maya art and architecture unit 5 study guides

Key Concepts and Timeline

• Postclassic period lasted from 900-1500 CE, following the Classic period (250-900 CE) and preceding the Spanish conquest in the 16th century
• Characterized by the rise of new political powers, such as the Toltecs and the Aztecs, and the decline of classic Maya city-states
• Increased trade and cultural exchange with central Mexico and the Gulf Coast region led to the adoption of new artistic styles and iconography
• The collapse of the classic Maya civilization around 900 CE marked the beginning of the Postclassic period
  • Factors contributing to the collapse included overpopulation, environmental degradation, and political instability
• The Postclassic period saw the emergence of new urban centers, such as Chichen Itza and Mayapan, which became important political and cultural hubs
• The arrival of the Spanish in the 16th century marked the end of the Postclassic period and the beginning of the colonial era

Cultural Context and Historical Background

• The Postclassic period was characterized by increased political fragmentation and the rise of new power centers
• Trade networks expanded, facilitating the exchange of goods, ideas, and artistic styles between the Maya and other Mesoamerican cultures
• The influence of central Mexican cultures, particularly the Toltecs, became more pronounced in Maya art and architecture
  • Toltec warriors and deities, such as Tlaloc and Quetzalcoatl, were incorporated into Maya iconography
• The Postclassic period saw the development of new religious practices and the veneration of new deities, such as Kukulcan (the feathered serpent) and Chac (the rain god)
• Social stratification became more pronounced, with the emergence of a merchant class and the consolidation of power by ruling elites
• The Postclassic period was marked by increased warfare and political instability, as competing city-states vied for control over trade routes and resources

Major Artistic Styles and Trends

• The Postclassic period saw a shift towards more abstract and stylized forms in Maya art
• The influence of central Mexican artistic styles, particularly those of the Toltecs, became more evident in Maya art and architecture
  • Toltec-style columns, serpent motifs, and chacmool sculptures were incorporated into Maya buildings and monuments
• The use of vibrant colors and intricate geometric patterns became more prominent in Postclassic Maya art
• The depiction of human figures became more standardized and less individualized compared to the Classic period
• The Postclassic period saw the development of new artistic media, such as turquoise mosaics and gold jewelry
• The portrayal of rulers and elites became more idealized and stylized, emphasizing their divine status and connection to the gods
• The incorporation of non-Maya iconography and artistic elements reflected the increasing cultural exchange and hybridization of the Postclassic period

Iconic Artworks and Artifacts

• The Temple of the Warriors at Chichen Itza, featuring Toltec-style columns and chacmool sculptures
• The Great Ballcourt at Chichen Itza, the largest and most elaborate ballcourt in Mesoamerica
• The Castillo at Chichen Itza, a massive pyramid temple dedicated to Kukulcan, the feathered serpent deity
  • The pyramid's design incorporates precise astronomical alignments and creates a serpent-like shadow during the equinoxes
• The murals at the Temple of the Jaguars at Chichen Itza, depicting scenes of warfare, sacrifice, and religious ceremonies
• The Codex Paris, one of the few surviving Maya codices from the Postclassic period, containing astronomical tables and religious texts
• The Codex Dresden, another Postclassic Maya codex, featuring detailed illustrations of deities, rituals, and astronomical phenomena
• The Tulum Mural, a well-preserved wall painting at the coastal city of Tulum, depicting a scene of trade and tribute payment
• The Aztec Calendar Stone, a massive monolithic sculpture that encapsulates the Aztec cosmology and calendar system, reflecting the cultural exchange between the Maya and central Mexican cultures

Materials and Techniques

• Stone sculpture remained a primary medium for Maya artists in the Postclassic period, with limestone being the most commonly used material
  • Sculptures were often painted in bright colors, with pigments derived from minerals and organic sources
• Stucco, a mixture of lime, sand, and water, was used to create intricate decorative elements on buildings and monuments
• The use of mosaics, particularly those made of turquoise and other precious stones, became more prevalent in Postclassic Maya art
• Metalworking techniques, such as lost-wax casting and hammering, were used to create gold and copper jewelry and ceremonial objects
  • The influence of metalworking traditions from central Mexico and lower Central America is evident in Postclassic Maya metalwork
• Textile production, including the weaving of cotton and other fibers, continued to be an important artistic medium
  • Textiles were often adorned with intricate geometric patterns and mythological scenes
• The production of codices, or folding books made of bark paper, became more widespread in the Postclassic period
  • Codices were painted with a variety of pigments and served as important records of religious, historical, and astronomical knowledge
• Wood carving, particularly the creation of ceremonial objects and architectural elements, was also practiced by Postclassic Maya artists

