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The Metropolitan Museum of Art Student Preparation Materials Background Information The Metropolitan Museum of Art Student Preparation Materials Background Information When the Spanish conquerer, Hernan Cortes landed in Mexico in 1519, he found the extensive Aztec Empire headed by Montezuma II. The Europeans were amazed to find that the Aztec had a complex writing system, a method of notation for mathematical computation, as well as an accurate calendar. Their agricultural techniques were highly developed — canals for irrigation, granaries for the harvests. The capital, Tenochtitlan, now the site of Mexico City, was a complex urban center with towering pyramids, temples, palaces, and impressive mansions for the nobility. However, the history of Middle America, (the area from north of Mexico City south to Panama) does not begin with the Aztecs. In fact, civilization extends back nearly three thousand years. Although Cortes and his followers caused untold destruction, and arrested the development of indigenous culture, other earlier cultures had already been lost. Teotihuacan in the Valley of Mexico was destroyed by fire near the end of the 7th Century A.D.; Maya cities built before 900 had been abandoned and covered by jungle growth. It has been the work of archaeologists to excavate these sites, and many more, in order to unearth buildings, cities, tombs and reclaim a great cultural heritage from the earth. This special exhibition, BEFORE CORTES, has been designed and arranged to explore the spectacular artistic production of Middle America from the mid-12th Century B.C. to the early 16th Century A.D. More than three hundred works are included - of stone, wood, clay, mosaic, jade, gold and other materials. GALLERIES 1 and 2 Olmec Culture Very little is known about the Olmec people who flourished from about 1150 to 550 B.C. in the lowlands of the Gulf Coast of Mexico. The best known Olmec sites are at La Venta, Tres Zapotes and San Lorenzo, all of which seem to have been ceremonial centers, - 2 - Colossal heads, carved of basalt by the Olmec are especially remarkable; the one in Gallery 1 weighs 5 1/4 tons. Others weigh as much as 25 tons and measure up to 9' high. The Olmec produced not only sculpture on colossal scale, but they also created finely finished figures from jade, all without the aid of metal or mechanical tools. The Olmec are equally famous for their handsome pottery and fine clay sculpture. Knowing little about Olmec dogma, it is difficult to penetrate and interpret the exact function of their art. However, the most characteristic motif is the jaguar, probably a symbol of power and life-force. The "jaguar-baby" figure is prevalent and, as the legendary child born of jaguar and woman is surely a key to Olmec religion. Polished stone axes, or celts have been unearthed with many of the figure sculptures. They may represent thunderbolts of the gods. They are always well-finished stones, beautifully polished and frequently incised or carved. The commanding Olmec style and subject matter spread throughout much of Middle America, and archaeologists have discovered Olmec influence over a very long span of time. GALLERY 3 Central Mexico The extent of Olmec presence and influence in the Central Plateau of Mexico can be seen in the Preclassic works in this gallery. Interestingly, the finest Olmec ceramics have been discovered at what might be called "colonial" settlements in Central Mexico. Archaeologists have recognized that these ceramics are as ancient as those in the Olmec heartland in the Gulf Coast. Note the fine hollow clay figure (Plate 17) and the figures that depict the "child deity" (Plate 19). The "child deity" sculptures are simple and naturalistic. Almost all are seated with legs apart and lack any indication of sex, clothing or jewelry except for ear ornaments and headgear. These clay figures were formed in more or less the same manner as ceramic pots. They are finished with a layer of color, usually red, buff, cream, gray or black. (Plate 24). Olmecs appear to have treasured jade more than any other material. Three fine jade carvings are illustrated here. (Plates 41, 46 and 48.) - 3 - GALLERY 4 Post-Olmec The spread of Olmec culture established a common style and subject matter throughout Middle America. As yet, the Late Preclassic period (approximately 500 - 100 B.C.) has no other accepted name or clearly defined center. However, Olmec influence can be seen in the developing styles of highland and lowland Guatemala as well as in the southern, eastern and central parts of Mexico. The large, freestanding head in this gallery is nearly 5' high. It reveals the broad flat nose, heavy lips and turned down mouth reminiscent of the Olmec head in Gallery 1. Yet there are differences: the eyes are closed, there is no headdress, the carving is rougher. The head was excavated recently at Monte Alto in Guatemala. GALLERY 5 Izapan Following the transitional post-Olmec era, a new style of carving appeared in southern Middle America. It is a style