A Late Classic Ceramic Standing Male Figure from Remojadas, Veracruz,

Myra L. Engelhardt

This essay explores the iconography of a Late Classic At contact, fertility, well-being, and even the existence of (A.O. 550-900) standing male unglazed terracotta sculp­ the universe depended on nourishing the gods with hearts ture (Figure I) from Remojadas, Veracruz, Mexico.' The and blood procured by the constant waging of ,var to figure, in the collection of the Appleton Museum of Ari obtain sacrificial victims. " War had become a form of in Ocala, Florida, has been described as a "priest or a worship!' Because warfare and religion were intimately warrior or a depiction of the person with whom it was related, so, too, were the realms of priest and warrior. interred.'" More likely it represents a priest of the cult Some young priests were trained in warfare, and many of the god Xipe Totec with his warrior anributes.' engaged in ba11le to take sacrificial prisoners;" thus, they Any iconographic study of Pre-Columbian an is were warrior-priests. complicated by the lack of wri11en historical, literary, and That many Pre-Columbian objects send mixed mes­ philosophical sources contemporary with the period. sages, perceptually and conceptually, is understandable What is available are a handful of Pre- and Post-Conquest considering that deities were related to each other in pictorial codices and the writings of the Spanish chron­ various ways, could appear in multiple aspects, and could iclers. Because we know most about the , who were change from young 10 old, male to female, and malevolent observable at contact, we will use their society as a point 10 benevolent!' In addition, although each had specific of refcrenoe from which 10 interpret material about lesser­ insignia and costume, these elements were not exclusive known cultures. Although it is a standard approach, this but were shared with other deities. " method of utilizing Post-Conquest European texts 10 in­ This concept of duality is common to all Pre-Con­ terpret art created prior 10 contact may be somewhat de­ quest Mesoamerican cultures from the earliest to the batable because of the pitfalls of disjunction, "a mode latest. The constant cyclical rhythms of nature- of living of renovation (that) happens whenever members of a suc­ and dying-were most obvious- celestially-as day cessor civilization refashion their inheritance by gearing and night, and-seasonally- as crops grew, ripened, predecessors' forms to new meanings and by clothing in were harvested, and died; "dead" seeds were then planted, new forms those old meanings which remain acoeptable. "' and a new cycle began!' The principle reflects not a duality Nevertheless, many Aztec ideas and practices were derived of struggling opposites but rather complementary, inter­ from much older concepts, some associated with the first dependent forces in a state of dynamic tension!' Life and sedentary cultures in .' Thus, despite impor­ death were accepted as two states that formed the whole tant regional differences with respect 10 mythology and of the natural order; one without the other was incom­ rituals, for example, the underlying world view and the plete, and, therefore, one was not preferable to the other. basic cultural pa11ems were similar throughout much of That burial iconography involves gods who represented the area.• both death and fertility and sometimes was almost iden­ Deciphering the iconography of figures from Central tical with that of agricultural fertility cults is consistent Veracruz presents three additional problems. First, rela- with this world view. 1.ively little archaeological work has been undertaken in The Appleton sculpture was produced in the Remo­ the region, and there are scant records of contact with the jadas area of south-central Veracruz. Generally hot and original communities there. Second, ceramics like the humid, Veracruz is a narrow, fertile plain that lies along Appleton figure were found in burials, where they were Mexico's Gulf Coast (Figure 2) and rises 10 the dry, high placed, unprotected, into shallow graves of heavy soil.' plateau of Central Mexico. The coastal plain was a major Thus, breakage was possible during interment and pro­ trade and migration route, and commerce between Vera­ bable during excavation. Because so many of these sculp­ cruz and Tootihuacan, in the Valley of Mexico, was estab­ tures have been "recovered" by looters rather than by lished by 300 A.O.; contact was maintained throughout means of controlled, documented archaeological proce­ the Classic. " dures, original elements may be missing, new ones may Teotihuacan was the center of power and prestige in have been added, and massive reconstruction may result.