By Museo de las Americas
Artifacts from the private collection of Museo de las Americas, Denver, CO (USA).
Driven at first by necessity, ancient Americans grew to be masters of pottery and textile production. As distinct social groups developed over time, making objects became a way to explore religious beliefs and express their understanding of the natural world. In this way, the artists were also documenting the history of the social, spiritual and political systems at work in their daily lives.
To enhance the meaning and value of their artwork, the ancient Americans traded precious goods; items like salt, metals, jade, feathers, obsidian, and other locally sourced resources. Through this exchange, they shared ideas about religion, technology, art and architecture, as well an an understanding of mathematics and the calendar. This interaction over a vast geographic area led to a diverse, yet similar visual aesthetic which is shared throughout Mesoamerica and the Andes.
Using selections from the private collections of Museo de las Americas, Time and Place seeks to lay out an overview of the cultural and historical scope of ancient America.
The Need for Material Goods
The early civilizations in Mesoamerica and the Andes began to fabricate lasting material goods as early as 2500 BCE. At first, their urge to make pottery and textiles was driven by the need to store and transport water, food and other goods.
Objects Become Art
As skill developed, ancient creators decorated the useful objects they made, creating artifacts that were both practical and artistic, offering us a view into their culture, beliefs, and daily lives.
Nazca Feline Huaco
This earthen vessel from the Nazca people of Peru depicts a human body with a feline head, surrounded by a serpent and otherworldly figures. Containers originally were created to carry and store goods, but became cultural artifacts that reveal cultural stories.
Chimu Whistling Jar
When liquid is poured from this double jar made by the Chimu people, it makes a bird-like sound. Vessels doubled as artistic objects or even musical instruments, giving us a window into the sounds ancient makers heard in their daily lives.
Moche Bottle
This particular vessel has depictions of various marine crustaceans. The Moche people are known for the warm colors of their ceramics and their frequent use of zoomorphic themes, indicating their close relationship with the natural world.
Lambayeque Stirrup Jar
The Lambaueque culture developed along Peru’s Northern Coast. They produced black, highly polished ceramics like this jar with an avian motif. The animals at the base of the stems are parrots, which can be seen when the jug is turned to be poured.
Mayan Bowl (550-950 CE) by MayaMuseo de las Americas
Mayan Bowl
This Mayan bowl of unknown origin depicts a kneeling figure, with possibly serpents or vines around the edges.
Closeup of Mayan Bown
Notice the face in profile, with characteristic large ear decorations.
Huehuetéotl figure with censer
This figure depicts aspects of the god Huehuetéotl, deity of fire and one of the most ancient Mesoamerican deities. The lines on the face symbolize old age and it carries a censer on its head, making it a practical incense-holder as well as an art or religious object.
Roller Stamp (200 - 750 CE) by Central MexicoMuseo de las Americas
Roller Stamp
Roller stamps like this one were found throughout Mesoamerica. It's surmised that the stamp would be dipped in pigment and rolled along the body, creating intricate body art. They may also have been used to stamp clay.
Ring Stamp from Temotihuacan
Carved stone ring stamp from Temotihuacan, probably used to stamp clay with the bearer's "signature."
Figurines of Humans and Deities
Colima Dancer in Costume with Mask (500 CE) by ColimaMuseo de las Americas
Human and God Figurines
Cultures across the Ancient Americas also created likenesses of humans and deities.
Colima Dancer in Costume with Mask
This figure represents a dancer in costume, including an elaborate mask and headdress and meant to be a permanent rendition of a performance. As well as a memorial, these intricate figures are also thought to be an educational tool to document the visual aspects of the dance.
Colima Dancer in Costume with Mask
For instance here, the bent wrists and wide-legged stance likely indicated elements of the dance as it was performed live.
Flat Backed Figure
This figure from Teotihuacan depicts aspects of the goddess Chalchiutlicue, or Chalchiuhcueye, “She of the jade skirt.” She is Aztec deity of fertility, bodies of water and child birth.
Manteño Standing Figure
The decorations on the left side of this figure from Equador is thought to represent body paint. Also notice the facial jewelry, typical of nobility of the time.
Cuchimilco Figure
The Chancay culture, one of the latter cultures to develop in Peru, are known for these Chimilco figures. Their meaning is unknown, but they are found in male-female pairs at burial sites, so they are thought to be associated with the afterlife.
Smiling Remojadas Head (circa 600 CE) by VeracruzMuseo de las Americas
Smiling Remojadas Figure
Smiling figures (sonrientes) like this are common in the central Veracruz area (Mexico). Little is known about them, but they are associated with burials. Some scholars suggest that they are representations of ritual intoxication.
Understanding a society through its remaining material goods is an incomplete way to know about a civilization. Much of the ephemeral materials (items made of wood, leather, etc.) that were ubiquitous during everyday life in ancient America decomposed centuries ago, never to be seen again. All we have now are the stone and ceramic artifacts that remained to give us a window into the lives of Ancient Americans.
Special Thanks to Laura Beacom, Valeria Ponce Najera, Celia Schreiber, Sandra Azcarate and Laura Wingate
Thank you also to our Donors: Sharon Feldman, Retha Bloodworth, Mary Lanius, Ian Venable, Linda Walpole, Stanley Crawford, Howard & Hildegarde Payson, and the Paduska Family
With gratitude to our sponsors: SCFD, Bonfils-Stanton Foundation, WESTAF and the Andrew W. Mellon Foundation.
