Category: archaeology

Aztec Sun Stone

Aztec Sun Stone, National Museum of Anthropology, Mexico City

The Aztec Sun Stone (or Calendar Stone) depicts the five consecutive worlds of the sun from Aztec mythology. The stone is not, therefore, in any sense a functioning calendar, but rather it is an elaborately carved solar disk, which for the Aztecs and other Mesoamerican cultures represented rulership. At the top of the stone is a date glyph (13 reed) which represents both the beginning of the present sun, the 5th and final one according to mythology, and the actual date 1427 CE, thereby legitimizing the rule of Itzcoatl and creating a bond between the divine and mankind.

The stone was discovered in December 1790 CE in the central plaza of Mexico City and now resides in the National Museum of Anthropology in that city. The richly carved basalt stone was once a part of the architectural complex of the Temple Mayor and measures 3.58 metres in diameter, is 98 centimetres thick, and weighs 25 tons. The stone would originally have been laid flat on the ground and possibly anointed with blood sacrifices.

Double-Headed Serpent

Mosaic of a Double-headed Serpent, c. 15th-16th century, Cedrela Wood, Turquoise, Pine Resin, Oyster Shell, Hematite, and Copal, 20.5 x 43.3 x 6.5 cm, Mexico © Trustees of the British Museum

Serpent imagery occurs throughout the religious iconography of Mesoamerica. The serpent played a very important role in Aztec religion. The word for serpent in Nahuatl, the language spoken by the Aztecs, is coatl and is associated with several gods such as Quetzalcoatl (Feathered Serpent), Xiuhcoatl (Fire Serpent), Mixcoatl (Cloud Serpent) or Coatlicue (She of the Serpent Skirt), the mother of the Aztec god Huitzilopochtli. The habit of snakes to shed their skin each year probably led to them being used to convey ideas concerning renewal and transformation. Likewise the ability of many species to move freely between water, earth and the forest canopy helped underline their symbolic role as intermediaries between the different layers of the cosmos (underworld, earth and sky).

Cacaxtia’s Venus Temple

Detail of Battle Mural in Cacaxtia’s Venus Temple

Cacaxtla is the name of a Late Classic to Epiclassic (AD 600-900) city in the Puebla Valley, Tlaxcala, Mexico. It was a sprawling palace containing vibrantly colored murals painted in unmistakable Maya style. The nearby site of Xochitecatl was a more public ceremonial complex associated with Cacaxtla. Cacaxtla and Xochitecatl prospered 650-900 CE, probably controlling important trade routes through the region with an enclave population of no more than 10,000  Olmeca-Xicalanca people.

The most famous of Cacaxtla’s preserved paintings is the “Battle Mural”, or Mural de la Batalla, located in the northern plaza of the basamento. Dating from prior to 700, it is placed on the sloping limestone wall of a temple base and is split in two by a central staircase. It depicts two groups of warriors locked in battle: on the one side are jaguar warriors, armed with spears, obsidian knives, and round shields, who are locked in battle with an army of bird warriors (some of whom are shown naked and in various stages of dismemberment).

Chateau des Maures

The Stoneworks at Chateau des Maures

The Chateau des Maures, also known as the Castle of the Moors, in the Extremadura, is situated in the town of Sintra, in the parish (Freguesia) of São Pedro de Penaferrim, in the council Sintra district in Lisbon, in Portugal. It is now classified as a National Monument, part of the Sintra Cultural Landscape, a UNESCO World Heritage Site.

The castle is an irregularly planned military outpost that follows a 450 metre perimeter on top of a mountainous cliff, oriented southwest to northwest. It consists of a double line of military walls that meanders over the granite terrain of the promontory. Its place on the hilltop, surrounded by and including the natural and exotic vegetation, accentuates the Romantic character of the place.

The outer walls open near Abelheira (west of Tapada dos Bichos), from a main access door, where several paths wind around the hilltop of the castle. A second ring of walls reinforces the castle with both circular and square turrets, thick wall battlements and railings, and crowned with pyramid-shaped merlons. At this second wall is the main entrance to the castle, protected by two turrets and battlements.

Hieroglyphic Writing

Hieroglyphic Writing at the Temple Complex in Luxor, Egypt

Luxor Temple is a large Ancient Egyptian temple complex located on the east bank of the Nile River in the city today known as Luxor (ancient Thebes) and was founded in 1400 BCE. Known in the Egyptian language as ipet resyt, or “the southern sanctuary”. In Luxor there are six great temples, the four on the left bank are known to travellers and readers of travels as Goornah, Deir-el-Bahri, the Ramesseum, and Medinet Habu; and the two temples on the right bank are known as the Karnak and Luxor.

