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V I S UA L C U LT U R E O F T H E
ANCIENT AMERICAS
Contemporary Perspectives
Edited by Andrew Finegold and Ellen Hoobler
Afterword by Esther Pasztory
Visual Culture of the Ancient Americas
Visual Culture
of the Ancient Americas
Contemporary Perspectives

Edited by
Andrew Finegold and Ellen Hoobler

Afterword by
Esther Pasztory

Un iversit y of O kl ah oma P res s : Nor m a n

Library of Congress Cataloging-in-Publication Data

Names: Finegold, Andrew, 1976– editor of compilation. | Hoobler, Ellen, 1976– editor of
compilation. | Pasztory, Esther, honouree.
Title: Visual culture of the ancient Americas : contemporary perspectives / edited by Andrew
Finegold and Ellen Hoobler ; afterword by Esther Pasztory.
Description: Norman : University of Oklahoma Press, [2017] | Includes bibliographical references
and index.
Identifiers: LCCN 2016013672 | ISBN 978-0-8061-5570-8 (hardcover : alkaline paper)
Subjects: LCSH: Indian art—Latin America—History. | Art, Ancient—Latin America—History. |
Indians of Mexico—Antiquities. | Indians of Central America—Antiquities. | Indians of South
America—Antiquities. | Visual communication—Latin America—History—to 1500. | Latin
America—Antiquities.
Classification: LCC E59.A7 V57 2017 | DDC 980/.01—dc23
LC record available at https://lccn.loc.gov/2016013672

The paper in this book meets the guidelines for permanence and durability of the Committee on
Production Guidelines for Book Longevity of the Council on Library Resources, Inc. ∞

Copyright © 2017 by the University of Oklahoma Press, Norman, Publishing Division of the
University. Manufactured in the U.S.A.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or
transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or oth-
erwise—except as permitted under Section 107 or 108 of the United States Copyright Act—without
the prior written permission of the University of Oklahoma Press. To request permission to repro-
duce selections from this book, write to Permissions, University of Oklahoma Press, 2800 Venture
Drive, Norman, OK 73069, or email [email protected].

1 2 3 4 5 6 7 8 9 10
 Contents

List of Illustrations / vii

Preface / xi

1. Esther and Columbia in 1966: The Early Years of Pre-Columbian

Art History in U.S. Academe
Cecelia F. Klein / 3
2. Aesthetics of a Line, Entangled in a Network: A Tribute to
Esther Pasztory’s Vision of Andean Art
Gary Urton / 17
3. Humboldt and the Inca Ruin of Cañar
Georgia de Havenon / 31
4. From a Republic of Letters to an Empire of Images:
Archaeological Illustration and the Andes, 1850–1890
Joanne Pillsbury / 43
5. Life after Death in Teotihuacan: The Moon Plaza’s Monoliths
in Colonial and Modern Mexico
Leonardo López Luján / 59
6. National Icons and Political Interests: Memories of
Teotihuacan: City of the Gods
Kathleen Berrin / 91
7. Figures in Action: Contextualizing the Butterfly Personage
at Teotihuacan, Mexico
Cynthia Conides / 103
8. An “Artistic Discovery” of Antiquity: Alfonso Caso, the Archaeologist
as Curator at the New York World’s Fair and MoMA’s
Twenty Centuries of Mexican Art, 1939–1940
Ellen Hoobler / 119
v
vi Contents

9. Objects and Identities: Ten Important Artifacts in the History

of the Ancient Arts of Honduras
Jennifer von Schwerin with Franziska Fecher / 135
10. Myth, Ritual, History, and the Built Environment: Maya Radial Temples
and Ballcourts from the Preclassic to Postclassic Periods
Jeff Karl Kowalski / 151
11. Seasonal Images in the Ancient Art of Central Mexico
Susan Milbrath / 163
12. Decolonizing Aztec Picture-Writing
Janice Lynn Robertson / 185
13. The Axochiatl Pattern: Aztec Science, Legitimacy, and Cross-Dressing
Lois Martin / 197
14. The Goldsmith Emerges: Aztec Gold Ornaments in the Provinces
Timothy B. King / 209
15. Atlatls and the Metaphysics of Violence in Central Mexico
Andrew Finegold / 223
Afterword: From Primitivism to Multiple Modernities and Beyond
Esther Pasztory / 237

