Maiolica Ole : Spanish & Mexican Decorative Traditions
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Postclassic Aztec Figurines and Domestic Ritual
Copyright by Maribel Rodriguez 2010 The Thesis Committee for Maribel Rodriguez Certifies that this is the approved version of the following thesis: Postclassic Aztec Figurines and Domestic Ritual APPROVED BY SUPERVISING COMMITTEE: Supervisor: Julia Guernsey David Stuart Postclassic Aztec Figurines and Domestic Ritual by Maribel Rodriguez, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December 2010 Dedication Esto esta dedicado en especial para mi familia. Acknowledgements There are my academicians and friends I would like to extend my sincere gratitude. This research began thanks to Steve Bourget who encouraged and listened to my initial ideas and early stages of brainstorming. To Mariah Wade and Enrique Rodriguez-Alegria I am grateful for all their help, advice, and direction to numerous vital resources. Aztec scholars Michael Smith, Jeffrey and Mary Parsons, Susan T. Evans, and Salvador Guilliem Arroyo who provided assistance in the initial process of my research and offered scholarly resources and material. A special thank you to my second reader David Stuart for agreeing to be part of this project. This research project was made possible from a generous contribution from the Art and Art History Department Traveling grant that allowed me the opportunity to travel and complete archival research at the National American Indian History Museum. I would also like to thank Fausto Reyes Zataray for proofreading multiple copies of this draft; Phana Phang for going above and beyond to assist and support in any way possible; and Lizbeth Rodriguez Dimas and Rosalia Rodriguez Dimas for their encouragement and never ending support. -
Born of Clay Ceramics from the National Museum of The
bornclay of ceramics from the National Museum of the American Indian NMAI EDITIONS NATIONAL MUSEUM OF THE AMERICAN INDIAN SMITHSONIAN INSTITUTION WASHINGTON AND NEW YORk In partnership with Native peoples and first edition cover: Maya tripod bowl depicting a their allies, the National Museum of 10 9 8 7 6 5 4 3 2 bird, a.d. 1–650. campeche, Mexico. the American Indian fosters a richer Modeled and painted (pre- and shared human experience through a library of congress cataloging-in- postfiring) ceramic, 3.75 by 13.75 in. more informed understanding of Publication data 24/7762. Photo by ernest amoroso. Native peoples. Born of clay : ceramics from the National Museum of the american late Mississippian globular bottle, head of Publications, NMai: indian / by ramiro Matos ... [et a.d. 1450–1600. rose Place, cross terence Winch al.].— 1st ed. county, arkansas. Modeled and editors: holly stewart p. cm. incised ceramic, 8.5 by 8.75 in. and amy Pickworth 17/4224. Photo by Walter larrimore. designers: ISBN:1-933565-01-2 steve Bell and Nancy Bratton eBook ISBN:978-1-933565-26-2 title Page: tile masks, ca. 2002. Made by Nora Naranjo-Morse (santa clara, Photography © 2005 National Museum “Published in conjunction with the b. 1953). santa clara Pueblo, New of the american indian, smithsonian exhibition Born of Clay: Ceramics from Mexico. Modeled and painted ceram institution. the National Museum of the American - text © 2005 NMai, smithsonian Indian, on view at the National ic, largest: 7.75 by 4 in. 26/5270. institution. all rights reserved under Museum of the american indian’s Photo by Walter larrimore. -
Aztec Figurine Studies. in the Post-Classic