Cliffside Palace

Cliffside Palace, Mesa Verde, Colorado

Mesa Verde National Park is a U.S. National Park and UNESCO World Heritage Site located in Montezuma County, Colorado. It protects some of the best preserved Ancestral Puebloan archeological sites in the United States.

The park was created by President Theodore Roosevelt in 1906. It occupies 52,485 acres (21,240 ha) near the Four Corners region, and with more than 4,000 sites and 600 cliff dwellings, it is the largest archeological preserve in the US. Mesa Verde (Spanish for “green table”) is best known for structures such as Cliff Palace, thought to be the largest cliff dwelling in North America.

The Mesa Verdeans survived by utilizing a combination of hunting, gathering, and subsistence farming of crops such as corn, beans, and squash. They built the mesa’s first pueblos sometime after 650, and by the end of the 12th century they began to construct the massive cliff dwellings for which the park is best known. By 1285, following a period of social and environmental instability driven by a series of severe and prolonged droughts, they abandoned the area and moved south to locations in Arizona and New Mexico, including Rio Chama, Pajarito Plateau, and Santa Fe.

The Temple of Dendur

The Temple of Dendur, Metropolitan Museum of Art, New York City

The Temple of Dendur) is an Egyptian temple that was built by the Roman governor of Egypt, Petronius, around 15 BC and dedicated to Isis, Osiris, as well as two deified sons of a local Nubian chieftain, Pediese (“he whom Isis has given”) and Pihor (“he who belongs to Horus”). The temple was commissioned by Emperor Augustus of Rome.

The temple was dismantled and removed from its original location south of the town of Aswan) in 1963. This was accomplished as part of a wider UNESCO project, in order to save significant sites from being submerged by Lake Nasser, following construction of the Aswan High Dam. In recognition of the American assistance in saving various other monuments threatened by the dam’s construction, Egypt presented the temple and its gate as a gift to the United States of America.

Ceiling at Dendera

 

Astronomical Ceiling, Dendera

The ceiling of the Hypostyle Hall at Dendera Temple is enriched with an incredible amount of figurative detail carved in low relief and painted in subtle shades against a blue background. The subjects include numerous deities and hybrid figures (some familiar, others much less so) and even astrological elements, such as recognisable figures from the zodiac.

Fantastic photos of the “astronomical ceiling” at Dendera, posted on LiveJournal by aksanova.

Mayan Hacha

Mayan Fish Hacha, 6th-8th Century, Mexico (Veracruz), Stone with Traces of Plaster, Metropolitan Museum of Art, New York City

Mesoamerican ballplayers wore protective gear called dachas, palmas, and  yokes to protect their hips and abdomens from the impact of the game’s solid rubber ball . In painting and sculpture, the yoke is shown worn around the player’s hips, the palma or hacha attached at the front. Those used during active play were most likely made of wood or some other light material; stone versions such as this one were worn, if at all, during ballgame-related rituals, or placed on display. Given the distinctive design of each hacha, both those worn and those carved in stone may have served to identify teams or individuals.

Hachas also vary greatly in form and size, so much so that they qualify as a group only in contrast to the taller and thinner palmas. Hachas can appear in the form of human or animal heads, full figures, even representing a pair of human hands. The name hacharefers to the axe-like form of many (hacha is Spanish for axe), including the example seen here. In these, the back is slightly wider than the front where the sides converge in a sharp point. Facial features and any other details are carved on low relief, each side a mirror image of the other.

In other ways this stone hacha is unusual in both its subject and composition. In order to conform to the classic hacha shape, the artist has rendered the face, body and tail fin in consecutive, ascending registers of low relief. The artist has carefully rendered each scale individually, with increased depth of relief from front to back, mimicking how fish fins overlap in nature. The rounded form of the cheeks, slightly open mouth, and flared gills suggest the respiration and movement of the fish as it passes through the water.

In jarring contrast to this naturalistic image is the fish’s unusual profile. The inclusion of what looks like a very human nose suggests a composite being of the supernatural realm. The belief in a watery underworld inhabited by deities was widespread throughout Mesoamerica. At the Classic Veracruz city of El Tajín, scenes of ballgame-related rituals both on earth and in the underworld are carved on the walls of one of its many ball courts.

In one such scene, a man wearing a fish helmet sits in a water-filled temple, surrounded by supernatural figures. The unusual blending of fish and human elements on this hacha may reflect the widespread Mesoamerican belief that the ball court was a conduit, the game and its rituals a way of connecting humans to the deities dwelling in that realm. –Patricia Joan Sarro, 2017