References / 241
List of Contributors / 279
Index / 283
 Illustrations

Figures
2.1. Textile fragment from the Huaca Prieta site 20
2.2. View across site of Las Haldas, north-central coastal Peru / 21
2.3. “Smiling god” from Chavín de Huantar / 21
2.4. Nasca lines, as seen from the ground / 23
2.5. Nasca lines, aerial view / 23
2.6. Plan of Nasca lines / 25
2.7. Inka road system / 26
2.8. Inka roads near Huánuco Pampa / 27
2.9. Plan of the ceque system and its huacas near Cusco / 27
2.10. Inka khipu / 29
3.1. Ingapirca / 34
3.2. “Monument Peruvienne du Cañar” / 35
3.3. “Plan and Elevation of Ingapirca” / 36
3.4. View of Ingapirca / 37
3.5. “Rocher d’Inti-Guaicu” / 40
3.6. “Passage du Quindiu, dans la Cordillère des Andes” / 40
4.1. Alfred Maudslay in the tower of the palace of Palenque / 48
4.2. Cross-sections of graves, from Reiss and Stübel, The
Necropolis of Ancon, 1880–1887 / 51
4.3. Views of Tiwanaku, from Rivero and Tschudi,
Antigüedades peruanas, 1851 / 54
4.4. Pachacamac, from Rivero and Tschudi, Antigüedades peruanas, 1851 / 54
4.5. Trojan antiquites, from Schliemann, Antiquités troyennes, 1874 / 55
5.1. Monoliths 1 and 2, Teotihuacan / 60
5.2. Location of Monoliths 1 and 2 in the Moon Plaza of
Teotihuacan, nineteenth century / 63
5.3. Monolith 2 used as a boundary marker, late nineteenth century / 64
5.4. Monoliths 1 and 2, possible eighteenth-century locations,
in the Mapa de San Francisco Mazapan / 64
5.5. Monolith 1 partially covered with earth and stones, c. 1885 / 69
5.6. Transporting Monolith 1 to the Teotihuacan train station, 1890 / 71
5.7. Caricature alluding to the transfer of Monolith 1,
from México Gráfico, 1889 / 72

vii
viii Illustrations

7.1. Rollout drawing of Teotihuacan tripod vessel depicting a

butterfly headdress with serpent lip variant / 105
7.2. Teotihuacan mold-made enthroned figure with butterfly headdress / 106
7.3. Teotihuacan cylinder vessel depicting a bird/butterfly personage / 107
7.4. Rollout drawing of Teotihuacan cylinder tripod with
butterfly/bird personage / 107
7.5. Teotihuacan cylinder tripod showing butterfly personage / 107
7.6. Teotihuacan cylinder tripod vessel depicting figure
wearing bird/butterfly headdress / 108
7.7. Rollout drawing of Teotihuacan tripod cylinder vessel depicting
figure with bird/butterfly accoutrements / 108
7.8. Rollout drawing of Teotihuacan vessel with butterfly/
bird personage above a bowl / 108
7.9. Rollout drawing of Teotihuacan cylinder tripod vessel depicting
butterfly headdress and nose plaque costume elements / 109
7.10. Scene on a cylinder tripod vessel depicting butterfly deity and
profile human figure wearing a butterfly headdress / 109
7.11. Bowl depicting frontal butterfly and raindrops   / 114
7.12. Rollout drawing of Thin Orange ware jar depicting butterfly
emerging from pool of water in mountain landscape / 115
8.1. Alfonso Caso, Chicago World’s Fair, 1933 / 121
8.2. Archaeological replicas in the Mexican Pavilion,
World’s Fair, New York, 1939 / 125
8.3. Replica of Tomb 104 of Monte Albán, Mexican Pavilion,
World’s Fair, New York, 1939 / 126
8.4. Pre-Columbian art in MoMA garden during Twenty
Centuries exhibit, 1940 / 128
8.5. Pre-Columbian art in MoMA showcases during
Twenty Centuries exhibit, 1940 / 129
8.6. Pre-Columbian gold in vitrine at MoMA during
Twenty Centuries exhibit, 1940 / 130
9.1. Stela H, Great Plaza, Copan Archaeological Park / 134
9.2. Map of Honduras / 138
9.3. Reconstruction of El Gigante Cave wall paintings / 140
9.4. Seated male greenstone figurine, c. 900 b.c., Hato
Viejo Cave, Olancho / 141
9.5. Standing female ceramic figurine, Preclassic / 141
9.6. Usulutan vessel, 400 b.c.–a.d. 250 / 143
9.7. Tripod dish with manatee supports, a.d. 1000–1400 / 143
9.8. Tripod metate, a.d. 800–1550 / 144
9.9. Marble vessel from the site of El Abra, La Florida Valley, a.d. 750–850 / 145
9.10. Bay Island polychrome vessel, Dixon Site, a.d. 1000–1400 / 146
10.1. Plan of Group E at Uaxactun, Guatemala / 152
10.2. Four-part radially symmetrical designs associated
with cyclical completion / 153
10.3. Structure E-VII-Sub at Uaxactun, Guatemala / 154
 Illustrations ix

