Another
lively ceramic in the exhibition is the Mayan vase. Ceramics was just
one of the many art forms in which the Maya excelled; they also created
exquisite sculptures, monumental architecture, delicate jewelry, and
fabulous textiles. This colorful vessel depicts a scene from their epic
tale, the Popul Vuh, in which the twin heroes are transformed into monkeys.
One monkey holds a cacao pod, source of the beans used in making chocolate,
as highly appreciated among the historic Maya as it is today.
The
cultures of Central America also prized gold. Unusually high-quality
gold existed naturally in local streambeds, and native artists created
intricate and sophisticated gold jewelry for members of the higher ranks
of society. Animal imagery was common; monkeys were associated with
warriors and strength. The pendant in this exhibition would have been
worn by a nobleman or ruler to emphasize his warlike abilities and probably
also to designate his membership in the Monkey Clan, one of only two
groups whose men were eligible to become chiefs.
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Another object with a powerful symbolic message is the
flying panel metate, which came to our collection from Harold and Rada
Fredrikson. Metates were everyday objects that provided a grinding surface
for grain, but this one is exceptional, as its size and detailed carving
show it to be a prestigious object belonging to a ruler. Overall, through
the combination of its function and its complex human and animal imagery,
this large and intricately sculpted grinding stone communicates essential
ideas about the role of the chief as protector of and provider for his
people.
Prosperity frees a society to produce all forms of art,
a situation true among the great civilizations of Peru. A wealth of
art, encompassing jewelry, sculpture, textiles, and vessels in a broad
range of materials such as gold, silver, cotton, wool, wood, and ceramic
was produced by the Andean artists of earlier times. Sacred Symbols
features works from some of the most notable cultures from the region,
including many great objects from the Institutes permanent collection.
For example, the Moche and Nazca cultures both produced spectacular
ceramics. They flourished around the same time, the Moche in the north
of Peru from A.D. 100 to 700, and the Nazca to the south from 100 B.C.
to A.D. 700, but their sculptural styles were distinct. Nazca artists
emphasized color; at the height of their civilization they used up to
fourteen hues per pot. They depicted natural themes featuring both humans
and animals. The lively pelican on one exhibition pot has just caught
a fish, symbolically linking it to Nazca fishermen, who admired the
birds prowess. Similar themes were popular among the Moche, but
they preferred a more limited color palette and emphasized strong lines
and details. The lead image for the Sacred Symbols show is a
vessel depicting a Moche warrior in his prime. His tall headdress, ear
spools, and ceremonial costume all indicate his elevated social status,
while his wide eyes, determined features and sturdy limbs show his readiness
for action.
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