History
Since the nineteenth century, the Mayan civilization has been romanticized by explorers who came across abandoned stone temples in the jungles of Central America. Their perception was that of a culture that had been lost, however people of Mayan descent continue to exist today and have incorporated themselves into modern society. This culture is often characterized by monumental stone architecture and elaborately carved sculptures and reliefs. Production of these ancient relics reached its Golden Age during the Classic period between 250 and 800 AD. Mayan elites commissioned their own portraiture for the purpose of immortalizing themselves. Much of Maya figural artwork is tied to kingship and the rituals they performed. The images often express a rite or event taking place, where the protagonist’s accouterments become of great importance. Special attention is paid by the artist to personal adornment and accessories to the body.
The traditional modes of identity that were established in the Maya world are expressed through the selected objects shown here. Art from the Mayan culture will be examined through the lens of personal adornment as a manner of self-representation. This can be observed through sculptures, relief carvings, and ceramics that depict members of society, as well as through the objects that they personally wore in the past.
Archaeological expeditions revealed building walls with carved reliefs and paintings, while excavations have uncovered sculptures and large quantities of personal items. The use of natural resources such as jade and shell are considered to better understand the role these items played in Maya society. The Sculpture of the Maize God is a key element as it is representative of the entire collection. It symbolizes the fertility of the land and the mythological story of creation, two concepts that are embedded in many of the other works. A breakthrough in the 1960s with deciphering Mayan hieroglyphics allowed scholars to discover that many of the figures depicted are actually specific historical figures, not simply a general depiction of a ruler or shaman.
Sources:
Schele, Linda and Mary Ellen Miller. The Blood of Kings. Dallas: Kimbell Art Museum, 1986.
Townsend, Richard and Elizabeth Pope. Indian Art of the Americas at the Art Institute of Chicago. New Haven: Yale University Press, 2016.