• Mesoamerica between 350 and 500 A.O. and, although Third, there is the problem of forgeries; hundreds of clay that city stimulated changes in art throughout the sculptures from the period and region are modern region, " the period is characterized by the development counterfeits, many of which have been in prestigious col­ of local cultures, each with a distinct artistic style." We lections for years; thus, scholars have been compiling a know li11le of the role played by Veracruz in the Classic corpus of work based, in part, on fraudulent material.' period, but it did undergo a period of population expan­ The art of Pre-Columbian Mexico reflects, above all, sion during which large ceremonial centers, indicating in­ the religious beliefs of its peoples. Every aspect of religion creasingly sophisticated religious rituals, were erected." was developed, including shamanism, a pantheon of Under the influence of Teotihuacan, the lively, casual style deities, ritualism, mythology, and a formal priesthood!' of earlier Central Veracruz art became more formal and rigid, exhibiting rectilinear shapes, bilateral symmetry, and seems likely that the chapopole mask ponrayal would have repetition of decorative details." been superceded when full-flayed-skin depictions of Xipe The Appleton sculpture is 29¾ inches high, 14 inches and Tlazolteotl became prominent. To impose a represen­ wide, and 6 inches deep. The barefoot figure wears a short tation of a skin mask on what is already a full head mask skin to below the knee; two raised diagonal panels are (as on the Appleton figure) is redundant. As I will show, attached to the skirt front. The ties of a bow knot at the the mouth mask, particularly on male figures, may have proper left of the waist fall over remnants of appliqued had other implications. scallops which wrap around the side and extend across The magical connotations or the consistency of the rear of the figure. "Trousers" extend under the skirt chapopote may have been more important than its color, to shortly above the ankles; "sleeves" extend to midway although black does have iconographic significance. For between elbow and wrist. Behind its head is a horizontal the Aztecs and the Maya, the color was associated with cylindrical bar from each side of which hang three feather death, the underworld,'' warriors, and the west-where representations. The flared headdress, attached by a chin the sun symbolically dies." An Aztec idol of Thzcatlipoca strap, has two concave circular disks at the front and a was sculpted of obsidian, the same shiny black stone of bowknot at the tOp, center. A small figure sits atop the which knives, blades, and spear points were made." flat surface of the headdress;" behind it is a broad, flat Black was also strongly associated with priests. Aztec band adorned on each side by four representations of priests smeared the sick with a multi-component black feathers. Tubular earrings extend midway down the back. pitch, significantly called Food of God (7eotlacualh), the A flat, narrow neckpiece, missing its ornament, is scored same substance with which they covered an image of Tez­ with slashes. In the proper right hand is a baton-like ob­ catlipoca and themselves when they retreated into the ject that extends from above the shoulder to the ground woods to perform ritual sacrifices." In addition, priests and tapers downward. The proper left hand holds a flat painted their faces (with a mixture of other substances) rectangular object by a thong. The eyes are represented in a pattern of two black stripes, one outlining the eyes by horizontal slitS. A thin black line extends from the and extending to the ears, and one across the mouth;" outer corner of each eye across the temples. The mouth, both patterns appear on the Appleton figure. Thus, the surrounded by a patch of black that extends across the black mouth patch on male figures may be a priestly at­ lower part of the nose, is open, as if in a howl, exposing tribute with little or no relation to flayed skin. a second, inner, mouth. u In the Tonatamatl Aubin, Xipe is depicted as a A savior figure and an agricultural deity of regenera­ sacrificial knife, wearing a garment that resembles a short tion and fertility, Xipe Totec, according to myth, provided skirt." On males, skirts usually appear on deities or deity food to mankind by skinning himself alive and tearing impersonators; therefore, the gannent was used only in out his eyes; because of his sacrifice, the gods granted to ritual contexts," supponing the identification of the humans the gift of maize, which also sheds its skin (husk) Applet0n figure as a priest. This interpretation is further as new life sprouts." Xipe is the personfication of the reinforced by a Classic Veracruz bowl depicting a ritual process of renewal and transformation-for the new to in which men are ceremonially attired in kilts, elaborate emerge, the old must be sacrificed- and thus is the headdresses, and mouth masks." · demonstrator of the ultimate duality. The appliqued scallops at the left of the skirt of the The Appleton figure exhibitS a primary attribute of Appleton figure probably originally extended across the Xipe: what·appears to be clothing- trousers and a long­ entire front of it as well. Such scallops have been thought sleeved shirt-is actually the flayed skin of another 10 represent the flayed skin associated with Xipe." In the person (Figure 3)." ln addition, the mouth-within-a­ codices, however, two types or feathered garments exhibit mouth indicates that a full-face mask covers the head of a pattern very similar to that on the skirt: the ehaut/, a the wearer. In the Xipe ritual, a sacrificial victim, usually short tunic, and the tlahuizt/4 a full body