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Stamp, Monkey

Stamp, Monkey. Culture: Aztec. Dimensions: Overall: 1 3/8 x 1 3/4 in. (3.51 x 4.45 cm) Other: 1 3/8 x 1 1/8 in. (3.51 x 2.79 cm). Date: 14th-early 16th century. This ceramic stamp features the image of a monkey in profile with its arms splayed to either side of its head. The parallel lines radiating out from the monkey's crown resemble the shock of unkempt hair of the Mexican spider monkey. Its upright stance and flexed knees create a sense of movement in the figure--as if it were walking--while its rotund, helical belly is a playful element of abstraction. As the German archaeologist Eduard Seler long ago noted, in ancient Mexico, the spider monkey was connected with the themes of music, dance, and clowning. In Nahuatl, the monkey is called <i>ozomatli</i> and is the eleventh day sign of the ancient Aztec calendar. Unlike our calendar today, which consists of twelve months of approximately thirty days each, the Aztecs and other Mesoamerican peoples used "months" of just twenty days. Each day was given a number and named after a different animal or other natural element--for example, "1 Crocodile," "2 Reed," or "4 Movement (Earthquake)." Monkeys were closely associated with the wind deity Ehecatl, whose teardrop-shaped earrings (<i>epcololli</i>) and split-conch necklaces are often depicted in sculpted images of primates. Almost invariably, artists in the Postclassic period (ca. 900-1521) showed monkeys with large stomachs, animated facial expressions, and attenuated tails that they often hold in their paws. Ceramic stamps were made in Central Mexico from the Early Formative period (ca. 1800-1200 B.C.) and continued into the early sixteenth century. It is assumed that the earliest examples of such objects functioned much as they did among the Aztecs three millennia later: as ornamental devices used to decorate clothing, ceramic vessels, and even the body. They typically feature abstract geometric designs or stylized animal imagery, often in repeating patterns. Commonly found interred with human remains, these stamps were apparently valued as highly in death as they were in life. William T. Gassaway, 2014-15 Sylvan C. Coleman and Pamela Coleman Fellow ----- <b>Resources and Additional Reading</b> Bierhorst, John. <i>History and Mythology of the Aztecs: The Codex Chimalpopoca</i>. Tucson: University of Arizona Press, 1992. Miller, Mary E., and Karl Taube. <i>The Gods and Symbols of Ancient Mexico and the Maya: An Illustrated Dictionary of Mesoamerican Religion</i>. London: Thames & Hudson Ltd, 1993. Sahagún, Bernardino de. <i>The Florentine Codex: A General History of the Things of New Spain</i>. 12 vols. Translated and edited by Arthur J. O. Anderson and Charles E. Dibble. Santa Fe: School of American Research, 1950-82. For creation myth, see Bk. 11 ("Earthly Things"). Seler, Eduard. <i>Gesammelte Abhandlungen zur Amerikanischen Sprach- und Altertumskunde</i>. 5 vols. Berlin: Ascher, 1902-23. See esp. Vol. 4, pp. 456-59. Taube, Karl. <i>Olmec Art at Dumbarton Oaks</i>. Washington, D.C.: Dumbarton Oaks Research Library and Collection, 2004.
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Título:
Stamp, Monkey
Descripción:
Traducción automática: Sello, Mono. Cultura: Azteca. Dimensiones: Total: 1 3/8" x 1 3/4". (3,51 x 4,45 cm) Otros: 1 3/8" x 1 1/8". (3,51 x 2,79 cm). Fecha: 14th-principios del siglo XVI. Este sello de cerámica presenta la imagen de un mono de perfil con los brazos abiertos a ambos lados de la cabeza. Las líneas paralelas que irradian desde la coronilla del mono se asemejan a la mata de pelo despeinado del mono araña mexicano. Su postura erguida y las rodillas flexionadas crean una sensación de movimiento en la figura, como si estuviera caminando, mientras que su vientre redondo y helicoidal es un elemento lúdico de abstracción. Como señaló hace mucho tiempo el arqueólogo alemán Eduard Seler, en el México antiguo, el mono araña estaba conectado con los temas de la música, la danza y las payasadas. En náhuatl, el mono se llama ozomatli y es el signo del undécimo día del antiguo calendario azteca. A diferencia de nuestro calendario actual, que consta de doce meses de aproximadamente treinta días cada uno, los aztecas y otros pueblos mesoamericanos usaban "meses" de solo veinte días. A cada día se le dio un número y se le puso el nombre de un animal diferente u otro elemento natural, por ejemplo, "1 Cocodrilo", "2 Caña" o "4 Movimiento (Terremoto)". Los monos estaban estrechamente asociados con la deidad del viento Ehecatl, cuyos aretes en forma de lágrima ( epcololli ) y collares de caracoles divididos a menudo se representan en imágenes esculpidas de primates. Casi invariablemente, los artistas del período Posclásico (ca. 900-1521) mostraban monos con estómagos grandes, expresiones faciales animadas y colas atenuadas que a menudo sujetaban con las patas. Los sellos de cerámica se hicieron en el centro de México