This paper uses plane pattern symmetries to describe the structural arrangement of motifs in Sikyatki-style patterns on textiles depicted in fourteenth and fifteenth century AD kiva murals from Awat'ovi and Kawaika'a in Arizona and Pottery Mound in New Mexico. The analysis reveals that these textiles have pattern structures in common with designs on textiles, ceramic artifacts, and architectural decorations in the Postclassic Mixteca-Puebla style. These shared patterns and pattern structures were introduced into the American Southwest woven on fabric structures of textiles brought north from Mesoamerica via trade and migration routes along the Mexican West Coast and through the Sierra Madre.

En una excavación arqueológica llevada a cabo por el Ministerio de Cultura del Cuzco en el sitio de Espíritu Pampa, el último refugio Inca de Vilcabamba (Perú), se encontraron 55 fragmentos de una vasija extraordinaria. La pieza presenta una decoración pictórica con una escena muy compleja, llena de simbolismos y metáforas visuales sobre el enfrentamiento entre españoles e indígenas. La escena incluye 39 seres humanos y 57 animales, los cuales fueron estudiados cuidadosamente. El análisis iconográfico considera los diferentes detalles representados, tales como las armas y las prendas, además de otros elementos más simbólicos y metáforas visuales representadas por medio de los animales y el motivo del arcoíris. Al reunir los diferentes componentes de la iconografía, concluimos que la escena no es la representación de un evento bélico concreto, sino una visión incaica del futuro, en la que los indígenas, unidos bajo el mandato inca, vencerán a los españoles.

A decade of public-works excavations on Flores Island—once Tayza, capital of the powerful Itza Maya confederacy in Postclassic- and contact-period Petén, Guatemala—has recovered large quantities of artifacts but without proper provenience controls. This important center is poorly understood in archaeological terms because of the dense modern construction that precludes systematic investigation. Thus, these excavated materials become critical despite their limitations for insights into the Itza settlement. Convenience samples of the slipped and decorated pottery from the salvage (and other) excavations were analyzed to interpret style and meaning through the combined perspectives of design structure analysis, information exchange, visual rhetoric, literary studies, and semiotechnology. Features examined include forms, types, colors, layouts, and motifs. The spatial distributions of these features over the island were assessed in terms of a quadripartite organization mentioned in Spanish accounts. It is proposed that the southeastern quadrant was the residential area of Itza royal elites, due to the presence of elaborate and innovative polychromes conveying messages of elite power. Pottery in the northern quadrants has more traditional decoration resembling that at mainland sites in the Lake Petén basin, and signals ordinary Itza identity. These differences, and the overall theoretical approach, might be testable on larger, better-excavated samples.

As insignia of power and prestige, Inka unku (tapestry tunics) communicated the strength and extent of Inka sociopolitical hegemony in the Andes. Of the 36 known full-size examples in museum collections, only one, found in Argentina, comes from outside Peru. This article investigates another recently excavated unku found out of context on Chile's northernmost coast. To confirm its authenticity, we compiled a database showing the technical and stylistic attributes of previous finds for comparison. We conclude that this artifact is indeed a new type of unku and that the discovery affects our understanding of the complex relationship between the people of this province and the Inka state.

The stirrup-spout bottle is one of the most representative forms in the Chimú (A.D. 900-1470) ceramic repertoire. I discuss the ceramic assemblage of this coastal culture and describes more precisely the various manufacturing processes of the stirrup-spout bottle. Although molds used to produce these complex vessels are known today, only little information has been published on the various stages involved in their manufacture. My purpose is to contribute to this research using medical imaging computed tomography (CT) scans of intact stirrup-spout vessels. Based on my findings, I propose that changes in the construction of these vessels correlated with a transition in ceramic production to a semi-industrial level during the time of the Chimú Empire.

Las escenas de los bajorrelieves del Templo Norte de Chichén Itzá han sido investigadas durante muchas décadas, y los estudiosos han coincidido en que ilustran el ritual de inauguración del nuevo rey o gobernante, quien atraviesa diversos desafíos y ordalías y quien se distingue por portar un turbante de serpiente. En este artículo ampliamos esta idea y argumentamos que la iconografía del Templo Norte muestra rituales particulares que también son descritos en una de las historias del Chilam Balam de Chumayel, que refiere a la entronización del famoso príncipe Hunac Ceel de Mayapán. Además, presentamos datos y consideraciones adicionales que nos llevan a proponer que Chichén Itzá, durante el período Postclásico temprano, tuvo un sistema de gobernanza dual jerarquizado, que más tarde continuó en Mayapán, sobreviviendo a la conquista española en el reino de Petén Itzá.