suit (Figure 5).'' a captured warrior, was slain by a priest, who removed Therefore, the scallop pattern probably represcntS feathers, and then "entered" the victim's body and facial skin, thus and may indicate Xipe in his warrior affiliation. The becoming one with the god." gladiatorial component of the Aztec Xipe festival involved In the Aztec pantheon, the flayed skin is also asso­ warriors dressed in tlahuiztlis, sometimes covered with ciated with T lazoltcotl, an earth-fertility goddess." feathers." Figure 6 shows Xipe in this type of garment. T lazolteotl is depicted wearing a black mouth patch, a In the proper left hand the Appleton figure holds an feature she shares with the Appleton figure. unadorned rectangular object that may be a bag or a Although primarily an agricultural-fertility divinity, shield. According to Duran, a stone ritual image of Xipe Xipe had a military association as an aspect of Tezcatli­ carried in his left hand a shield decorated with feathers." poca, the Aztec patron deity of warriors," and was himself A priest, however, might carry an incense bag, but given especially venerated by warriors." Those who captured that the scallops place Xipe in a warrior context, the ob- · victims for the Xipe festival were honored with gifts, and ject is probably a shield. many viewed, and some participated in, a gladiatorial In the right hand may be an at/at/, a staff, or a rattle­ sacrifice; thus, the militaristic association of the ritual is stick. An at/at/ would be consistent with Xipe in his enhanced." warrior mode, and , as a warrior, carries this The distinctive black patch (see Figure 4) around the weapon.•• According to Burland, however, Xipe always mouth and lower part of the nose of this figure is made carried a staff." Duran is more specific, stating that Xipe of chapopore, a shiny tarlike substance composed of carried in his right hand a staff with rattles at the end.•• several elements." It has been suggested that such masks Such sticks, probably made or wood or cane, were about on both male and female figures of the Late Pre-Classic 4 to 6 feet long," which would be consistent with the represent flayed skin." If, however, that is the case, it height of this figure. The priest as shaman "in the festival 2 of Xipe enters into the skin of the flayed victim, dons the powers of vision," mirrors are consistent with the priestly feathered headdress, and by means of music and dance, role of the shaman as a bridge to the supernatural. employing drum and rattle-stick, becomes one with the The neckpiece, scored with slash marks, resembles god ... !''• an animal pelt. It may be the ehuacozcatl, a skin collar, Feathers adorn the headdress of rhe Appleton figure. mentioned by Nicholson, although he does not specify Highly prized by the Indians of Mesoamerica since the whether the skin is animal or human." Horns and neck­ earliest times, they signified status or rank." Neumann pieces similarly marked appear on Oaxacan Xipc figures writes of the priest of Xipe donning a feathered head­ and represent the skin of the victim." dress," and Oaxacan depictions of Xipe wear quetzal The earrings (Figure 8) may be tubular plumes. Long, feat hers." flowing feathers were symbolic of water and would be con­ The headdress is topped with a prominent central sistent with Xipe in his fertility role." Here, however, they bowknot." The stone image of the Aztec Xipe wore a more likely represent cloth strips, similar to those pulled headdress tied in a n elaborate bow on his forehead," and through the earlobes of Maya penitents involved in sacri­ bows are attributes of Oaxacan Xipes." ficial rites." A stick-figure-like character sits atop the headgear The Appleton figure thus embodies the Mexican - feet flat, knees flexed, elbows resting on knees, and concept of duality and is related to warfare, sacrifice, and hands clasping opposite shoulders. Its pose is a burial the cycles of life and death. Almost certainly it may be position and can be related 10 a figure of the death god identified as depicting a priest who wears the garb of 1he Mictlantecuhtli {Figure 7)." Its posture resembles as well agricultural-fertility deity Xipe Totee. The mouth-within­ 1har of Xochipilli, god o f dance and flowers, an aspect a-mouth and the flayed skin is the costume of Xipe; the of Xipe, who wears a flayed skin covered with blossoms." mouth mask and the lines extending from the eyes to the The concave disks on the front of the headdress may ears, the skirt {worn by males only in a ritual context), represent mirrors, relating to Xipe's ability to see into the the raule-stick used to invoke the gods, and the mirrors future," or 10 this deity as an aspect of Tezcatlipoca, the as divination devices, all identify this figure as a priest. all-powerful god whose name means "smoking mirror"" Finally, the scallop applique places the figure in a military and who possessed occult powers." La Venta, a Middle context, most likely 1ha1 of the priest's role as a warrior Pre-Classic site, provides an early precedent for highly involved in the capture of sacrificial victims. reflective concave mirrors," which priests used for divina­ tion." Symbolic of enlightenment and implying unique University of Florida

