Lightboxes
Carrito
alb3626140

Costumed Figure

Costumed Figure. Culture: Maya. Dimensions: H. 11 1/2 x W. 3 13/16 x D. 3 3/4 in. (29.3 x 9.7 x 9.5 cm). Date: 7th-8th century. This ceramic figurine depicts a standing male wearing a long textured bodysuit and conical headdress. His mouth is open, as if speaking, and he wears an ornament between his eyes. Incised lines on his cheeks may represent wrinkles, indicating he is a mature individual. He wears a belt and loincloth above the bodysuit, as well as a ruffled collar and large round earflares, or ornaments worn in the earlobes (see 1994.35.591a, b for an example of an earflare set, and 1979.206.1047 for individuals wearing earflare assemblages). His pectoral consists of a large round element with a zoomorphic face emerging from the top right corner. He carries a rectangular shield in his left hand; the shield is marked with patterns that probably represent feathers. The right arm of the figurine is broken at the elbow. This figurine is also a whistle; the mouthpiece of the whistle, visible from the sides and back, serves as a third support so that the figurine can stand erect. This figurine was made from a mold, with individual characteristics added by hand. Fingerprints, remnants of hand modeling, are visible on parts of the headdress, including the right earflare and the fringes on the left side of the individual's face. The figurine still retains large swaths of paint, indicating the entire surface would once have been brightly colored. Aside from a central vertical strip, the individual's face is blue. The textured bodysuit is also blue. The pigment on these sections of the figurine is probably "Maya blue," a distinctive and durable paint made by heating indigo and palygorskite, a mineral found in clay (see Crocodile Rattle, 1979.206.1143, for another example of Maya blue). The section around the individual's shoulders is slightly faded and less textured than other parts of the figurine, indicating use wear. The individual's loincloth and the center of his face were painted red. White paint remains on his pectoral, and on the circular elements atop his feet. The figurine is resolutely frontal: the back of the whistle lacks modeling and texture, and its smooth surface is painted red on the bottom and blue on top. This figurine is in the Jaina style, named after a small island off the coast of Campeche, Mexico. Jaina was a Maya center occupied from the Late Preclassic period (ca. 300 B.C.-A.D. 250) to the Late Postclassic period (ca. 1200-1500), with a peak population in the Late Classic (ca. A.D. 600-800) and Terminal Classic (ca. A.D. 800-900) periods. A large number of figurines and anthropomorphic whistles similar to this one have been recovered from the island. Like this example, figurines from Jaina are mold made, with individual details added by hand. They depict a variety of subjects, from seated young women to warriors to anthropomorphic beings. While many of these artifacts lack archaeological context, excavations have recovered figurines in the burials of adults and infants. Although this style of figurine is closely associated with Jaina Island, source testing of ceramic material in other museum collections indicates that Jaina-style figurines may have been produced and traded throughout Veracruz, Tabasco, Campeche, and Chiapas, Mexico. Jaina-style figurines seem to represent ideal "types" of people rather than individual portraits. The portliness of this figure, combined with his heavy jowls and protruding belly, suggest ties with the "Fat God," a poorly understood character who appears throughout ancient Mesoamerican belief systems. Because his status as a deity is unclear, some scholars, such as archaeologist Christina Halperin, refer to him as the "Fat Man." First appearing in art from the Preclassic period, the "Fat Man" is a common figurine subject, characterized by his corpulent stomach, sagging jowls, and closed, puffy eyes. The "Fat Man" is associated with humor and musical performance, and in the Classic period he may have been a ritual clown, much like the court jester in Medieval Europe. In some examples he wears a textured bodysuit, dances, and holds a fan. He also appears, as in this figurine, as a warrior with a shield. Christina Halperin (2014) suggests that depictions of the "Fat Man" as a warrior may have been ironic or humorous because they combine the accoutrements of a warrior with someone who is clearly not in fighting shape. The many incarnations of the "Fat Man" suggest that his meaning may have varied across time and space, however, and that not all portly individuals in Maya art represent this character. Other Jaina-style figurines suggest a more generic designation as a noble or warrior. A similar work in the Cleveland Museum of Art (1963.93) wears a textured blue bodysuit and a removable helmet, and the position of his hands suggests he once carried a spear and shield. Like the Metropolitan figurine, he also has a potbelly. Another figurine in the Jaina style, photographed by Justin Kerr (K1503 in his Pre-Columbian Portfolio), carries a shield with rectangular bands of feathers almost identical to those on the shield of the Metropolitan figurine. In addition, the Metropolitan figurine may represent a local warrior "type" who appears in the art of the Northern Lowlands, especially at Oxkintok and Dscelina. At these sites in Campeche, Mexico, large relief columns depict similar rotund individuals wearing textured bodysuits and carrying shields. The bodysuit most likely represents the quilted armor worn by warriors, while the rectangular shield is carried by warriors in the Usumacinta area. Whether warrior or "Fat Man," the rich accoutrements worn by this figure underline his noble status. Caitlin C. Earley, Jane and Morgan Whitney Fellow, 2016.