10.4. Ballcourt alley markers, Copan and Chinkultic / 157

10.5. Sculptural reliefs, North Temple, Great Ballcourt at Chichen Itza / 160
11.1. Chac and Chicchan serpent, Codex Madrid / 171
11.2. Morning Star and Tlaloque during Tititl, Codex Borgia / 175
11.3. Xipe Totec sacrificed during Tlacaxipehualiztli, Codex Borgia / 176
11.4. Tlaloc steps onto rain clouds during Etzalcualiztli, Codex Borgia / 177
11.5. Tlaloc fertilizes fields during Tecuilhuitontli, Codex Borgia / 178
11.6. Xochiquetzal wears Tlaloc’s mask during Hueypachtli, Codex Borgia / 179
11.7. Fire serpents and war banners during Panquetzaliztli, Codex Borgia / 180
12.1. Place-name signs for Toyac, Tecalco, and Tlaçoxiuhco,
Codex Mendoza / 186
12.2. Place-name sign for Ameyalco, Codex Mendoza / 187
12.3. Place-name sign for Tonalimoqueçan, Codex Mendoza / 187
12.4. Place-name sign for Tepeyacac, Codex Mendoza / 188
12.5. Site of Tepeyac[ac] on the outskirts of Mexico City / 188
12.6. Chalchiuhtlicue, Codex Borgia / 189
12.7. Rollout drawing of relief carving on ritual drum from Malinalco / 190
12.8. Water-fire stream from the Temple Stone / 190
12.9. Place-name sign for Azta apan, Codex Mendoza / 191
12.10. Chalchiuhtlicue, Codex Borbonicus / 192
12.11. Name signs for Chalchiuhtlatonac, Codex Vergara / 194
13.1. Cihuacoatl carrying weaving batten and wearing women’s garments / 198
13.2. Cihuacoatl wearing a huipil / 199
13.3. Mesoamerican schematics of ordered space / 200
13.4. Flower images / 201
13.5. Dotted diamond pattern on the loom / 202
13.6. Relationship of dotted diamond pattern to ripe corn / 204
13.7. Mural from Tepantitla, showing Mexican evening
primrose ecosystem / 206
14.1. Gold ornament depicting Coyolxauhqui / 214
14.2. Gold disk with the glyph 2 Reed / 215
14.3. Two gold bracelets with monkeys and cones / 216
14.4. Gold shield with quetzalcuexyo motif / 217
14.5. Gold shield with turquoise mosaic and quetzalxicalcoliuhqui motif / 217
14.6. Gold labret with eagle head / 219
14.7. Gold labret with representation of Ehecatl-Quetzalcoatl / 219
14.8. Gold buckle or brooch with spider image / 220
15.1. Detail from the Battle Mural, east talud, Structure B, Cacaxtla / 227
15.2. Conquest of Acolhuacan, from the Stone of Tizoc / 228
15.3. Huitzilopochtli, Codex Borbonicus / 230
15.4. Late Postclassic central Mexican atlatl with carved imagery / 230
15.5. Atlatl with carved figure / 232
15.6. Atlatl with carvings, front and back / 234
15.7. Frontispiece of the Codex Fejérváry-Mayer / 235
x Illustrations

Tables
11.1. Dates for festivals in 1519 and their relationship with
Codex Borgia 29–46 / 167
11.2. Dates for Codex Borgia 27 and corresponding astronomical events / 173
11.3. Dates for Codex Borgia 28 and corresponding festivals / 174