I Chronological dcsigna1ions arc as follows: Early Pre-Classic, 9 Mimi Crossley and E. Logan Wagner, ••Js ft a Fake'?'' Connoisseur, 2000-1000 B.C.; Middle Pre-Clmic, 1000-SOO B.C.; Late Pre-Classic, June 1987: 98, 101. S00-100 B.C.; Proto-Classic, 100 B.C.-A.D. 250; Early aassic, 250-550 A.O.; and Late Classic, SS0-900 A.O. 10 H. 8. Nicholson. "Religion in Pre-Hispanic Central Mexico:· Hand­ book of Middle Ame,;con Indians. ed. Robcn Wauchope (Aus.tin: 2 RO)' C. Cra,•cn, Jr., "Pre-Columbian America:• The Appleton Col• U of Texas Press, 1971) 10, pl.I :395. lection (Ocala, Florida: Appleton Mu!t'um of Art, 1987) 9S. II Nicholson, Handbook 424. 3 The sugge.uion th.at the figurt is a buriaJ portrait will not be addressed. 12 Ca,o I). 4 George Kubler, "Period. Style, and Meaning in Ancient American Art;' New Lile.rary History I ( 1970): 143. 13 Pedro Carrasco, "Social Organi1.a1ion of Ancient Mexico:• Hand• book of Middle Americ-an Indians. ed. Robers Wauchope (Almin: 5 Alfonso caso, Tht Aztec:t" People of the Sun (Norman: U of U of Tucas Press, 1971) 10, pl.I :356. Oklahoma Pl'ffl, 19S8) 10. 14 Elizabeth P. Benson, The Maya World (New York: Thomas Crowell, 6 Armand J. Labbe, &figion. Art, and Iconography: Mon and Cosmos 1967) Ill. in Ptehlspanic Mesoome.rico (Santa Ana, Calif.: Bowtrs Museum Foundation, 1982) 6. IS Nicholson, HondlJ<>Ok 408-409.

7 Andre Emmerich, Art Before Columbus (New York: Simon and 16 C. A. Burland, The God, ofMmco (New York: Putnam's Sons. 1967) Schuster, 1963) 114. 116.

8 Harold W. McBride. "Figurine 'Types of Central and Southern 17 Labb< 35. Veracruz:• Ancient Art of Yerocru.r, ed. Olga Hammer (Los Angeles: Ethnic Ans Council of Los Angeles. 197)) 26. The Appleton figure 18 Esther Pasztory, "Historic.al Symhesis of the Middle Classic Period;' has been restored and reconstructed. The most obvious areas of Middle Classic Mesoame:rica· A.D. 400-7~ ed. Esther Pasztory (New restoration art the skin from. the headdress.. and the elements in York: Columbia U Press, 1978) 10. the hands. There arc drip marks across 1he chest, whkh could be rtmnanls of the originaJ s.tucco wash sometimes applied to such 19 Esther PasZ1ory, ..Anistic Traditions of the Middle Classic Period:' figures (Philip Drucker, "Ccmmic Stratigraphy at Cerro de las Mesas. Middle Clasrk Mesoamerica: A.D. 4(1).700, ed. Esther Pasztory (New \~racruz, MexiC:O:' Bureau ofAmerican Ethnology Bulletin 141 [1943): York: Columbia U Prm, 1978) 114. S7); more likely, they arc evidence of a wash of finely ground clay fragments in solution 1ha1 restorers oflcn use to hide repairs, which 20 Pasitor)', "Historical Synthesis" 12. Because so liulc work has been then become visible onl)' by means or x.rays (Emmerich 114). done in the Remojada.s region, l)'pe style designa1ions are far from

3 certain and arc still being elaborated. According to McBride's eor• 38 W. du Soleil, Ancienr Mexlron Cos1ume (Mexico: Ediciones Mex• rcla1ions. however, the Appleton rigurc should be c.lassified as icanes. 1950) 36. "Veracruz Late Classic Monumental Clay Sculpture'' (McBride 27). Such works exhibit correct body proportions, realis1jc q•e and mouth 39 Patricia Rieff Anawalt, lndia.n Clothing Befort Corti:s.: Mtsoamericun modeling, and naturalistic arm and leg po.sitions; headdresses, more Costumes from the Codices (Norman: U of Oklahoma Press., 1981) common than in sc:ulpwrcs or earlier periods. feature ,-enical flanges 68. and a thin day ribbon which ou1lines 1he elements: details of dress are we.II-elaborated, and long earrings or tubes and 1wis1ed rope 40 Anawa11, 209. 211. When what is presumably a supernatural character appe.ar (McBride 27). is ritually pe,rforming a priesll)· funaion. tha1 character is probably a human appearing as a dci1y impersonator (8ctl)' Ann Brown, "Setn 21 Katheryn M. L,induff, Ancient Ari of Middlt America: Selec1ions Bui Not Heard: Women in A2tec Ritual - The Sahagl.in Tc.'(1s:• from 1he Jay C Leff Collection (Hun1ington. West Virginia: Hun1- 'ltxt and Image in Pre-Columbian Art, ed. Janet Catherine Bero ing1on Galleries, 1974) 39. (Oxford. England: 8.A.R., 1983) 120).