Compartir
pinterestPinterest
twitterTwitter
facebookFacebook
emailEmail

Añadir a otro lightbox

Añadir a otro lightbox
add to lightbox print share
¿Ya tienes cuenta? Iniciar sesión
¿No tienes cuenta? Regístrate
Compra esta imagen
Cargando...
Título:
Costumed Figure
Descripción:
Traducción automática: Figura disfrazada. Cultura: Maya. Dimensiones: H. 11 1/2 x W. 3 13/16 x D. 3 3/4 pulg. (29,3 x 9,7 x 9,5 cm). Fecha: Siglo VII-VIII. Esta figura de cerámica representa a un hombre de pie con un traje largo de textura y un tocado cónico. Tiene la boca abierta, como si hablara, y lleva un adorno entre los ojos. Las líneas incisas en sus mejillas pueden representar arrugas, lo que indica que es un individuo maduro. Lleva un cinturón y un taparrabos encima del mono, así como un cuello con volantes y grandes orejeras redondas, o adornos usados en los lóbulos de las orejas (ver 1994.35.591a, b para un ejemplo de un conjunto de orejeras, y 1979.206.1047 para personas que usan orejeras). ensamblajes). Su pectoral consta de un gran elemento redondo con una cara zoomorfa que emerge en la esquina superior derecha. Lleva un escudo rectangular en su mano izquierda; el escudo está marcado con patrones que probablemente representan plumas. El brazo derecho de la figura está roto por el codo. Esta figura es también un silbato; la boquilla del silbato, visible desde los lados y desde atrás, sirve como tercer soporte para que la figura pueda mantenerse erguida. Esta figura fue hecha a partir de un molde, con características individuales añadidas a mano. Las huellas dactilares, restos de modelado manual, son visibles en partes del tocado, incluida la orejera derecha y los flecos en el lado izquierdo de la cara del individuo. La figura aún conserva grandes franjas de pintura, lo que indica que toda la superficie alguna vez habría tenido colores brillantes. Aparte de una franja vertical central, la cara del individuo es azul. El body texturizado también es azul. El pigmento en estas secciones de la estatuilla es probablemente "azul maya", una pintura distintiva y duradera hecha calentando índigo y paligorskita, un mineral que se encuentra en la arcilla (ver Crocodile Rattle, 1979.206.1143, para otro ejemplo de azul maya). La sección alrededor de los hombros del individuo está ligeramente descolorida y menos texturizada que otras partes de la figura, lo que indica desgaste por uso. El taparrabos del individuo y el centro de su rostro estaban pintados de rojo. Queda pintura blanca en su pectoral y en los elementos circulares encima de sus pies. La figura es decididamente frontal: la parte posterior del silbato carece de modelado y textura, y su superficie lisa está pintada de rojo abajo y de azul arriba. Esta figura es de estilo jaina y lleva el nombre de una pequeña isla frente a la costa de Campeche, México. Jaina fue un centro maya ocupado desde el período Preclásico Tardío (ca. 300 a. C.-250 d. C.) hasta el período Posclásico Tardío (ca. 1200-1500), con una población máxima en el Clásico Tardío (ca. 600-800 d. C.) y Períodos del Clásico Terminal (ca. 800-900 d.C.). En la isla se han recuperado un gran número de figurillas y silbatos antropomorfos similares a éste. Como este ejemplo, las figuras de Jaina están hechas con moldes y se les añaden detalles individuales a mano. Representan una variedad de temas, desde mujeres jóvenes sentadas hasta guerreros y seres antropomórficos. Si bien muchos de estos artefactos carecen de contexto arqueológico, las excavaciones han recuperado figurillas en entierros de adultos y niños. Aunque este estilo de figurillas está estrechamente asociado con la isla Jaina, las pruebas de fuentes de material cerámico en otras colecciones de museos indican que las figurillas de estilo Jaina pueden haber sido producidas y comercializadas en Veracruz, Tabasco, Campeche y Chiapas, México. Las figurillas de estilo jaina parecen representar "tipos" ideales de personas más que retratos individuales. La corpulencia de esta figura, combinada con su pesada papada y su prominente vientre, sugieren vínculos con el "Dios Gordo", un personaje poco comprendido que aparece en todos los antiguos sistemas de creencias mesoamericanos. Debido a que su estatus como deidad no está claro, algunos estudiosos, como la arqueóloga Christina Halperin, se refieren a él como el "Hombre Gordo". El "Hombre Gordo", que apareció por primera vez en el arte del período Preclásico, es un sujeto común en las figurillas, caracterizado por su estómago corpulento, papada caída y ojos cerrados e hinchados. El "Hombre Gordo" está asociado con el humor y la interpretación musical, y en el período Clásico pudo haber sido un payaso ritual, muy parecido al bufón de la corte en la Europa medieval. En algunos ejemplos, usa un traje texturizado, baila y sostiene un abanico. También aparece, como en esta figura, como un guerrero con escudo. Christina Halperin (2014) sugiere que las representaciones del "hombre gordo" como un guerrero pueden haber sido irónicas o humorísticas porque combinan el equipamiento de un guerrero con el de alguien que claramente no está en condiciones de luchar. Sin embargo, las numerosas encarnaciones del "Hombre Gordo" sugieren que su significado puede haber variado a lo largo del tiempo y el espacio, y que no todos los individuos corpulentos en el arte maya representan este personaje. Otras estatuillas de estilo jaina sugieren una designación más genérica como noble o guerrero. Una obra similar en el Museo de Arte de Cleveland (1963.93) lleva un traje azul texturizado y un casco removible, y la posición de sus manos sugiere que alguna vez portó una lanza y un escudo. Al igual que la figura del Metropolitan, también tiene barriga. Otra figura de estilo jaina, fotografiada por Justin Kerr (K1503 en su Portafolio Precolombino), porta un escudo con bandas rectangulares de plumas casi idénticas a las del escudo de la figura Metropolitana. Además, la estatuilla Metropolitana puede representar un "tipo" de guerrero local que aparece en el arte de las Tierras Bajas del Norte, especialmente en Oxkintok y Dscelina. En estos sitios en Campeche, México, grandes columnas en relieve representan individuos rechonchos similares vestidos con monos texturizados y portando escudos. Lo más probable es que el traje represente la armadura acolchada que usaban los guerreros, mientras que el escudo rectangular lo portaban los guerreros del área de Usumacinta. Ya sea guerrero o "hombre gordo", los ricos pertrechos que lleva esta figura subrayan su estatus noble. Caitlin C. Earley, becaria Jane y Morgan Whitney, 2016
Costumed Figure. Culture: Maya. Dimensions: H. 11 1/2 x W. 3 13/16 x D. 3 3/4 in. (29.3 x 9.7 x 9.5 cm). Date: 7th-8th century. This ceramic figurine depicts a standing male wearing a long textured bodysuit and conical headdress. His mouth is open, as if speaking, and he wears an ornament between his eyes. Incised lines on his cheeks may represent wrinkles, indicating he is a mature individual. He wears a belt and loincloth above the bodysuit, as well as a ruffled collar and large round earflares, or ornaments worn in the earlobes (see 1994.35.591a, b for an example of an earflare set, and 1979.206.1047 for individuals wearing earflare assemblages). His pectoral consists of a large round element with a zoomorphic face emerging from the top right corner. He carries a rectangular shield in his left hand; the shield is marked with patterns that probably represent feathers. The right arm of the figurine is broken at the elbow. This figurine is also a whistle; the mouthpiece of the whistle, visible from the sides and back, serves as a third support so that the figurine can stand erect. This figurine was made from a mold, with individual characteristics added by hand. Fingerprints, remnants of hand modeling, are visible on parts of the headdress, including the right earflare and the fringes on the left side of the individual's face. The figurine still retains large swaths of paint, indicating the entire surface would once have been brightly colored. Aside from a central vertical strip, the individual's face is blue. The textured bodysuit is also blue. The pigment on these sections of the figurine is probably "Maya blue," a distinctive and durable paint made by heating indigo and palygorskite, a mineral found in clay (see Crocodile Rattle, 1979.206.1143, for another example of Maya blue). The section around the individual's shoulders is slightly faded and less textured than other parts of the figurine, indicating use wear. The individual's loincloth and the center of his face were painted red. White paint remains on his pectoral, and on the circular elements atop his feet. The figurine is resolutely frontal: the back of the whistle lacks modeling and texture, and its smooth surface is painted red on the bottom and blue on top. This figurine is in the Jaina style, named after a small island off the coast of Campeche, Mexico. Jaina was a Maya center occupied from the Late Preclassic period (ca. 300 B.C.