Foreword: Aztec Figurine Studies Michael E. Smith Arizona State University Ceramic figurines are one of the mystery artifact categories of ancient Mesoamerica. Although figurines are abundant at archaeological sites from the Early Formative period through Early Colonial Spanish times, we know very little about them. How were figurines used? Who used them? What was their symbolic meaning? Did these human-like objects portray deities or people? Most scholars believe that ceramic figurines were used in some way in rites or ceremonies, but it has been difficult to find convincing evidence for their specific uses or meanings. The lack of knowledge about the use and significance of ceramic figurines is particularly striking for the Aztec culture of central Mexico. 1 Early Spanish chroniclers devoted literally thousands of pages to descriptions of Aztec religion, yet they rarely mentioned figurines. Ritual codices depict numerous gods, ceremonies, and mythological scenes, yet figurines are not included. Today we have a richly detailed understanding of many aspects of Aztec religion, but figurines play only a minor role in this body of knowledge. An important reason for the omission of figurines from the early colonial textual accounts is that these objects were almost certainly used primarily by women—in the home—for rites of curing, fertility, and divination (Cyphers Guillén 1993; Heyden 1996; Smith 2002), and the Spanish friars who wrote the major accounts of Aztec culture had little knowledge of Aztec women or domestic life (Burkhart 1997; Rodríguez-Shadow 1997). Ceramic figurines can provide crucial information on Aztec domestic ritual and life. They offer a window on these worlds that are very poorly described in written sources. -
Mexican Craft Collection 2017 Barro Negro, Onyx Natural
MEXICAN CRAFT COLLECTION 2017 BARRO NEGRO, ONYX NATURAL STONE, RECYCLED & HANDBLOWN GLASS, HANDWOVEN, POLISHED COPPER, POLISHED BRASS, CHROMED METAL, SAMAN WOOD, CANTERA ROSA, URIARTE TALAVERA Studio davidpompa was born out of the desire to create contemporary design with a strong commitment to Mexican identity & craftsmanship. The intrigue of finding what is Mexico and merging it with something new to create simple and perfect objects, piece by piece. Studio We don’t focus on working with big companies, we have the commitment Founded in 2013 with a showroom and to partner with the best craftsman, production located in Mexico City. We communities and professionals from are a team of designers, engineers and each field. Collaborations with makers based in Mexico and Austria. extraordinary Mexican companies David Pompa grew up in both countries make us proud and drive our creative and studied product design in London. process to characterful signature pieces. The idea to work with Mexican craft started with a trip to Oaxaca in 2009 where David saw artisans Products work with “Barro Negro” for the first Our ambition is to create contemporary time. He started directly working and design with intriguing aesthetics and a experimenting the material which lead conceptual character. to his first collection. Since then, we as a Studio, are committed to Mexican The ethos for our collections is to culture and find ourselves on a constant rethink and reinvent Mexican craft journey to create design objects that are while respecting its heritage. We work both beautifully crafted and accessible. with a rich palette of materials to create contemporary lighting, tiles and furniture. -
Pre-Columbian Art & Architecture Syllabus, Spring 2019
Pre-Columbian Art & Architecture Syllabus, Spring 2019 Course Information Course title: Pre-Columbian Art and Architecture Course prefix and number: ARTH 3353 Course meeting location: Fox Fine Arts A458 Course meeting times: MWF 8:30-9:20 Instructor Contact Information Instructor's name: Anne Perry Instructor's office #: Fox Fine Arts A354 Instructor's office hours: Mondays and Wednesdays 11:30 – 1:00 Instructor's phone & email: 747-8744 or 747-5181 Email: [email protected] (best way to reach me) Instructor Introduction Professor Perry has a long-standing passion for the visual arts. She studied art history at the University of New Mexico, where she received her M. A. in Pre-Columbian art. She has taught a variety of art history courses at the University of Nebraska-Lincoln and here at UTEP. She and her family have lived in El Paso for many years. Course Description This course is an introduction to the rich and varied history of art and architecture of ancient Mesoamerica and South America. Major monuments and art objects in a variety of media will be studied in terms of style and original socio-political or sacred context. This class is geared to students at the Junior-Senior level from all academic disciplines with an interest in the artistic heritage of Latin America. Students need not have had any prior experience in art history to succeed in this class, however, regular attendance at lectures and participation in class discussions are fundamental to an understanding of the material presented in this course. Course Format: In Class and Online Course material is presented in a lecture format, utilizing visual material in the form of digitized images. -