El objetivo de este trabajo es examinar la presencia o ausencia de una ideología colectiva en la expresión iconográfica de la cerámica polícroma de Tepeticpac, asentamiento fundador y miembro activo de Tlaxcallan durante el Posclásico tardío (1250–1519 dC). De acuerdo con la teoría de acción colectiva recientemente aplicada para Tlaxcallan, hipotetizamos que estas vasijas deberían carecer de íconos ligados a nobles, gobernantes o personajes particulares, promoviendo más bien la unidad colectiva. Para evaluar esta hipótesis, analizamos materiales procedentes de diversas excavaciones realizadas en plazas, conjuntos arquitectónicos, terrazas y templos. Concluimos que, lejos de privilegiar a personajes, individuos o incluso a una deidad en particular, la cerámica polícroma más bien muestra temas que no fueron regulados por las élites políticas y que están centrados en alusiones al sacrificio, la guerra, las festividades, los dioses, la jerarquía noble y probablemente, los méritos por conquista, temas y actividades en los que cualquier individuo, a cualquier rango, pudo involucrarse.

In this article, we couple Peircean semiotic theory with Laban movement analysis (LMA) to interpret scenes of Classic period Maya dance. We focus primarily on depictions found on polychrome ceramics that feature the dances of the Maize God and contrast them with those featuring the wahy creatures that inhabit the underworld. We interpret their inner emotional states based on their postural and gestural vocabularies using LMA, developed for that very purpose. The body can be considered a semiotic sign, and is therefore capable of simultaneously conveying iconic, symbolic, and indexical meanings. Maya dance has typically been interpreted at the iconic or symbolic levels, which reveal its mimetic or representational qualities. We explore the indexical qualities of the bodies of the dancers, and propose that shifting our attention to the indicative mode enables us to gain yet more insight into their embodied states.

Se presenta un análisis detallado de tres queros con las escenas “El Inca y la Coya” y “Guerra de los incas contra los chunchus o antis”. Cada pieza es individualizada mediante sutiles diferencias tanto en las escenas figurativas como en las bandas de signos tocapus. Esta característica es propia de los queros con escenas complejas y bandas de tocapus de más de seis signos. Llegamos a la conclusión de que el encargo al artesano/artista comprendía ciertos requisitos, que podemos denominar mensajes semánticos asociados directamente al futuro propietario de los objetos. En el caso de la escena “El Inca y la Coya” muy probablemente se trataba, en primer lugar, de hacer referencia a los verdaderos (o supuestos) ilustres ancestros del propietario del vaso. En el caso de la escena “Guerra de los incas contra los chunchus o antis” se trataba, muy probablemente, de resaltar una gesta sobresaliente del ancestro, algo que se conocía de la tradición oral inca. Resulta que el lenguaje visual andino expresado en los queros manifiesta una complejidad y una precisión en los mensajes trasmitidos por esta vía mucho mayor de lo que se solía pensar.

Maya figurine styles from the Late Classic to Postclassic periods (ca. AD 600–1521) from central Petén, Guatemala undergo an abrupt change at the Terminal Classic-Postclassic transition (ca. AD 830–1000). Despite the intimate association of figurines with households, such shifts parallel those on stone monuments and decorated vessels, underscoring the role of figurines in processes of political upheaval. Documenting figurine chronologies over broad periods of time, however, tells us little about how people in the past may have experienced temporal changes. Thus, in concert with a focus on figurine chronologies, this article explores the temporalities of figurines as manifested through their discard, the simultaneous experience of old and new figurine styles, and tensions between personal and monumental time.

The development of freestanding stone sculpture by the Olmec people of Mesoamerica's Gulf lowlands has long been considered one of the defining artistic achievements of the Formative period. However, by the Middle Formative period the production of freestanding sculpture was often eclipsed by the contemporaneous creation of rock art outside the Gulf lowlands. In this article I argue that Gulf Olmec sculptors and audiences occasionally co-opted the aesthetic and ritual treatments of rock art at topographic shrines to construct and reinforce the sacred geographies of primary site cores. In so doing, Olmec elites converted the ideological power of the wild and the animate earth into a form of political capital.

Excavations conducted in 2015 and 2016 discovered a unique set of friezes at the Initial period (2100–1000 cal BC) site of Taukachi-Konkán in the coastal Peruvian valley of Casma. At this time, the Casma Valley was dominated by the Sechín Alto polity, a cultural development of unprecedented complexity characterized by large planned cities, monumental constructions, and strong interconnections among component settlements. Friezes are known from all major Sechín Alto polity sites where they typically adorn structure facades; however, the Taukachi-Konkán friezes are unusual because they cover all four interior walls of a sunken court with restricted access. Based on analysis of the context and content of these friezes, we suggest that the collective imagery depicts aspects of Sechín Alto polity cosmology, including possible iconography relating to their creation myth. Furthermore, motifs from the Taukachi-Konkán sunken court can be found at contemporary sites both within and outside the Casma Valley. This suggests that the worldview we reconstructed may have been widespread during the Initial period.