-A.D. 250) to the Late Postclassic period (ca. 1200-1500), with a peak population in the Late Classic (ca. A.D. 600-800) and Terminal Classic (ca. A.D. 800-900) periods. A large number of figurines and anthropomorphic whistles similar to this one have been recovered from the island. Like this example, figurines from Jaina are mold made, with individual details added by hand. They depict a variety of subjects, from seated young women to warriors to anthropomorphic beings. While many of these artifacts lack archaeological context, excavations have recovered figurines in the burials of adults and infants. Although this style of figurine is closely associated with Jaina Island, source testing of ceramic material in other museum collections indicates that Jaina-style figurines may have been produced and traded throughout Veracruz, Tabasco, Campeche, and Chiapas, Mexico. Jaina-style figurines seem to represent ideal "types" of people rather than individual portraits. The portliness of this figure, combined with his heavy jowls and protruding belly, suggest ties with the "Fat God," a poorly understood character who appears throughout ancient Mesoamerican belief systems. Because his status as a deity is unclear, some scholars, such as archaeologist Christina Halperin, refer to him as the "Fat Man." First appearing in art from the Preclassic period, the "Fat Man" is a common figurine subject, characterized by his corpulent stomach, sagging jowls, and closed, puffy eyes. The "Fat Man" is associated with humor and musical performance, and in the Classic period he may have been a ritual clown, much like the court jester in Medieval Europe. In some examples he wears a textured bodysuit, dances, and holds a fan. He also appears, as in this figurine, as a warrior with a shield. Christina Halperin (2014) suggests that depictions of the "Fat Man" as a warrior may have been ironic or humorous because they combine the accoutrements of a warrior with someone who is clearly not in fighting shape. The many incarnations of the "Fat Man" suggest that his meaning may have varied across time and space, however, and that not all portly individuals in Maya art represent this character. Other Jaina-style figurines suggest a more generic designation as a noble or warrior. A similar work in the Cleveland Museum of Art (1963.93) wears a textured blue bodysuit and a removable helmet, and the position of his hands suggests he once carried a spear and shield. Like the Metropolitan figurine, he also has a potbelly. Another figurine in the Jaina style, photographed by Justin Kerr (K1503 in his Pre-Columbian Portfolio), carries a shield with rectangular bands of feathers almost identical to those on the shield of the Metropolitan figurine. In addition, the Metropolitan figurine may represent a local warrior "type" who appears in the art of the Northern Lowlands, especially at Oxkintok and Dscelina. At these sites in Campeche, Mexico, large relief columns depict similar rotund individuals wearing textured bodysuits and carrying shields. The bodysuit most likely represents the quilted armor worn by warriors, while the rectangular shield is carried by warriors in the Usumacinta area. Whether warrior or "Fat Man," the rich accoutrements worn by this figure underline his noble status. Caitlin C. Earley, Jane and Morgan Whitney Fellow, 2016
Técnica/material:
Ceramic, pigment
Museo:
Metropolitan Museum of Art, New York, USA
Crédito:
Album / Metropolitan Museum of Art, NY
Autorizaciones:
Modelo: No - Propiedad: No
¿Preguntas relacionadas con los derechos?
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)
Palabras clave: