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Arts of the Ancient Americas

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Arts of the Ancient Americas Exhibition script: Arts of the Ancient Americas Permanent collection galleries Open 2009 Memorial Art Gallery of the University of Rochester, NY Curator: Jessica Marten, Assistant Curator Educator: Marlene Hamann-Whitmore, Curator of Education The reinstallation of the Ancient Americas galleries was made possible thanks to the following contributors: UNDERWRITERS This installation is underwritten by donors to the Gallery’s Tribute Fund. SCHOLARS AND LENDERS Janet Berlo, PhD., Professor of Art History/Visual and Cultural Studies, University of Rochester; Ellen R. Kintz, PhD., Professor Emerita of Anthropology, State University of New York at Geneseo; Rebecca Stone, PhD., Associate Professor of Art History, Emory University and Curator of Ancient American Art, Michael C. Carlos Museum; Susan Schilling, Curator Emerita of Education, Memorial Art Gallery CONSULTANTS Barbara Moore, conservator; Kathy D’Amanda, designer What do “BCE” and “CE” mean? BCE (Before the Common Era) and CE (Common Era) refer to the same time periods as the more traditional BC (Before Christ) and AD (“Anno Domini,” which means “The Year of our Lord”). In today’s global society, constant interaction between people of all religious beliefs requires a shared, or common, way of reckoning time. Although the terms BCE and CE have their origins in the Christian calendar, they are now widely used by people of all faiths and cultures. For this reason, the Memorial Art Gallery has adopted BCE and CE for use in its galleries. MESOAMERICA: MEXICO – INSET CASE 1a Colima Culture, West Mexico ca. 200 BCE – 500 CE Horned Hunchback Figure Vessel Clay By exchange from Stendahl Galleries, 42.24 Many ceramic hunchback figures with single horns strapped to their heads have been found in the tombs of the Colima culture. The frequency with which hunchbacks and dwarfs appear in the art of the Ancient Americas may indicate their significant status as shamans or spiritual advisors. The horns strapped to the Colima figures are thought to represent powerful caps characteristically worn by shamans across many cultures. Shamanism is a religious system in which the shaman is a spiritual mediator between the physical and spiritual worlds. A shaman figure buried in a tomb may have served to guide the deceased’s transition from the living to the realm of the dead. Colima Culture, West Mexico ca. 200 BCE – 500 CE Hunchback Dwarf Figure Vessel Clay Marion Stratton Gould Fund, 71.59 Some figural art created by Ancient American cultures may not depict actual humans, but may use the human form as a symbol. The lives of the people of ancient Mesoamerica depended upon their ability to grow and produce food. The cultivation of maize (corn) was central to their world view. The human figure could capture aspects of a belief system that intertwined the cycles of life with the cycles of agriculture. For example, a hunchback (“fatback”) might symbolize abundance, and a dwarf might represent the stunted ears of corn a typical maize plant produces with the healthy ear. Mother and child figures might symbolize lineage or the way corn starts as a kernel, grows into a stalk of corn, and is harvested for consumption. Colima Culture, West Mexico ca. 200 BCE – 500 CE Seated Dog Vessel Clay R.T. Miller, Jr. Fund #2, 42.14 The rounded, hollow Colima vessels were made with reddish clay. The black spattering was not intentional, it is the result of the oxidation of the chemical element, manganese, present in the clay. This occurred when the manganese was leached out, over time, by contact with water in the tombs. The vessels’ smooth, lustrous surfaces were attained through burnishing – a process of rubbing the surface with a smooth rock to make it shiny. In addition to ceramics, valuable goods obtained through trade, such as shell, green stone and obsidian were buried in the shaft- and-chamber tombs of the Colima people. Colima Culture, West Mexico ca. 200 BCE – 500 CE Standing Dog Vessel Clay Gift of Canon and Mrs. Nathaniel T. Whitcomb, 78.138 In nearly every world culture, dogs were the first domesticated animals. A large proportion of Colima tombs had actual dogs or dog-shaped vessels interred with the deceased. The frequently plump bodies of the dog vessels and their ubiquity in Colima tombs support different theories. Some scholars believe they represent a hairless breed of dog that was fattened and eaten at feasts. Others think the primary role of the dog was as spiritual guide to the Underworld. Those well-treated in life (and thus well- fed) would act as a guide for the owner’s safe passage to the Underworld in death. Colima Culture, West Mexico ca. 200 BCE – 500 CE Jar with Relief Figures Clay Gift of Lili Wildenhain, 94.59 Generous offerings of real food and ceramics representing foods were placed in tombs for the deceased’s consumption in the afterlife. Other similar jars from the Colima culture represent regional foods such as fruits, vegetables