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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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Titre:
Stamp, Monkey
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Traduction automatique: Timbre, Singe. Culture : Aztèque. Dimensions : hors tout : 1 3/8 x 1 3/4 in. (3,51 x 4,45 cm) Autres : 1 3/8 x 1 1/8 in. (3,51 x 2,79 cm). Date : 14e-début du 16e siècle. Ce tampon en céramique présente l'image d'un singe de profil avec ses bras écartés de chaque côté de sa tête. Les lignes parallèles rayonnant de la couronne du singe ressemblent au choc des cheveux hirsutes du singe araignée mexicain. Sa position droite et ses genoux fléchis créent une sensation de mouvement dans la figure - comme si elle marchait - tandis que son ventre rond et hélicoïdal est un élément ludique d'abstraction. Comme l'archéologue allemand Eduard Seler l'a noté il y a longtemps, dans l'ancien Mexique, le singe araignée était lié aux thèmes de la musique, de la danse et du clown. En Nahuatl, le singe s'appelle ozomatli et est le signe du onzième jour de l'ancien calendrier aztèque. Contrairement à notre calendrier actuel, qui se compose de douze mois d'environ trente jours chacun, les Aztèques et les autres peuples mésoaméricains utilisaient des "mois" de seulement vingt jours. Chaque jour a reçu un numéro et nommé d'après un animal différent ou un autre élément naturel - par exemple, "1 Crocodile", "2 Roseau" ou "4 Mouvement (tremblement de terre)". Les singes étaient étroitement associés à la divinité du vent Ehecatl, dont les boucles d'oreilles en forme de larme ( epcololli ) et les colliers de conques fendues sont souvent représentés dans des images sculptées de primates. Presque invariablement, les artistes de la période postclassique (vers 900-1521) ont montré des singes avec de gros estomacs, des expressions faciales animées et des queues atténuées qu'ils tiennent souvent dans leurs pattes. Les timbres en céramique ont été fabriqués dans le centre du Mexique à partir de la période de formation précoce (vers 1800-1200 avant JC) et se sont poursuivis jusqu'au début du XVIe siècle. On suppose que les premiers exemples de tels objets fonctionnaient à peu près comme chez les Aztèques trois millénaires plus tard : en tant que dispositifs ornementaux utilisés pour décorer les vêtements, les récipients en céramique et même le corps. Ils présentent généralement des motifs géométriques abstraits ou des images d'animaux stylisés, souvent dans des motifs répétitifs. Généralement trouvés enterrés avec des restes humains, ces timbres étaient apparemment aussi appréciés à la mort qu'ils l'étaient dans la vie. William T. Gassaway, boursier Sylvan C. Coleman et Pamela Coleman 2014-15 ----- Ressources et lectures supplémentaires Bierhorst, John. Histoire et mythologie des Aztèques : Le Codex Chimalpopoca . Tucson : University of Arizona Press, 1992. Miller, Mary E. et Karl Taube. Les dieux et les symboles de l'ancien Mexique et des Mayas : un dictionnaire illustré de la religion mésoaméricaine . Londres : Thames & Hudson Ltd, 1993. Sahagún, Bernardino de. Le Codex florentin: Une histoire générale des choses de la Nouvelle-Espagne . 12 vol. Traduit et édité par Arthur JO Anderson et Charles E. Dibble. Santa Fe : École de recherche américaine, 1950-82. Pour le mythe de la création, voir Bk. 11 ("Choses terrestres"). Seler, Édouard. Gesammelte Abhandlungen zur Amerikanischen Sprach- und Altertumskunde . 5. Berlin : Ascher, 1902-23. Voir esp. Vol. 4, p. 456-59. Taube, Karl. Art olmèque à Dumbarton Oaks . Washington, DC : Bibliothèque et collection de recherche 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.
Technique/matériel:
ceramic
Musée:
Metropolitan Museum of Art, New York, USA
Crédit:
Album / Metropolitan Museum of Art, NY
Autorisations:
Modèle: Non - Propriété: Non
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Taille de l'image:
2765 x 4147 px | 32.8 MB
Taille d'impression:
23.4 x 35.1 cm | 9.2 x 13.8 in (300 dpi)
Mots clés: