Given the detail evident in many of the motifs, it is quite possible that the specific motifs were introduced through or copied from, paintings on either cloth or paper, that is, lienzos or codices. Banderas iconography as known consists mainly of bellicose motifs related to war and sacrifice. Motifs tend to be arranged in a band around the circumference of the exterior of cups and chalices; this can be divided into bands or delimited fields, but more commonly is not fig. Design areas are often set off top and bottom or on the sides by simple single or double stripes in white, white and red or white and black.
Some patterns, such as flags or shields are less rigidly spaced. On flat bottomed, flaring bowls the decoration on the sides is often simple geometric motifs, where Mexican Mixteca-Puebla Polychrome of the same and later time periods would have elaborate step frets or other complex geometric designs. The tondo itself is a large, single motif, most commonly a feathered serpent head fig. It should be noted that this particular motif also appears as a tondo on huacales of the most common local polychrome style, Acelhuate Geometic Polychrome, which is found in association with Banderas Polychrome.
Other common motifs include skulls, rib cages, and crossed bones, often bloodied. The skulls usually have hair arranged to form a column, comparable to the temillotl coiffure of Aztec warriors, suggesting that this element in the Aztec class and sumptuary system is of far earlier origin and was adopted by the Aztec on their arrival in the Valley of Mexico.
It is not just the temillotl that appears in Banderas Polychrome ceramics but the earliest known versions of the tlapiloni, a headdress which among the Aztec was awarded to high ranking warriors for exceptional valor in battle figs. It also has a spotted band, perhaps the skin of one of the spotted wild cats margays, ocelots, even jaguars of the region or, perhaps, of blood or rubber spotted cloth, materials equally used in Late Postclassic ritual display systems. We do not know the significance of this headdress in Early Postclassic El Salvador but its occurrence with other motifs related to warfare is suggestive that it was already a headdress associated with military valor and sacrifice.
Blood spotted crossed bones and flying rib cages are likewise common motifs that suggest warfare and sacrifice figs. Dismembered body parts also refer to customs of dismemberment of sacrificial victims better known from Late Postclassic Central Mexico fig. Some huacales, in place of polychrome designs on the interior bottom, have black lines and hooks painted on the red background, much as what is seen in Mixteca-Puebla pieces.
These could refer to blood, as has been suggested for later manifestations of Mixteca-Puebla Polychrome. Another motif, and one which places Banderas Polychrome firmly in the Early Postclassic Period is a pendant or necklace identical to those represented on Tohil Plumbate ceramics fig.
Tohil Plumbate is, of course, the hallmark of the Early Postclassic, appearing at the beginning of that epoch and disappearing sometime shortly before ad A rare design appears to be flowers, although these sherds, from two vessels found in the Great Hall of the Acropolis, are very badly eroded.
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Flowers too were later associated with sacrifice and death. This motif is strikingly similar to later chimallis in central Mexican art, such as those painted on the wall of the structure excavated at Tehuacan Viejo, Puebla. This is circular and apparently made of wood or reed slats with a double or triple, colored, circumferential band figs. It is decorated with puffs of eagle down, feathers, and ribbons. Chimalli depictions differ in these latter details; some having literally piles of down puffs; others only a few or some without a spear thrower. The pointed heads of the spears too can also differ in color: some are black and white; some are red and yellow.
Combined with the rarer images of battle, death and sacrifice it is evident that Banderas Polychrome ceramics bore a message. Binding firm and pages clean and bright.
A couple of spots on the fore-edge. Text in English. Unique Mexican antiquities drawings of Mitla. Oblong imperial folio. Excellent condition, wonderfully preserved. These drawings were reproduced in volume II on plates of Penafiels Monumentos del arte Mexicano antiguo Berlin, Eduard Seler famous professor of Latin American studies in Berlin who knew the original drawings spoke highly of them as one of the finest studies depicting archaeological remains in Mitla he had ever seen.
A new facsimile edition of the set of original drawings of the Biblioteca Nacional de Antropologia e Historia was published in by Juan A.
Los Palacios de los Zapotecos en Mitla". A close comparison with this facsimile edition reveals the following substantial differences to our drawings: 1.
Hispanic Studies and Researches on Spain, Portugal and Latin America
Six plates have substantial differences in quality, regarding subject, coulouring and the level of execution of various parts of the drawings nos. Our set contains all the drawings of the facsimile, but some of them joined on one leaf nos.
- Article Metrics.
- historia - Iberlibro.
- The Dream Widow (Valley of the Sleeping Birds Book 2).
- Born Again Yesterday.
- Tracer Kinetics in Biomedical Research: From Data to Model.
- John Dantes Inferno: a Playboys Life;
- Servicios Personalizados.
Dates on the drawings vary on ten leaves second date is of the facsimile. VIII n. In , upon his return to Germany, he published his remarkable book on Mexico "Versuch einer getreuen Schilderung der Republik Mejico besonders in Beziehung auf Geographie, Ethnographie und Statistik" Palau and Sabin , which was to be accompanied by an album with his drawings, however financial difficulties prevented the conclusion of the work, and remained thus unpublished. After years of severe financial hardship he succeeded in returning to the public service of the reigning house of Hanover in This may be one reason to find this portfolio in the princely library.
Perhaps he donated it to the princely family in gratitude for his appointment. Muhlenpfordt's text: cf. Palau ; cf. Sabin ; J. Ortega y Medina and J. Ruiz ed. II, plates Condition: Excelente. Text in French. First edition. It contains 2 original color lithographs specially created by Chagall for this edition. Illustrated end papers photo by Izis. Original grey cloth, titles to spine and front board black, pictorial endpapers. With the dust jacket, original clear plastic jacket.
Valparaiso Valparaiso, Bound in full blue calf, spine richly gilt. Azul is a book of stories and poems considered one of the most important works of Hispanic modernism. It was published for the first time in Valparaiso on July 30, All the texts had previously appeared in the Chilean press, between December 8, , date on which "The blue bird" appeared, and on June 23, "Black doves.
At first, Azul. The approval of Valera, disseminated in the press of Chile and other Spanish-speaking countries, meant the fortune of the book. They appear personages like Mab, the queen of the fairies, or Puck, the duende of the dream of a night of summer of William Shakespeare.
años demasiado pronto: la cerámica mixteca-Puebla de estilo polícromo en El Salvador
In spite of the fact that this dreamlike atmosphere predominates, the "El Fardo" story, which relates the death of a young port worker, stands out for its aesthetic approach to naturalism. The denunciation of social injustice is no stranger to these stories, is also present in the story "The song of gold", in which a poor Bohemian poet intones a bitter hymn to gold which is worth here as metonymy of money.
One of the thematic axes of the stories included in Azul. Critics have commented that to a large extent this reflects the personal dislocation of the author himself among the Chilean plutocracy. Madrid Madrid, Bound in contemporary half brown calf. Incribed by the author to Dr. In this canonical work, the Nicaraguan poet reoriented a writing that, without abandoning the worlds of "Blue" and "profane Prose," gives space to the impetuous irruption of the personal in his poetry: feelings of guilt and also joy, regrets and fears , attraction for eros and longing for spirituality join reflections on culture, history and the defense of the American and Hispanic, threatened at the confluence of the nineteenth and twentieth centuries by powerful world forces.
Dario said about his book "If Azul. Some of his books after this one also continued to be published in Spain. The book is composed of fifty-nine poems, of which fourteen are the main part entitled "Songs of Life and Hope"; four, the second section called "The swans", and the remaining forty-one make up the last part "Other poems". Pre-dating the official relation of Bougainville s expedition to the Pacific by 9 years, the atlas and account of the official draughtsman.
Folio, x mm. Contemporary half straight-grained brown morocco, spine with raised bands and tooled in gilt, only gently rubbed but overall fine. Exceptional example, the best we have seen; uncut, and virtually spotless. Described by Hill as a fine series of views was issued separately nine years before the official account of H.
go to site Bougainville's voyage was published ; it comprises views of Singapore, the Philippines, the Bourbon Islands in the Pacific, Australia, Brazil and Argentina. The expedition was aimed to extending French influence and presence in the Pacific mainly in Indochina. Hyacinthe was commander on this voyage around the world. Bougainville returned across the Pacific, retracing his father's previous circumnavigation and, after anchoring at Port Jackson for three months, returned to France via Rio de Janeiro.
Contemporary or near contemporary Spanish limp vellum, spine with paper label, partially gone. A genuine, well-preserved copy, in its genuine form, large copy, in overall excellent condition.