"Between AD 650 and 950, a small city-state in central Mexico produced dazzling murals of gods, historical figures, and supernatural creatures on the walls of its most important sacred and public spaces. This study explores how the Cacaxtla murals constitute a sustained and local painting tradition, in which generations of ancient Mexican artists, patrons, and audiences created a powerful statement of communal identity that still captures the imagination"--

This new edition of Women in Ancient America draws on recent advances in the archaeology of gender to reexamine the activities, roles, and relationships of women in the prehistoric Native societies of North, Central, and South America. Women—and women’s work—have been crucial to the survival and success of American peoples since ancient times. And as hunting and foraging societies developed farming techniques and eventually created permanent settlements, women’s roles changed. Karen Olsen Bruhns and Karen E. Stothert consider the various economic adaptations that followed, as well as the ways in which women participated in food production and the specialized industries of their societies. They also look at women’s access to power, both political and religious, paying particular attention to the place of priestesses and goddesses in the spiritual life of ancient peoples. The narrative that unfolds in Women in Ancient America is based on the most recent research, using evidence and examples from a wide range of cultures dating from the Paleoindian period to European invasion. This book, unlike others, treats many different types of societies, as the authors develop arguments sure to provoke thinking about the lives of women who inhabited the Americas in the distant past.

Bringing the often-neglected topic of migration to the forefront of ancient Mesoamerican studies, this volume uses an illuminating multidisciplinary approach to address the role of population movements in Mexico and Central America from AD 500 to 1500, the tumultuous centuries before European contact. Clarifying what has to date been chiefly speculation, researchers from the fields of archaeology, biological anthropology, linguistics, ethnohistory, and art history delve deeply into the causes and impacts of prehistoric migration in the region. They draw on evidence including records of the Nahuatl language, murals painted at the Cacaxtla polity, ceramics in the style known as Coyotlatelco, skeletal samples from multiple sites, and conquest-era accounts of the origins of the Chichén Itzá Maya from both Native and Spanish scribes. The diverse datasets in this volume help reveal the choices and priorities of migrants during times of political, economic, and social changes that unmoored populations from ancestral lands. Migrations in Late Mesoamerica shows how migration patterns are vitally important to study due to their connection to environmental and political disruption in both ancient societies and today’s world. A volume in the series Maya Studies, edited by Diane Z. Chase and Arlen F. Chase

In this pioneering study of slavery in colonial Ecuador and southern Colombia--Spain's Kingdom of Quito--Sherwin Bryant argues that the most fundamental dimension of slavery was governance and the extension of imperial power. Bryant shows that enslaved black captives were foundational to sixteenth-century royal claims on the Americas and elemental to the process of Spanish colonization. Following enslaved Africans from their arrival at the Caribbean port of Cartagena through their journey to Quito, Bryant explores how they lived during their captivity, formed kinships and communal affinities, and pressed for justice within a slave-based Catholic sovereign community. In Cartagena, officials branded African captives with the royal insignia and gave them a Catholic baptism, marking slaves as projections of royal authority and majesty. By licensing and governing Quito's slave trade, the crown claimed sovereignty over slavery, new territories, natural resources, and markets. By adjudicating slavery, royal authorities claimed to govern not only slaves but other colonial subjects as well. Expanding the diaspora paradigm beyond the Atlantic, Bryant's history of the Afro-Andes in the early modern world suggests new answers to the question, what is a slave?

In August 1576, in the midst of an outbreak of the plague, the Spanish Franciscan friar Bernardino de Sahagún and twenty-two indigenous artists locked themselves inside the school of Santa Cruz de Tlaltelolco in Mexico City with a mission: to create nothing less than the first illustrated encyclopedia of the New World. Today this twelve-volume manuscript is preserved in the Biblioteca Medicea Laurenziana in Florence and is widely known as the Florentine Codex. A monumental achievement, the Florentine Codex is the single most important artistic and historical document for studying the peoples and cultures of pre-Hispanic and colonial Central Mexico. It reflects both indigenous and Spanish traditions of writing and painting, including parallel columns of text in Spanish and Nahuatl and more than two thousand watercolor illustrations prepared in European and Aztec pictorial styles. This volume reveals the complex meanings inherent in the selection of the pigments used in the manuscript, offering a fascinating look into a previously hidden symbolic language. Drawing on cuttingedge approaches in art history, anthropology, and the material sciences, the book sheds new light on one of the world’s great manuscripts—and on a pivotal moment in the early modern Americas.

“In addition to serving as an introduction to Maya art, the book communicates enthusiasm for the art’s aesthetic power and grace.” —Choice Rewritten and updated to include the discoveries and new theories from the past decade and a half, this classic guide to the art of the ancient Maya is now illustrated in color throughout. World expert Mary Miller and her co-author Megan O’Neil take the reader through the visual world of the Maya, explaining how and why they created the paintings, sculpture, and monuments that intrigue and compel people the world over. With an array of new material, including the newly found La Corona panels, Waka’ figurines, and the Dz’ibanche’ staircase; studies of the monuments at Palenque, Zotz, and elsewhere; and paintings discovered in recent years; this new edition will be essential reading for students and scholars—and for travelers to the cities of this mysterious civilization.

Stelae dating to the Epiclassic and Early Postclassic from Tula, Xochicalco, and other sites in Central Mexico have been cited as evidence of Classic Maya `influence' on Central Mexican art during these periods. This book re-evaluates these claims via detailed comparative analysis of the Central Mexican stelae and their claimed Maya counterparts.

Describes daily life in the Aztec world, including coverage of geography, foods, trades, arts, games, wars, political systems, class structure, religious practices, trading networks, writings, architecture and science.

What is a vessel? As objects made for human interaction and handling, both containing and bounded by space, vessels can take many forms and be constructed of a wide variety of materials. However, they are all unified in signifying a potential for practical functioning, whether or not a particular object is in fact used in this way in its particular context. In this second volume in the Visual Conversations in Art & Archaeology series, and the first in the Center for Global Ancient Art sub-series, four essays by leading scholars tackle the category of vessels in ancient Greece, late antique Rome, pre-Columbian Mesoamerica, and ancient China. By considering the material properties of the object as container, the interactions between user and vessel, and the power of the vessel as both a conceptual category and material metaphor, they argue that many vessels - and assemblages of vessels - were in their own time sites of considerable intellectual power, smart and sophisticated commentaries on the very categories that they embody. In collecting these individual case studies together, the volume offers an art historical and cross-cultural study of vessels from ancient societies, drawing illuminating comparisons and interpretations between traditions. In keeping with the aims of the series, it serves as a model for a new kind of comparative art history, one which emphasizes material culture and is attentive to questions of evidence and method, yet remains historically grounded and contextually sensitive.