22 Pas2tory, "Artis1ic Traditions" 114. 41 John Lunsford, "Prtdassic and Protoclassic Sources for a Classic Veracruz Bow1:• Precolumbian Ari in Southern Collections (Hunts­ 23 The figure is not vi.Sible in 1he photographs. ville, Alabama: Huntsville Muse.um or Art, 1979) S. The masks on the bowl figures appear to be physical cniitics rather than painted 24 The eye lines and mou1h mask arc no1 \•isible in the photoaraph; representations. see Figure 4 for a similar mask and eye lines. Sec Figures 3 and 6 ror other depictions or the mouth-within-a-mouth. 42 Hasso von Winning. Pre-Columbian Art of Mexico and Central America (New York: Abrams, 1968) 169. 2S Burland 137. 43 Anawalt 76, E.:umple 6e. 26 That thjs is flayed skin is runher attested to by the presence or nip­ ples directly on the chest rather than merely the suggestion of nip­ 44 Nicholson, Handbook 424. John F. Scott sugg,es1s that similar depic­ ples as they would appear under a shin. figure 3 clearly depicts the tions or thjs "pilly texture" on stone figures ma)' represent conne<:• manner in which lhe victim's flayed facial and bod.)' skin were tied tive tissue or a na)'Cd skin turned inside out ("Potbellies and F'a1 01110 the \\"Carer. Gods:• Journal ofNew World Archaeology June 1988: 3S). Bernard• ino de SahagUn, hO\l,'C\'CT, relates that the skins were worn for t>,1,'Cflly 27 Caso 75. days after which time they were remO\'t'd, and the wearers were washed in such a way that "the fat from th e skins they had worn would come 28 Tlazoltcotl is thought to ha\'c orginated in lhe HuastC<:" rcg,io1l or orr· (A History of Andent Mexico. trans. Fanny R. Bandelier northern Veracru2 (Caso 54). Seier regards Tlaiohcotl as a female (NashvilJe: Fisk U Press. 1932) 79): this implies that flayed skins were counterpart or Xipc (quoted in Ccce.lia F. Klein, The Fact ofthe Earth: worn epidermis-side ou1 and reinforcts the interpretation of the Fron10/i1y in Tk'O Dimensional Mesoamerican Ari. [New York: scallop paue.rn as representing feathers. Garland, 19761 66). 4S Durcin 74. 29 Caso 27. 46 Caso 31. 30 Esther Pasztor)', "Three Azttt: Masks of the God Xipe;' Fafsifica• tionsond Misconstructions in Pre-Columbian Art, ed. Elizabeth H . 47 Burland 137. Boone (Washington. D.C.: Dumbanon Oaks, 1982) 85. 48 Dur8.n 174. 31 Pasztory, Falslflca1/ons 81. 49 JosC Luis Franeo, "Musical Instruments from Central Veracruz in 32 Sage Culpepper Belt, "Veracruz Ceramic Techniques:• Ancienl Art Ancient Times:• Ancient Ari of Vel'OC'rut, ed. Olga Hammer (Los of Vtrocruz. ed. Olga Hammer (Los Ange.Jes: Ethnic Aris Council Angeles: Ethnic Aris Council of Los Angeles, 1971) 18. The stick of Los Angeles, 1971) 39. Chapopore ls found only on figures from held by the Appleton figure has been ro::onstructcd and ma)' originally the Gulf Coast (Miguel Covarrubias, Indian Art ofMexico and Ctn• have been topped with representations of ratdes. trof Amerka. [New York: Knopf, 1957) 191). It was in use by the Early Pre-Classic as illus1ra1ed by a figurine head mar ked with the SO Frank J. Neumann, "The Rattle-Stick of Xipe Totec: A Shamanistic black resin 1hat dates from ISSO S.C. (S. Jeffre>• K. Wilkerson, "Man's Element in Pre-Hispanic Mcsoamcrican 8.etigionr Ac1as de/ XL! Con• Eighty Centuries in Veracruz:• National Geographic August 1980: gre.so Internacional dt Americanistas (Mbtico: Jnslituto Nacional 217). de Antropologia e Historia, 1976) 249. This stick. the chicohuauli, was a male symbol for rain and played a role in water and mountain 33 S. Jeffrey K. Wilkcl'$0n, '' In Search of the Mountain or Foam: Human deity cults (not inconsistent with Xipe as a fenili1y god) (Neumann Sacrifice in Eastern Mesoarnerica:• Ritual Human Sacriflu in 247). The concepts of male symbols, Polency, and Xipe. himself as Mesoomerica. ed. Eli,.abeth H. Boone (Washington. O.C.: Dumbar• a phallic symbol will not be discussed here. although these connota• ton Oaks, 1984) 107. tions arc cenainly present.