Symbolism and Iconography

• The feathered serpent, a prominent symbol in Postclassic Maya art, represented the deity Kukulcan (known as Quetzalcoatl in central Mexico)
  • The feathered serpent symbolized the union of earth and sky, as well as the cycle of death and rebirth
• The Toltec-derived "Tlaloc" iconography, featuring goggle-eyed figures, became incorporated into Maya art and often represented warriors or rulers
• The "chacmool" figure, a reclining human figure holding a bowl or disk, was a common motif in Postclassic Maya art and was associated with sacrifice and offerings
• The "Jester God" or "Foliated Maize God" headdress, featuring a central leaf-like element, was worn by rulers and symbolized their connection to the maize god and agricultural fertility
• The "Diving God" or "Descending God" motif, depicting a figure falling or diving downward, was associated with sacrifice, the underworld, and the planet Venus
• The "Sky Band" motif, a horizontal band with celestial symbols and mythological creatures, represented the Milky Way and the celestial realm
• The "Witz Monster" or "Mountain Monster," a zoomorphic creature with a cleft head, symbolized mountains, caves, and the entrance to the underworld
• The "Kan Cross" or "Quadripartite Badge," a four-part symbol often depicted on shields and clothing, represented the four cardinal directions and the structure of the cosmos

Influence on Later Art and Culture

• The artistic styles and iconography of the Postclassic Maya had a lasting impact on the art and architecture of the Aztec Empire
  • The Aztecs adopted and adapted many Maya artistic conventions, such as the use of chacmool sculptures and the incorporation of Tlaloc imagery
• The Postclassic Maya artistic tradition influenced the development of colonial-era art in Mexico and Central America
  • Indigenous artists continued to incorporate pre-Columbian symbolism and aesthetics into Christian art and architecture
• The rediscovery and study of Postclassic Maya art in the 19th and 20th centuries had a significant impact on modern and contemporary art movements
  • Artists such as Frank Lloyd Wright and Diego Rivera drew inspiration from Maya art and incorporated elements of Maya design into their own works
• The iconography and symbolism of Postclassic Maya art have been widely appropriated and reinterpreted in popular culture, including film, literature, and graphic design
• The study of Postclassic Maya art has contributed to a greater understanding of Maya culture and history, as well as the broader context of Mesoamerican art and civilization
• The conservation and preservation of Postclassic Maya artworks and monuments have become important issues in the fields of archaeology and cultural heritage management

Key Debates and Interpretations

• The extent to which the Postclassic Maya were influenced by central Mexican cultures, particularly the Toltecs, remains a topic of debate among scholars
  • Some argue for a significant Toltec presence in the Maya region, while others maintain that the Maya selectively adopted and adapted foreign elements to suit their own cultural context
• The nature of the relationship between the Maya and the Toltecs, whether it was one of conquest, alliance, or cultural exchange, is still a matter of discussion
• The interpretation of specific iconographic elements, such as the "Descending God" and the "Jester God," varies among researchers
  • Some see these motifs as representations of specific deities, while others interpret them as more general symbols of power, sacrifice, or fertility
• The role of trade and economic factors in shaping Postclassic Maya art and culture is an area of ongoing research
  • Scholars are investigating how the expansion of trade networks and the rise of merchant elites influenced artistic production and patronage
• The question of continuity and change between the Classic and Postclassic periods in Maya art is a subject of debate
  • While some emphasize the ruptures and transformations that occurred after the collapse of the Classic Maya civilization, others highlight the persistence of certain artistic traditions and iconographic elements
• The impact of the Spanish conquest on Postclassic Maya art and its subsequent interpretation by colonial-era chroniclers and modern scholars is a complex issue
  • Researchers are grappling with questions of cultural bias, historical accuracy, and the preservation of indigenous knowledge in the face of colonialism
• The attribution and dating of certain Postclassic Maya artworks, particularly those lacking clear archaeological context, remain challenging and subject to ongoing scholarly debate