Maps
1. Central Andes / xiii
2. Mesoamerica / xiv

Color Plates
1. Esther Pasztory at Monte Albán, Oaxaca, c. 1965   / 75
2. Textile, from Reiss and Stübel, The Necropolis of Ancon, 1880–1887 / 76
3. Frontispiece from Lyell, Elements of Geology, 1839 / 77
4. Plate from Werner’s Nomenclature of Colours, 1821 / 77
5. Mummy, from Reiss and Stübel, The Necropolis of Ancon, 1880–1887 / 78
6. Frontispiece from Rivero and Tschudi, Antigüedades peruanas, 1851 / 79
7. Textiles from Rivero and Tschudi, Antigüedades peruanas, 1851 / 79
8. Drawings of Teotihuacan Monoliths 1 and 2 by Guillermo
Dupaix, c. 1791–1803 / 80
9. Replica of Teotihuacan Monolith 1, from a mold created in 1865 / 81
10. Tripod vessel, Teotihuacan, a.d. 300–600 / 82
11. Vessel with butterfly headdress, Teotihuacan, a.d. 1–550 / 82
12. Monte Albán Tomb 104 exhibit, American Museum of Natural History / 83
13. Life-size model of Rosalila Structure, Copan, a.d. 571 / 84
14. Ulua polychrome ceramic vessel, Late Classic / 84
15. Phallic autosacrifice, west wall mural, Estructura de las Pinturas,
San Bartolo, Guatemala / 85
16. Great Ballcourt, Chichen Itza / 85
17. Five Tlalocs in weather almanac, 1457–1506, Codex Borgia / 86
18. Five Tlalocs in weather almanac, 1467–1472, Codex Borgia / 87
19. Place-name sign for Chalco, Codex Mendoza / 88
20. Chalchihuitl, “precious greenstone,” being carved, Codex Mendoza / 88
21. Huipiles with scattered flower motifs / 89
22. Mexican evening primrose / 89
23. Corn goddesses Chicomecoatl/Xilonen / 90
24. Late Postclassic central Mexican atlatl / 90
 Preface

The studies contained in this volume represent an assortment of new ideas about a
diverse variety of topics from ancient American visual culture by an array of emerg-
ing and established scholars. What binds these studies together is a common desire
to pay tribute to Esther Pasztory, whose influence as both a scholar and a teacher is
deeply felt within these pages and beyond. It is difficult to find a single publication
on Teotihuacan or Aztec art from the past generation that does not cite her ground-
breaking contributions to these areas, and many of the dozens of graduate students
she mentored during that period have gone on to become highly respected scholars in
their own right. Now, on the occasion of her retirement from academia, a selection of
these former students, as well as some notable colleagues who studied with, worked
closely beside, or were otherwise influenced by Esther, have come forward to honor
her in the best way they know—with significant, scholarly contributions to the field
of art history.
From her time as a graduate student in the Department of Art History and
Archaeology at Columbia University in the late 1960s to her retirement from that
same department in 2013, where she was the Lisa and Bernard Selz Professor in Pre-
Columbian Art History, Esther’s career has followed a sea change in the discipline,
one that she refers to in the title of her concluding chapter in this volume as “from
primitivism to multiple modernities.” 1 Evidence of that professional arc is present in
the diversity of topics collected in this volume, which deals broadly with both images
and objects of the ancient Americas, as well as the ways the pre-Columbian past has
been engaged with and represented by adventurers, curators, and scholars from the
eighteenth century to the present. Specific topics range from Aztec picture-writing
to nineteenth-century European scientific illustration of Andean sites of Peru, from
Maya radial temples to exhibition strategies for the display of cultural remains.
Esther is known today as an expert in the art of central Mexico, but she was trained
as a specialist in “primitive” art—an outmoded term once applied to the arts of Africa,
Oceania, and the Americas (AAOA). In fact, her first publication (1970) was on Benin
bronzes: “Hieratic Composition in West African Art.” As a professor, she went on
to teach—and oversee the oral examinations, master’s theses, and doctoral disserta-
tions of—students working on a variety of AAOA-related topics. With her established
reputation as a preeminent scholar of ancient American art, her students tended to
gravitate toward Andean and Mesoamerican topics. Yet, even with the addition of pro-
fessors specializing in African and Native American art in the department, Esther’s
background as a generalist meant that she often continued to serve as a committee

xi
xii Preface

member for students working in these fields; as recently as 2008, she oversaw the oral
examinations of two students who minored in Oceanic art. As the cocreator and initial
anchor of the innovative course “Multiple Modernities,” first offered in 2006, she pro-
vided a framework for a half-dozen faculty members to present a selection of artworks
and issues related to the experience of modernity in the diverse geographic regions of
their specializations.
Throughout all of this, Esther’s work as a scholar and a teacher has been charac-
terized by an unrelenting critical examination of the disciplinary methodologies and
assumptions that give rise to the very questions it is possible to ask about artworks,
and thus to the types of knowledge that are produced about other cultures and time
periods. Possessing a strong independent streak—likely arising from her outsider sta-
tus as a Hungarian who came to America as an adolescent speaking no English and,
later, as a female scholar in a heavily male academic environment—Esther has never
shied away from challenging the status quo, putting forward unorthodox suggestions,
and turning the lens of inquiry inward. For Esther, the study of the ancient past always
tells us as much, if not more, about our own interests and concerns—as individuals,
but, more important, as a society—than those of the peoples we are investigating. This
focus culminated in her magnificent and wide-ranging book Thinking with Things
(2005) and is reflected in the large number of contributions to this volume that are
historiographic in nature, examining instances of how past cultures have been repre-
sented at different moments in time.

This volume owes its existence to the work of many dedicated individuals. Francesco
Pellizzi, chair of the University Seminar in the Arts of Africa, Oceania, and the Americas
at Columbia University (among many other distinguished titles), was instrumental in
organizing the speakers for the 2013 symposium at which many of the contributions to
this volume were first presented. We are also extremely grateful to both the University
Seminar office and the Department of Art History and Archaeology for their generous
underwriting of this event and financial assistance in the production of this volume,
as well as to Lisa and Bernard Selz and other generous individuals for their additional
support. Andrea Vazquez, a Ph.D. candidate at Columbia, provided indispensible
organizational and logistical assistance, as did Gabriel Rodriguez, Emily Shaw, and
Stefaan Van Liefferinge of the Media Center for Art History at Columbia and Luke
Barclay, Faith Batidzirai, Emily Ann Gabor, Chris Newsome, Josh Sakolsky, and Sonia
Sorrentini from the departmental office. We are grateful to Alessandra Tamulevich,
our editor at the University of Oklahoma Press, for believing in this project and guid-
ing it to completion. Stephanie Evans very capably guided us through the production
process, and John Thomas’s thoughtful and thorough copyediting was much appre-
ciated. We finally wish to express our gratitude to all the contributors to this volume,
who, when approached about this project, responded with such immediate enthusi-
asm and willingness to participate. The high quality of their offerings is a testament to
Esther Pasztory’s career and scholarship, which finds continued expression through
those whom she mentored and inspired.
 Preface xiii

Note
1. Esther’s brief yet wonderfully written memoir Remove Trouble from Your Heart (2008)
provides a first-person account of both her preacademic life—including her family’s displace-
ment due to the Hungarian Revolution in 1956 and their subsequent emigration to the United
States—and her experiences as a budding scholar.

N
Ingapirca

Huaca Prieta

Chavín de Huantar
Las Haldas

Ancón
Lima
Pachacamac
Machu Picchu

Cusco
Paracas

Nasca River Valley

PACIFIC OCEAN

map 1. Central Andes.

0 100 200 300 mi
Map by Bill Nelson.
Copyright © 2017 by the
0 100 200 300 400 500 km
University of Oklahoma
Press.
 Dzibilchaltun
N GULF OF Chichen Itza
El Tajín
MEXICO Uxmal
Tula Kabah
Tenayuca Teotihuacan
Tlatelolco
Tenochtitlan Mt. Tlaloc
Cacaxtla
Malinalco
Cholula Cerros
Xochicalco
Tres Zapotes

Coxcatlan Cave Nakbe San Bartolo

La Venta Tintal Cival
Palenque Uaxactu
Uaxactunn
El Perú Tikal
Monte Albán Dainzú-Macuilxochitl
Tonina Yaxchilan Cenote
Zaachila Mitla Bonampak Seibal
Paso de la Amada

Chinkultic

PACIFIC
OCEAN Copan

Cotzumalhuapa
0 100 200 mi
0 100 200 300 km

map 2. Mesoamerica. Map by Bill Nelson. Copyright © 2017 by the University of Oklahoma Press.
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