{"title":"Index","authors":"","doi":"10.2307/j.ctvx079fr.23","DOIUrl":"https://doi.org/10.2307/j.ctvx079fr.23","url":null,"abstract":"","PeriodicalId":157917,"journal":{"name":"Ceramics of Ancient America","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123803465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-12DOI: 10.5744/florida/9780813056067.003.0012
A. Hirshman
Theories regarding craft specialization and state emergence have long posited a relationship between the two, with state intervention expected in the production of elite culture. The Late Postclassic West Mexican Tarascan state (AD 1350–1525) seemed to be a perfect case in point, as fine wares are highly identifiable and provide a strong temporal marker for the emergence and duration of the state. Yet ethnographic data from the descendants of the Tarascan state (called the P’urépecha), along with archaeological and chemical evidence for the region indicates that ceramic production did not undergo a significant reorganization with state emergence and that even Tarascan fine wares were apparently made and used within commoner households. As household ceramic production is commonly characterized as technically and stylistically conservative, the “how” and “why” of the production of new ceramic Tarascan state markers indicates that the relationships between households and the state were far more complex than originally anticipated.
{"title":"Product Continuity and Change in Persistent Household Ceramic Production","authors":"A. Hirshman","doi":"10.5744/florida/9780813056067.003.0012","DOIUrl":"https://doi.org/10.5744/florida/9780813056067.003.0012","url":null,"abstract":"Theories regarding craft specialization and state emergence have long posited a relationship between the two, with state intervention expected in the production of elite culture. The Late Postclassic West Mexican Tarascan state (AD 1350–1525) seemed to be a perfect case in point, as fine wares are highly identifiable and provide a strong temporal marker for the emergence and duration of the state. Yet ethnographic data from the descendants of the Tarascan state (called the P’urépecha), along with archaeological and chemical evidence for the region indicates that ceramic production did not undergo a significant reorganization with state emergence and that even Tarascan fine wares were apparently made and used within commoner households. As household ceramic production is commonly characterized as technically and stylistically conservative, the “how” and “why” of the production of new ceramic Tarascan state markers indicates that the relationships between households and the state were far more complex than originally anticipated. ","PeriodicalId":157917,"journal":{"name":"Ceramics of Ancient America","volume":"60 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130525673","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-12DOI: 10.5744/FLORIDA/9780813056067.003.0007
Michael D. Carrasco, R. Wald
Ceramic texts and imagery have been critically important tools in the study of Maya iconography and epigraphy. However, how these narratives coordinate with those in other media as coherent, media-specific compositions has been little explored. This chapter presents a single case study to address issues of intertextuality. In particular, it focuses on the iconography and textual composition of the Regal Rabbit Vase (K1398) with the imagery found on Naranjo Stela 22. That the royal house of Naranjo commissioned both objects makes this a useful comparison, because it provides historical links between the vessel and the stela. Taking advantage of this fortuitous pairing of contemporaneous objects, we look to the visual rhetoric through which K’ahk Tiliw Chan Chahk’s (688–726? A.D.) military and youth rites were presented in each medium. Then, these rites are placed in conversation with the extensive iconographic and textual record at Palenque to contextualize the pan-Maya significance of youth rites involving the deity B’olon Okte’ K’uh and their mythological underpinnings. Through this example, we explore why ceramics were a preferred medium for the presentation of certain genres of imagery (e.g. mythological narratives) that are rarely presented in the monuments and how this choice is itself meaningful.
陶瓷文本和图像是研究玛雅肖像学和铭文的重要工具。然而，这些叙事如何与其他媒体中的叙事协调一致，成为连贯的、特定于媒体的作品却很少被探索。本章提供了一个案例研究来解决互文性问题。它特别关注的是帝王兔花瓶(K1398)的图像和文字组成，以及在纳兰霍石碑22上发现的图像。纳兰霍王室委托制作这两件物品，这是一个有用的比较，因为它提供了船只和石碑之间的历史联系。利用这种偶然的同时期物品配对，我们将目光转向郭力力·陈察(688-726 ?公元)，军事和青年仪式在每种媒介中呈现。然后，这些仪式与帕伦克大量的图像和文本记录进行了对话，以将涉及神灵B ' olon Okte ' K ' uh的青年仪式的泛玛雅意义及其神话基础置于背景中。通过这个例子，我们探讨了为什么陶瓷是在纪念碑中很少出现的某些类型的图像(例如神话叙事)的呈现的首选媒介，以及这种选择本身是如何有意义的。
{"title":"Intertextuality in Classic Maya Ceramic Art and Writing","authors":"Michael D. Carrasco, R. Wald","doi":"10.5744/FLORIDA/9780813056067.003.0007","DOIUrl":"https://doi.org/10.5744/FLORIDA/9780813056067.003.0007","url":null,"abstract":"Ceramic texts and imagery have been critically important tools in the study of Maya iconography and epigraphy. However, how these narratives coordinate with those in other media as coherent, media-specific compositions has been little explored. This chapter presents a single case study to address issues of intertextuality. In particular, it focuses on the iconography and textual composition of the Regal Rabbit Vase (K1398) with the imagery found on Naranjo Stela 22. That the royal house of Naranjo commissioned both objects makes this a useful comparison, because it provides historical links between the vessel and the stela. Taking advantage of this fortuitous pairing of contemporaneous objects, we look to the visual rhetoric through which K’ahk Tiliw Chan Chahk’s (688–726? A.D.) military and youth rites were presented in each medium. Then, these rites are placed in conversation with the extensive iconographic and textual record at Palenque to contextualize the pan-Maya significance of youth rites involving the deity B’olon Okte’ K’uh and their mythological underpinnings. Through this example, we explore why ceramics were a preferred medium for the presentation of certain genres of imagery (e.g. mythological narratives) that are rarely presented in the monuments and how this choice is itself meaningful.","PeriodicalId":157917,"journal":{"name":"Ceramics of Ancient America","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131808768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-12DOI: 10.5744/florida/9780813056067.003.0006
Sarahh E. M. Scher
The Moche people of northern coastal Peru (c. 100 B.C.E–850 C.E.) left behind a great deal of visual communication in their art, which is unusual in its relative naturalism and realistic portrayal of human and animal figures. Although their stylistic choices appear to allow for a close study of artistic imagery and its relationship to Moche life, the Moche were selective in what they included in their iconography; their art is not a comprehensive catalogue of their culture. Nevertheless, by comparing the results of a iconographic analysis of human costume in Moche ceramics with the work of scholars who have studied Moche supernatural representations in the same medium, it is possible to move toward a deeper understanding of mid- to late Moche culture and status as depicted in their art. By focusing mainly on art produced in the middle to late Moche periods (AD 200–550), this essay provides an inquiry into general ideas in Moche culture about the supernatural, ideas which of course would have varied in their details over time and space.
{"title":"Bodies in Both Worlds","authors":"Sarahh E. M. Scher","doi":"10.5744/florida/9780813056067.003.0006","DOIUrl":"https://doi.org/10.5744/florida/9780813056067.003.0006","url":null,"abstract":"The Moche people of northern coastal Peru (c. 100 B.C.E–850 C.E.) left behind a great deal of visual communication in their art, which is unusual in its relative naturalism and realistic portrayal of human and animal figures. Although their stylistic choices appear to allow for a close study of artistic imagery and its relationship to Moche life, the Moche were selective in what they included in their iconography; their art is not a comprehensive catalogue of their culture. Nevertheless, by comparing the results of a iconographic analysis of human costume in Moche ceramics with the work of scholars who have studied Moche supernatural representations in the same medium, it is possible to move toward a deeper understanding of mid- to late Moche culture and status as depicted in their art. By focusing mainly on art produced in the middle to late Moche periods (AD 200–550), this essay provides an inquiry into general ideas in Moche culture about the supernatural, ideas which of course would have varied in their details over time and space.","PeriodicalId":157917,"journal":{"name":"Ceramics of Ancient America","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122038767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Naturalism and Contrapposto in the Ceramics of Ancient Ecuador:","authors":"J. Farmer","doi":"10.2307/j.ctvx079fr.9","DOIUrl":"https://doi.org/10.2307/j.ctvx079fr.9","url":null,"abstract":"","PeriodicalId":157917,"journal":{"name":"Ceramics of Ancient America","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129625365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Emblems of Cultural Identity in Early Andean Art:","authors":"Y. Huntington","doi":"10.2307/j.ctvx079fr.12","DOIUrl":"https://doi.org/10.2307/j.ctvx079fr.12","url":null,"abstract":"","PeriodicalId":157917,"journal":{"name":"Ceramics of Ancient America","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128978128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A New Approach to Pre-Columbian Pottery:","authors":"D. Arnold, Y. Huntington, Johanna Minich","doi":"10.2307/j.ctvx079fr.6","DOIUrl":"https://doi.org/10.2307/j.ctvx079fr.6","url":null,"abstract":"","PeriodicalId":157917,"journal":{"name":"Ceramics of Ancient America","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133332089","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-12DOI: 10.5744/florida/9780813056067.003.0001
D. Arnold, Y. Huntington, Johanna Minich
Clay is the most malleable raw material used by many cultures across the world. Its fired product, ceramics, are commonly studied by archaeologists, art historians, and anthropologists. This introductory chapter describes the various perspectives and how these disciplines study the ceramics of ancient America and the cultures that produced them. Bringing together a variety of approaches and terminologies used by these three disciplines, this chapter reveals the complementarity of the differences of these varied approaches. Since ceramic objects constitute part of the history and identity of a specific group of people, it is also important to consider the archaeological ethics of studying Pre-Columbian ceramics, especially how archaeologists and art historians perform authentication and respect cultural heritage. Summarizing the unique properties of ceramics, the operational sequences of their production, and considerations of both human and material agency, the chapter also shows how recognizing various ceramic production sequences (chaîn opératoire) enables reconstruction of ancient societies through different disciplines. This multidisciplinary approach provides a more comprehensive understanding of ceramics than possible with any single discipline.