Ceramica: Mexican Pottery of the 20Th Century Ebook
CERAMICA: MEXICAN POTTERY OF THE 20TH CENTURY PDF, EPUB, EBOOK Amanda Thompson | 208 pages | 01 Jan 2001 | Schiffer Publishing Ltd | 9780764312489 | English | Atglen, United States CerAmica: Mexican Pottery of the 20th Century PDF Book Garcia Quinones has won prizes for his work since he was a boy and each year for thirty year has sold his wars at the annual Christmas Bazaar at the Deportivo Venustiano Carranza sports facility. A marble vase from the s. They were used to serve first class passengers and are made of white stoneware with the red continental airlin Bjorn Wiinblad for Rosenthal ceramic pitcher and cups. In addition to majolica, two large factories turn out hand painted ceramics of the kaolin type. This permits many artisans to sell directly, cutting out middlemen. By Charles Catteau for Boch Freres. When creating a southwest Mexican rustic home decor, talavera pottery can add a gorgeous finishing touch. The best known forms associated with Metepec are its Trees of Life, mermaids and animals such as lions, horses with or without wings and ox teams. Today, her pieces are part of Atzompa's pottery traditions even though she herself is outsold by younger potters who produce cheaper and better wares. These are Bram and Dosa in the city a Guanajuato and the town of Marfil respectively. Indigenous traditions survive in a few pottery items such as comals , and the addition of indigenous design elements into mostly European motifs. Uh-oh, it looks like your Internet Explorer is out of date. There has also been experimentation with new glaze colors, such as blue and mauve. -
2019 NSREC Technical ■ Single-Event Effects: Mechanisms and Modeling Sessions
Schedule Monday Tuesday Wednesday Thursday Friday Time July 8 July 9 July 10 July 11 July 12 7:00 [7:00] Breakfast – [7:00] Breakfast – [7:00] Breakfast – [7:00-8:30] IEEE Young [7:00] Breakfast – Salons A-B-F Salons G-M (Exhibits) Salons G-M (Exhibits) Professionals Breakfast – Salons A-F (Pre-Function) Conference Rooms 17 & 18 7:30 (YP talk begins at 7:30 AM) Ticket Required to Attend — and — 8:00 [8:00] Short Course Introduction Dr. Steven Moss, [7:00] Breakfast – Grand Salons C-D-E Salons A-F (Pre-Function) 8:10 [8:10] Part I – Basics of Single Event Effect 8:15 Mechanisms and Predictions [8:20] Opening Remarks/ [8:20] Invited Talk – 8:30 Dr. Daisuke Kobayashi Awards Presentation Automated Vehicles and the [8:30] Invited Talk – [8:30] Invited Talk – Salons C-D-E Road Ahead Parker Solar Probe: A Spanish Exploration and the Chris Mentzer Mission to Touch the Sun Beginnings of Texas Natural 9:00 [9:00] Session A – Salons C-D-E Dr. Jim Kinnison History Single Event Effects: Salons C-D-E Dr. Jesús F. de la Teja Mechanisms and Modeling Salons C-D-E 9:30 [9:35] Session F – [9:40] Break – Grand Pre- Basic Mechanisms [9:45] Session H – [9:45] Session I – Function Photonic Devices and Hardening by Design 10:00 [10:05] Session B – Integrated Circuits [10:10] Part II – Single Event Effects: SEE Testing with Broad and Transient Characterization [10:25] Break – Salons G-M 10:30 Focused Particle Beams Dr. -
Museo's Multicultural Spring Exhibit to Include Rare Colonial Artifacts