34 Linda Schele and Mary Ellen Miller, The Blood of Kings: Dynasty St Jacques Soustellc. Doily Life ofthe A U«sOn 1he B·t oftht Spanish and Ritual in Maya Art (For1 Worth, Tc,cas: Kimball Art Museum, Conquest (Stanford: Stanford U Press, 1970) 139. 1986) 42. 52 Neumann 249. 3S Sylva11us 0. Morley and George W. Brainerd, The Andtnf Maya. 4th ed. (Stanford: Stanford U Press, 1983) 450. S3 Alfonso caso and Ignacio Bernal, Urnas de Oaxaca (Mexico: fo . stituto Nacional de Antropologia. 1952) 253. 36 Diego Our3n, Book of1ht Gods and Riles and the Ancient Calendar, trans. and ed. Fernando Horcasitas and Doris Heyden (Norman: U S4 T hal bows and ties can be highly specific indicators is illuslrated b)' of Oklahoma Press, 1971) 98. Schele and Miller (196), who refer to ties on a container a.s "blood• lening knots'.' 37 Duran 110, ll7. Th.is ointment was comp0scd of a mixture or ven­ o mous creatures, and ololluhqu,: a substance with hallucinogenic SS Dur3.n 174, properties (Duran IIS-116). Chaf)()pale may have had the same appearance and consis1ency. That the Aztec substance was called S6 Frank H . Boos. The Ceramic S,culpwres <>f Ancitnr Ooxaca (New "FQod or God" in dicates a natural assodation with the mouth and, York: A. S. Barnes, 1966) ISi. by cx-1ension, v.ith the mouth mask. 4 l7 Drucker Pl. 14<. 64 Klein 209, 217.

SS Dur:in 173-, fn 2. 65 H. B. Nic.holson, "The Late Pre-Hispanic Cen1ral Mexican (Aztec) Iconographic SY$tcm:• The Iconography of Middle American S9 Burland 137. Sculpture (New York: Metropolitan Museum of An. 1973) 88.

60 Caso 27. 66 Boos 161 .

61 Theodore Stun, The Rubber-Boll Gomes oftht Americas (Seattle: 67 Carmen Cook de Leonard, "Minor Arts of the Classic Period in Cen- U of Washinglon Press. 1949) 66. 1ral Mexico;• Handbook of Middle American Indians. ed. Robcn Wauchopc (Aus,in: U of Texas Pr

63 Nicholson. Handbook 412.

s Figure I. Standing Male. A.D. 500-900. Veracruz (Remojadas), ceramic, 29¾ in. h. Appleton Museum of Art, Ocala, Florida. Photo: Roy C. Craven, Jr.

6 ,...-

- -

------~ Figure 2. Map of Mesoamerica. From Elizabeth Kennedy Easby, Ancient Art of Latin America from the Collection of Jay C Leff (Brooklyn: The Brooklyn Museum, 1967), 112.

Figure 3. Seated Xipe. A.O. 1200-1500. Aztec (Toxcoco, Valley of Mexico), stone, 15¾ in. h. Museum fiir Volkerkunde, Basel, Switzerland. From Samuel K. Lothrop, Treasures of Ancient America (Cleveland: World Publishing Co., 1964), 61.

7 Figure 4. Standing Male. A.O. 500.700 . Veracruz, ceramic, 30 in h. Private Collection. From Olga Hammer, ed., Ancient Art of Veracn,z (Los Angeles: Ethnic Arts Council of Los Angeles, 1971), fig. 37.

\,... ·,1V,,,!IJ ... 'l .,

Figure 6. Standing Xipe Wearing a Tlahuizt/i. A.O. 900-1200. Veracruz, ceramic, 45¼ in. h. From Elizabeth Kennedy Easby, Ancient Art of Latin America from the Collection of Jay C Leff (Brooklyn: The Brooklyn Museum, 1967), fig. 4-05.

Figure 5. Right: Warrior Wearing a Tlahuizt/i. From Patricia Rieff Anawalt, Indian Clothing before Cortes: Mesoamerican Costumes from the Codices (Norman: University of Oklahoma Press, 1981), fig. 27 (from Lienzo de ), © 1981 by the University of Oklahoma Press.

8 Figure 8. Side View of Appleton Figure. A.O. 500-900. Veracruz (Remojadas), ceramic, 29¾ in. h. Appleton Museum of An, Ocala, Florida. Photo: Sandra Tularico.

Figure 7. Michtlantecuhtli. A.O. 500-700. Veracruz (Los Cerros, Tierra Blanca), ceramic, 14 ½ in. h. Museo de Antropologfa, Jalapa, Veracruz. Mexico.

9