粘土是世界上许多文化中最具延展性的原料。它的烧制产品，陶瓷，通常被考古学家，艺术史学家和人类学家研究。这一导论章描述了不同的观点，以及这些学科如何研究古代美洲的陶瓷和生产它们的文化。汇集了这三个学科使用的各种方法和术语，本章揭示了这些不同方法差异的互补性。由于陶瓷物品构成了特定人群的历史和身份的一部分，因此考虑研究前哥伦布时期陶瓷的考古伦理也很重要，特别是考古学家和艺术史学家如何进行鉴定和尊重文化遗产。本章总结了陶瓷的独特特性，陶瓷生产的操作顺序，以及对人和物质机构的考虑，还展示了如何认识不同的陶瓷生产顺序(cha n opsamatoire)可以通过不同的学科重建古代社会。这种多学科的方法提供了比任何单一学科更全面的陶瓷理解。
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{"title":"Product Continuity and Change in Persistent Household Ceramic Production:","authors":"A. Hirshman","doi":"10.2307/j.ctvx079fr.21","DOIUrl":"https://doi.org/10.2307/j.ctvx079fr.21","url":null,"abstract":"","PeriodicalId":157917,"journal":{"name":"Ceramics of Ancient America","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131362367","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-12DOI: 10.5744/FLORIDA/9780813056067.003.0005
Y. Huntington
This chapter employs the traditional art historical methods of formal analysis and iconography to understand head motifs engraved on Cupisnique ceramics that were made between 1200 and 200 BCE. Rather than characterizing a small social group operating in isolation, these motifs and objects serve as indicators of cultural identity, affiliation, and transmission, expressing complex interactions between neighboring cultures. In other words, the head motifs on Cupisnique ceramics display the cultural networks inside of which the Cupisnique people saw themselves. Through conscious combination of various techniques and symbols appropriated from other cultures, Cupisnique artists created innovative objects unique to their own society. In particular, the Cupisnique people combined the post-firing engraving techniques of the Chorrera and Machalilla cultures of Ecuador with head motifs appropriated from the architectural friezes of Huaca de los Reyes, a public ritual space, to create small, personal items. These objects with imagery and techniques appropriated into a new, private context become a key distinction of the Cupisnique culture against its neighbors, antecedents, and trade partners.
本章采用形式分析和图像学的传统艺术史方法来理解公元前1200年至200年之间雕刻在库比斯尼克陶瓷上的头部图案。这些主题和物体不是一个孤立运作的小社会群体的特征，而是作为文化认同、隶属关系和传播的指标，表达了邻近文化之间复杂的相互作用。换句话说，库皮斯尼克陶瓷上的头像图案展示了库皮斯尼克人看待自己的文化网络。通过有意识地结合来自其他文化的各种技术和符号，库皮斯尼克艺术家创造了自己社会独特的创新物品。特别是，Cupisnique人将厄瓜多尔的Chorrera和Machalilla文化的烧制后雕刻技术与Huaca de los Reyes(一个公共仪式空间)的建筑装饰结合起来，创造出小型的个人物品。这些具有图像和技术的物品被挪用到一个新的私人环境中，成为Cupisnique文化与其邻国、前身和贸易伙伴的关键区别。
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