that emphasized softer, curving lines and more elaborate compositions. Since well-preserved monuments in this style have been found in the original settings at the site of Izapa, on the Pacific slope of Mexico almost at the Guatemala border, the style has been named Izapan. As Izapan relief carving developed a fineness in the precision of cut forms and delicate textures can be seen (e.g., Catalog // 60). By the 1st Century B.C. the Izapan style produced its most sophisticated monuments. Izapan ceramics, although usually decorated with abstract patterns rather than representational images, include a few effigy jars (Plate 78). The refined, sophisticated Izapan sculptures in clay and stone are forerunners of the art of the Classic era in Middle America. An important point is the appearance of hieroglyphic writing on Izapan reliefs. This writing is ancestral to the Maya. GALLERY 6 Western Mexico On the West Coast of Mexico are the present-day states of Guerrero, Colima, Jalisco, and Nayarit. In each of these states, distinctive, individual styles developed. - 4 - In the Mezcala region of Guerrero a particularly appealing abstract style of stonework appeared. Sculptors defined the human figure by broad planes and grooves (Plate 79.). Most of the Guerrero carvings have a basic elliptical shape, with no extraneous surface detail. The Colima—Jalisco—Nayarit area is noted for clay sculpture. Animals, plants and human figures give us revealing glimpses into the everyday life of these people (Plate 101). For example you will find in this gallery a three-dimensional village scene, with four buildings and dozens of small figures. GALLERY 7 Teotihuacan Teotihuacan, or "place of the gods'," was probably the first true city of ancient America. During the early 3rd Century its area was nearly nine square miles, twice the size of 3rd Century Rome! The first half of the Classic Period, (AD 250 - 950) was generally an era of well-being, and the cultural achievements of Teotihuacan influenced such distant regions as the Gulf Coast, Oaxaca and the Maya area. The majestic pyramids and buildings displayed fine stone sculpture. The exteriors were brightly painted and there were murals, too, within the patios and rooms. Much of the sculpture that exists from Teotihuacan is forceful, massive, geometric; many pieces perhaps served as architectural decoration. A very different but characteristic form of Teotihuacan sculpture is the stone mask, noted for its stylized formality, its idealized abstraction. These masks, found in many different sizes, have deeply cut eye and mouth openings that were originally filled with shell, pyrite or obsidian. They are quite heavy, certainly impractical to wear, and it is probable that they were tied over the faces of the dead. Masks and figures were usually carved in green or greenish stone, but no longer in jade, which was used almost exclusively for ritual offerings and personal adornment. Examples of clay sculpture offer us thousands of figurines in which we see the early use of pottery molds, with details finished by hand. The large pottery censers are extraordinarily complex, and are masterpieces of molded ceramic sculpture. (Plates 122 and 126.) . - 5 - Even after Teotihuacan had been destroyed by fire towards the end of the 7th Century, its ruins continued to be an important religious site. Teotihuacan symbols, motifs and forms were incorporated into regional styles in other parts of Mexico and the Maya area. GALLERY 8 Maya Of all the Mexican cultures none is more famous than the Maya, and many think Maya art is the most beautiful in ancient Middle America. In speaking of the Maya, we must identify three areas: 1) the southern (Pacific coast highlands); 2) the central (Guatemalan rain forests); and 3) the northern (northern Yucatan Peninsula). The Maya devoted enormous time and energy to the development of architecture for their vast ceremonial-religious centers such as the ones at Copan (Honduras), Tikal (Guatemala), Chichen Itza and Uxmal (Mexico). Maya artists were highly skilled sculptors in stone, stucco and wood; painters of fresco murals and pottery. The sculptors often worked in limestone or sandstone to create spectacular stelae, altars, thrones, temple sculptures and other architectural ornaments. In this gallery, there are examples of a favorite Maya form: the carved stela. These large upright stones carved on one to four sides, usually portrayed important rulers in ceremonies or special roles, as priests or warriors. The costumes and headdresses are very elaborate and have symbolic meaning. Many of the decorative motifs which appear incredibly tangled to our eyes, are symbols related to the hieroglyphic inscriptions that explain the subject matter and date the stelae. The fine compositions, the balanced designs, and the brilliant execution of much classic Maya sculpture demand admiration. In clay sculpture, there is a sporadic Maya tradition of small figures, some modeled by hand, others made partly or entirely in molds.
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