desde el período Formativo Temprano (ca. 1800-1200 a. C.) y continuaron hasta principios del siglo XVI. Se supone que los primeros ejemplos de tales objetos funcionaron como lo hicieron entre los aztecas tres milenios después: como dispositivos ornamentales que se usaban para decorar la ropa, las vasijas de cerámica e incluso el cuerpo. Por lo general, presentan diseños geométricos abstractos o imágenes de animales estilizados, a menudo en patrones repetitivos. Comúnmente encontrados enterrados con restos humanos, estos sellos aparentemente fueron valorados tanto en la muerte como en la vida. William T. Gassaway, 2014-15 Sylvan C. Coleman y Pamela Coleman Fellow ----- Recursos y lecturas adicionales Bierhorst, John. Historia y Mitología de los Aztecas: El Codex Chimalpopoca . Tucson: University of Arizona Press, 1992. Miller, Mary E. y Karl Taube. Los dioses y símbolos del México antiguo y los mayas: un diccionario ilustrado de la religión mesoamericana . Londres: Thames & Hudson Ltd, 1993. Sahagún, Bernardino de. El códice florentino: una historia general de las cosas de la Nueva España . 12 vols. Traducido y editado por Arthur JO Anderson y Charles E. Dibble. Santa Fe: Escuela de Investigación Americana, 1950-82. Para el mito de la creación, véase Bk. 11 ("Cosas terrenales"). Seler, Eduardo. Gesammelte Abhandlungen zur Amerikanischen Sprach- und Altertumskunde . 5 vols. Berlín: Ascher, 1902-23. Ver esp. vol. 4, págs. 456-59. Taube, Karl. Arte olmeca en Dumbarton Oaks . Washington, DC: Biblioteca y colección de investigación de Dumbarton Oaks, 2004.
Stamp, Monkey. Culture: Aztec. Dimensions: Overall: 1 3/8 x 1 3/4 in. (3.51 x 4.45 cm) Other: 1 3/8 x 1 1/8 in. (3.51 x 2.79 cm). Date: 14th-early 16th century. This ceramic stamp features the image of a monkey in profile with its arms splayed to either side of its head. The parallel lines radiating out from the monkey's crown resemble the shock of unkempt hair of the Mexican spider monkey. Its upright stance and flexed knees create a sense of movement in the figure--as if it were walking--while its rotund, helical belly is a playful element of abstraction. As the German archaeologist Eduard Seler long ago noted, in ancient Mexico, the spider monkey was connected with the themes of music, dance, and clowning. In Nahuatl, the monkey is called ozomatli and is the eleventh day sign of the ancient Aztec calendar. Unlike our calendar today, which consists of twelve months of approximately thirty days each, the Aztecs and other Mesoamerican peoples used "months" of just twenty days. Each day was given a number and named after a different animal or other natural element--for example, "1 Crocodile," "2 Reed," or "4 Movement (Earthquake)." Monkeys were closely associated with the wind deity Ehecatl, whose teardrop-shaped earrings (epcololli) and split-conch necklaces are often depicted in sculpted images of primates. Almost invariably, artists in the Postclassic period (ca. 900-1521) showed monkeys with large stomachs, animated facial expressions, and attenuated tails that they often hold in their paws. Ceramic stamps were made in Central Mexico from the Early Formative period (ca. 1800-1200 B.C.) and continued into the early sixteenth century. It is assumed that the earliest examples of such objects functioned much as they did among the Aztecs three millennia later: as ornamental devices used to decorate clothing, ceramic vessels, and even the body. They typically feature abstract geometric designs or stylized animal imagery, often in repeating patterns. Commonly found interred with human remains, these stamps were apparently valued as highly in death as they were in life. William T. Gassaway, 2014-15 Sylvan C. Coleman and Pamela Coleman Fellow ----- Resources and Additional Reading Bierhorst, John. History and Mythology of the Aztecs: The Codex Chimalpopoca. Tucson: University of Arizona Press, 1992. Miller, Mary E., and Karl Taube. The Gods and Symbols of Ancient Mexico and the Maya: An Illustrated Dictionary of Mesoamerican Religion. London: Thames & Hudson Ltd, 1993. Sahagún, Bernardino de. The Florentine Codex: A General History of the Things of New Spain. 12 vols. Translated and edited by Arthur J. O. Anderson and Charles E. Dibble. Santa Fe: School of American Research, 1950-82. For creation myth, see Bk. 11 ("Earthly Things"). Seler, Eduard. Gesammelte Abhandlungen zur Amerikanischen Sprach- und Altertumskunde. 5 vols. Berlin: Ascher, 1902-23. See esp. Vol. 4, pp. 456-59. Taube, Karl. Olmec Art at Dumbarton Oaks. Washington, D.C.: Dumbarton Oaks Research Library and Collection, 2004.
Técnica/material:
ceramic
Museo:
Metropolitan Museum of Art, New York, USA
Crédito:
Album / Metropolitan Museum of Art, NY
Autorizaciones:
Modelo: No - Propiedad: No
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Tamaño imagen:
2765 x 4147 px | 32.8 MB
Tamaño impresión:
23.4 x 35.1 cm | 9.2 x 13.8 in (300 dpi)
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