and seafood. It is possible that the small, unidentified creatures on this jar were a food source. Jalisco Culture, West Mexico ca. 200 BCE – 500 CE Cylinder Vessel Clay, pigment Given in memory of Ruth D. Maurer by James W. Maurer, 96.15 The wavy lines on this vessel represent water. The other design in repeated medallions has not yet been identified. Mezcala Culture, Guerrero, West Mexico ca. 300 BCE – 300 CE Ceremonial Celt Figure Serpentine Gift of Ronni Solbert, 73.21 These two green stone figures are anthropomorphized celts, or axe-heads. The frequency with which the Mezcala people made celt figures with human characteristics can perhaps be explained by the animistic belief that animals, plants, rocks and objects have spirits. The celt was a multi-use working tool that was passed down through generations. Because of its highly-valued role and ancestral connotations, the celt form took on symbolic value in ritual objects, some of which were worn by individuals. Mezcala Culture, Guerrero, West Mexico ca. 300 BCE – 300 CE Ceremonial Celt Figure Metadiorite Gift of Mr. and Mrs. Arthur L. Stern, 58.12 In Ancient America, a variety of green stones – sometimes called jadeite or jade – were highly-prized, valuable materials. While the types of stones and the actual greenness vary, a symbolic association linked them to water and plant growth. The hard stone was sculpted by abrading it with other stones, which was a slow and arduous process. The durability and strength as well as the attractive, shiny surfaces would have contributed to the overall value of green stone and these celt figures. Colima Culture, West Mexico ca. 200 BCE – 500 CE Male and Female Figures Clay R.T. Miller Fund, 54.40.2 & .1 The ancient people of West Mexico focused upon the powerful bonds of familial relationships in their ceramics. Treating death not as an end of existence, but as a next stage in a larger journey, these transitional objects were made in the physical world for travel with the dead to the Underworld. Perhaps such figural ceramic groups were made to accompany the deceased into the afterlife as an extension of earthly comforts. Another, more symbolic and less personal approach interprets the ceramic groups as embodiments of agriculture, abundance or lineage. Chupicuaro Culture, West Mexico ca. 300 BC - 200 CE Mother and Child Figures Clay, pigment General Acquisitions Fund, 82.50 This mother and child may symbolize continuity and legitimacy of the family line. Women were identified with and valued for their role as progenitor; hence this figure’s suitability for reproduction is emphasized in a generous belly and bulbous hips. Reinforcing powerful associations between women, fertility, food and the earth, Chupicuaro burials contained many ceramic food vessels and female figures. MESOAMERICA: MEXICO – INSET CASE 1b Jalisco Culture, West Mexico ca. 200 BCE – 500 CE Mother and Child Figures Clay, pigment Marion Stratton Gould Fund, 71.60 This depiction of a mother nursing her child embodies fertility and abundance. As humans gain sustenance and food from the earth, so the child receives life-sustaining nutrition from the mother. Modification and adornment of the body were practiced by ancient West Mexico cultures. This figure shows skull shaping, scarification (on the shoulders), teeth filing, and adornment with elaborate ear pendants and arm bands. Skull shaping was accomplished by applying pressure to boards strapped to an infant’s head, resulting in the elongation visible in these two figures. Such modifications manifest a culture’s world view and ideas concerning beauty, status and social identification. Nayarit Culture, West Mexico ca. 200 BCE – 500 CE Seated Musician Figure with Drum Clay, pigment Given in memory of Ruth D. Maurer by James W. Maurer, 96.16 The drum depicted in the arms of this musician figure was made from the shell of a turtle. The nose ring, ear ornaments and cross-legged posture are all common characteristics of clay figurines across ancient Mexico. Nayarit Culture, West Mexico ca. 200 BCE – 600 CE Standing Female Figure Clay, pigment R.T. Miller Fund, 54.41 Beads, armbands, pendants, and ear and nose ornaments have been found on skeletal remains in Ancient American tombs. This Nayarit woman is depicted with nose, neck and ear ornaments and scarification (cutting or branding designs into the skin) on her shoulders and arms. The specificity of adornment would have associated this figure with a particular culture and class. These details contrast with an abstracted body that minimizes certain physical features while emphasizing others. The small, truncated arms are likely a stylistic convention; the wide, heavy hips and legs emphasize the woman’s connection with the earth and reproduction. Zapotec Culture, Monte Alban, Oaxaca, Central Mexico ca. 200 – 100 BCE Pipe or Incense Burner in the Shape of a Small Child or Acrobat Clay (blackware) Gift of Susan and Bernard Schilling, 93.26 This object has been described as a pipe or an incense burner in the shape of a child or an acrobat.
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