articulable jaw one death.
Description
The censer's image combines a skull and a left arm with a predominate index figure. The index figure hand incorporates a rattle. The skull and figure can be read as "One Death". The skull has been painted with twenty-two marigold flowers and thirteen arrows, which all point to death.
Subject
[Aztec sculpture--Mexico, Ceramic censers--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities, Ceramic sculpture--Mexico]
Date
between 1325 and 1521
Title
Aztec skull censer : articulable jaw one death.
Description
The censer's image combines a skull and a left arm with a predominate index figure. The index figure hand incorporates a rattle. The skull and figure can be read as "One Death". The skull has been painted with twenty-two marigold flowers and thirteen arrows, which all point to death.
Subject
[Aztec sculpture--Mexico, Ceramic censers--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities, Ceramic sculpture--Mexico]
Date
between 1325 and 1521
Title
Aztec skull censer : articulable jaw one death.
Description
The censer's image combines a skull and a left arm with a predominate index figure. The index figure hand incorporates a rattle. The skull and figure can be read as "One Death". The skull has been painted with twenty-two marigold flowers and thirteen arrows, which all point to death.
Subject
[Aztec sculpture--Mexico, Ceramic censers--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities, Ceramic sculpture--Mexico]
Date
between 1325 and 1521
Title
Aztec skull censer : articulable jaw one death.
Description
The censer's image combines a skull and a left arm with a predominate index figure. The index figure hand incorporates a rattle. The skull and figure can be read as "One Death". The skull has been painted with twenty-two marigold flowers and thirteen arrows, which all point to death.
Subject
[Aztec sculpture--Mexico, Ceramic censers--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities, Ceramic sculpture--Mexico]
Date
between 1325 and 1521
Title
Aztec skull censer : articulable jaw one death.
Description
The censer's image combines a skull and a left arm with a predominate index figure. The index figure hand incorporates a rattle. The skull and figure can be read as "One Death". The skull has been painted with twenty-two marigold flowers and thirteen arrows, which all point to death.
Subject
[Aztec sculpture--Mexico, Ceramic censers--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities, Ceramic sculpture--Mexico]
Date
between 1325 and 1521
Title
Aztec skull censer : articulable jaw one death.
Description
The censer's image combines a skull and a left arm with a predominate index figure. The index figure hand incorporates a rattle. The skull and figure can be read as "One Death". The skull has been painted with twenty-two marigold flowers and thirteen arrows, which all point to death.
Subject
[Aztec sculpture--Mexico, Ceramic censers--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities, Ceramic sculpture--Mexico]
Date
between 1325 and 1521
Title
Aztec skull censer : articulable jaw one death.
Description
The censer's image combines a skull and a left arm with a predominate index figure. The index figure hand incorporates a rattle. The skull and figure can be read as "One Death". The skull has been painted with twenty-two marigold flowers and thirteen arrows, which all point to death.
Subject
[Aztec sculpture--Mexico, Ceramic censers--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities, Ceramic sculpture--Mexico]
Date
between 1325 and 1521
Title
Aztec skull censer : articulable jaw one death.
Description
The censer's image combines a skull and a left arm with a predominate index figure. The index figure hand incorporates a rattle. The skull and figure can be read as "One Death". The skull has been painted with twenty-two marigold flowers and thirteen arrows, which all point to death.
Subject
[Aztec sculpture--Mexico, Ceramic censers--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities, Ceramic sculpture--Mexico]
Date
between 1325 and 1521
Title
Aztec skull censer : articulable jaw one death.
Description
The censer's image combines a skull and a left arm with a predominate index figure. The index figure hand incorporates a rattle. The skull and figure can be read as "One Death". The skull has been painted with twenty-two marigold flowers and thirteen arrows, which all point to death.
Subject
[Aztec sculpture--Mexico, Ceramic censers--Mexico, Aztec art--Mexico, Indigenous peoples--Antiquities, Ceramic sculpture--Mexico]
Date
between 1325 and 1521
Title
Aztec greenstone coiled snake heart.
Description
A veined greenstone has been chipped, abraded, and polished to reveal a coiled predatory snake. A symbol of fertility, rebirth, and regeneration, the coils of the snake transform into the sacred heart, the precious symbol of life. The stone snake represents duality, life and death.
Subject
[Aztec sculpture--Mexico, Stone carving--Mexico, Snakes--Art, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 1470 and 1521
Title
Aztec greenstone coiled snake heart.
Description
A veined greenstone has been chipped, abraded, and polished to reveal a coiled predatory snake. A symbol of fertility, rebirth, and regeneration, the coils of the snake transform into the sacred heart, the precious symbol of life. The stone snake represents duality, life and death.
Subject
[Aztec sculpture--Mexico, Stone carving--Mexico, Snakes--Art, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 1470 and 1521
Title
Aztec greenstone coiled snake heart.
Description
A veined greenstone has been chipped, abraded, and polished to reveal a coiled predatory snake. A symbol of fertility, rebirth, and regeneration, the coils of the snake transform into the sacred heart, the precious symbol of life. The stone snake represents duality, life and death.
Subject
[Aztec sculpture--Mexico, Stone carving--Mexico, Snakes--Art, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 1470 and 1521
Title
Aztec greenstone coiled snake heart.
Description
A veined greenstone has been chipped, abraded, and polished to reveal a coiled predatory snake. A symbol of fertility, rebirth, and regeneration, the coils of the snake transform into the sacred heart, the precious symbol of life. The stone snake represents duality, life and death.
Subject
[Aztec sculpture--Mexico, Stone carving--Mexico, Snakes--Art, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 1470 and 1521
Title
Aztec greenstone coiled snake heart.
Description
A veined greenstone has been chipped, abraded, and polished to reveal a coiled predatory snake. A symbol of fertility, rebirth, and regeneration, the coils of the snake transform into the sacred heart, the precious symbol of life. The stone snake represents duality, life and death.
Subject
[Aztec sculpture--Mexico, Stone carving--Mexico, Snakes--Art, Aztec art--Mexico, Indigenous peoples--Antiquities]
Date
between 1470 and 1521
Title
Aztec greenstone coiled snake heart.
Description
A veined greenstone has been chipped, abraded, and polished to reveal a coiled predatory snake. A symbol of fertility, rebirth, and regeneration, the coils of the snake transform into the sacred heart, the precious symbol of life. The stone snake represents duality, life and death.
Subject
[Aztec sculpture--Mexico, Stone carving--Mexico, Snakes--Art, Aztec 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 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 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
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