861 Santa Fe Dr Denver, CO 80204 MUSEO www.museo.org de las Americas FOR IMMEDIATE RELEASE Contact: Brent Bulger Marketing & PR Coordinator 303.571.4401 ext.25 January 27, 2017 [email protected] Museo’s Multicultural Spring Exhibit to Include Rare Colonial Artifacts “Tornaviaje/The Return Route” is a showcase of unique Asian influence in early Mexico due to Pacific Colonial trade routes. Image Courtesy of the National Hispanic Cultural Center In 1565, following the currents of the winds, Spanish galleons sailed across the Pacific Ocean from the port of Acapulco in Mexico to Manila in the Philippines in search of goods and spices, unaware of the everlasting cultural consequences that would bind us forever. - Maruca Salazar, Curator Unique Cultural Fusion “Tornaviaje/The Return Route” is an innovative and fascinating exhibit featuring artifacts from a period in history when colonial Pacific trade brought exotic Asian influences to the Americas via currents between Manila, Philippines and Acapulco, Mexico. The exhibit includes 21 educational panels in English and en Español. The panels are on loan from the National Hispanic Cultural Center in Albuquerque, New Mexico. Rare Historical Artifacts Alongside the 21 bilingual panels, will be the many pieces dating from the 16th -20th centuries, which demonstrate the fascinating fusion of cultures in a pivotal period of American history. Among them are Rebozos: a traditional Mexican shawl, not unlike a poncho, which has been traced to indigenous and Asian influences. Also featured is the legendary China Poblana garment, a style of dress that is said to emulate a fabled Hindu woman, captured by pirates at the age of 9 in the South Seas and sold into servitude in the mid-17th century. -
March 2010 Talavera Pottery Instituto Allende Is Probably the Most
March 2010 Talavera Pottery Instituto Allende is probably the most famous center for Arts Education in SMA. It was begun by a Peruvian artist in the late ‘30’s. It really expanded after WWII when GI’s discovered that they could come down here under the GI Bill and get a BFA degree while spending $5.00/month for rent. That influx of Americans put SMA on the map. A gringo named Stirling Dickinson expanded the Instituto. As a result he has a street named after him. Bellas Artes is another cultural center. It’s an old convent that’s been converted into an arts center. They offer courses in Pottery-Making, Painting, Drawing, Weaving, Sculpture, Music and Dance. Anzie signed up for a month-long weaving class. She plans to weave at least one Mexican-style patterned rug. We just completed a week-long tile painting class there last week. The two instructors flew in from the Corcoran Museum School in D.C. All of the paints are made from dry mineral-based pigments and water. We were very productive, as you can see from the attached photos. It was a lot of fun and we learned a lot. The difference in colors before and after the kiln is amazing. Now that we know a lot more, we’d like to try it again. Last Thursday after our three-hour class our instructors drove over to the town of Dolores Hidalgo which is a center for pottery and tile making. We followed them, lost them, and finally found them again at this wonderful pottery shop. -
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p ☆ ☆☆☆☆☆☆☆ ☆☆☆☆☆ CHILDREN OF THE OTHER AMERICAS ☆ ☆☆☆☆☆☆☆☆☆☆☆☆ T3.8- OFFl0 PlT©*„^iio- •**'Vi" ^ __..^iffEUlOA-N • j n co V- jt 11-5TES V , •* nt Oj.' r\Tv4 i-i OFFICE of 0OOi^-:''ME.3 , _ Jddifor.^ ■■FoxH , W1 *-’ F" '\ >v-iwifcy *ceao7 Federal--" _ p> q, *0U» * wx :wx£x<<<<&,xvx,vx<*x<c0>xp>x*ssx‘xxx<*x,x*x-x«£x*x<*>&w!&*x<<c*xcvx£’xvx,x,x<,!yx,x>x*x*x XvX wwivxvi-x-x'xvx'xwiwxw^'iyx'x'x'^^^ ☆ ☆☆☆☆☆☆☆☆☆☆☆☆ CHILDREN OF THE OTHER AMERICAS A guide to materials in English on the Other Americas suitable for the elemen¬ tary and junior high school grades. Prepared by M. Elizabeth Barry and Delia Goetz with the assistance of Dorothy Conzelman under the supervision of the Division of Intellectual Cooperation of the Pan American Union February 1942 OFFICE OF THE COORDINATOR OF INTER-AMERICAN AFFAIRS Washington, D. C. ★ UNITED STATES GOVERNMENT PRINTING OFFICE WASHINGTON : 1942 ☆ ☆☆☆☆☆☆☆☆☆☆☆☆ CHILDREN OF THE OTHER AMERICAS TABLE OF CONTENTS General References and Teaching Aids . 1 Homes, Schools, and Community Life . 35 Dances, Songs, and Festivals . 59 Arts and Handicrafts . 79 Food, Plants, and Minerals .:. 99 Their Animal World . 119 Ancient Civilizations and Modern Republics . 135 Transportation »909oe9ee«s9e3«c««et*ee»**** 161 { Children of the Other Americas } GENERAL REFERENCES AND TEACHING AIDS (in) i Table of Contents Page Introduction_ vn Part I. General References for Pupil and Teacher: For the children_ 1 Books_ 1 Periodicals and pamphlets_ 1 For the teacher_ 3 Books_ 3 Periodicals and pamphlets_ 6 Part II. Aids for Teachers: Audio-visual teaching aids_ 11 Costumes_ 12 Exhibits_ 16 Flags_ 16 Maps_ 17 Museums_ 18 Organizations having information and materials_ 20 Periodicals devoted to Latin America_ 23 Periodicals cited in this guide_ 25 School correspondence_ 29 Units for teachers_ 29 Key to abbreviations_ 32 (V) I . -
Authentic Uriarte Talavera Tiles
Authentic Uriarte Talavera Tile Mexican Traditions P.O. Box 67, Lambeth Station London, ON N6P 1P9 (519) 652-9787 www.mexitraditions.com About Mexican Talavera Talavera is the term used to describe faithful reproductions of the china and pottery that is made in the Spanish village of Talavera de la Reina, whose craftsmen have made tremendous contributions to the worlds knowledge of fine ceramics down through the centuries. Talavera pottery itself is a form of Majolica, which refers to all types of handmade enameled earthenware. It was first developed in ancient Mesopotamia and Egypt and was further refined in China where it became very popular. The craft came into use in Spain by the thirteenth century, where its development was heavily influenced by centuries of Moorish domination. Within Mexico, this style dates back to the 16th century colonial era when it was first introduced to Mexico by Spanish guild artisans. Today, Mexican Talavera reflects the diverse cultural heritage inherited from the Orient, the Italian Renaissance, the Moors, Spain and the indigenous people of Mexico. In the making of Talavera, two types of clay are blended and left to soak in water to improve their quality and malleability. The potter then drains the water and filters the combined clays to remove all impurities, resulting in a loss of almost fifty percent (50%) of its original volume. The potter then works the clay by walking on it with his feet to remove all air bubbles and to give the clay a better uniformity and consistency. He then produces different pieces on a potter’s wheel or in molds, and lets them air dry for eight to twelve weeks. -
Ceramics and the Spanish Conquest E Early Americas: History and Culture
Ceramics and the Spanish Conquest e Early Americas: History and Culture General Editor Alexander Geurds, Leiden University Editorial Board Willem Adelaar, Leiden University Nikolai Grube, Bonn University John Hoopes, University of Kansas Maarten Jansen, Leiden University Arthur Joyce, University of Colorado Michael Smith, Arizona State University Eric Taladoire, Sorbonne Laura Van Broekhoven, National Museum of Ethnology, Leiden VOLUME 2 e titles published in this series are listed at brill.nl/eahc Ceramics and the Spanish Conquest Response and Continuity of Indigenous Pottery Technology in Central Mexico By Gilda Hernández Sánchez LEIDEN • BOSTON 2012 e digital edition of this title is published in Open Access. is book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Hernández Sánchez, Gilda. Ceramics and the Spanish conquest : response and continuity of indigenous pottery technology in central Mexico / by Gilda Hernández Sánchez. p. cm. — (e early Americas: history and culture vol.2) Includes bibliographical references. ISBN 978-90-04-20440-9 (hardback : alk. paper) 1. Indian pottery—Mexico. 2. Indians of Mexico—Material culture. 3. Indians of Mexico— Antiquities. 4. Pottery cra—Mexico—History. 5. Mexico—Antiquities. 6. Mexico— History—Conquest, 1519-1540. 7. Mexico—History—Spanish colony, 1540-1810. I. Title. F1219.3.P8H37 2012 972’.01—dc23 2011035865 ISSN 1875-3264 ISBN 978 90 04 20440 9 Copyright 2012 by Koninklijke Brill NV, Leiden, e Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers, Martinus Nijho Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher.