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Lightning Gods and Feathered Serpents : The Public Sculpture of el Tajín by Rex Koontz (2009, Hardcover)
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About this product
Product Identifiers
PublisherUniversity of Texas Press
ISBN-100292718993
ISBN-139780292718999
eBay Product ID (ePID)71709479
Product Key Features
Number of Pages152 Pages
LanguageEnglish
Publication NameLightning Gods and Feathered Serpents : the Public Sculpture of El TAJIN
SubjectCaribbean & Latin American, Archaeology, Regional, History / General
Publication Year2009
TypeTextbook
AuthorRex Koontz
Subject AreaArt, Architecture, Social Science
FormatHardcover
Dimensions
Item Height1.1 in
Item Weight26.1 Oz
Item Length11 in
Item Width8.5 in
Additional Product Features
Intended AudienceScholarly & Professional
LCCN2008-042078
Dewey Edition22
Reviews"I find this book to be a superior piece of scholarship in every way." John Pohl, Peter Jay Sharp Curator and Lecturer in the Art of the Ancient Americas, Princeton University Art Museum
IllustratedYes
Dewey Decimal972/.62
Table Of ContentAcknowledgments 1. Approaching El Tajín 2. The Pyramid of the Niches 3. The Divine Ballcourt 4. The Tajín Court: The Mound of the Building Columns 5. Audiences and Deities at El Tajín Notes Bibliography Index
SynopsisThe first extensive treatment in over thirty years of the iconography displayed on public monuments in an important Mesoamerican city in Veracruz, Mexico., El Tajin, an ancient Mesoamerican capital in Veracruz, Mexico, has long been admired for its stunning pyramids and ballcourts decorated with extensive sculptural programs. Yet the city's singularity as the only center in the region with such a wealth of sculpture and fine architecture has hindered attempts to place it more firmly in the context of Mesoamerican history. In Lightning Gods and Feathered Serpents, Rex Koontz undertakes the first extensive treatment of El Tajin's iconography in over thirty years, allowing us to view its imagery in the broader Mesoamerican context of rising capitals and new elites during a period of fundamental historical transformations. Koontz focuses on three major architectural features--the Pyramid of the Niches/Central Plaza ensemble, the South Ballcourt, and the Mound of the Building Columns complex--and investigates the meanings of their sculpture and how these meanings would have been experienced by specific audiences. Koontz finds that the iconography of El Tajin reveals much about how motifs and elite rites growing out of the Classic period were transmitted to later Mesoamerican peoples as the cultures centered on Teotihuacan and the Maya became the myriad city-states of the Early Postclassic period. By reexamining the iconography of sculptures long in the record, as well as introducing important new monuments and contexts, Lightning Gods and Feathered Serpents clearly demonstrates El Tajin's numerous iconographic connections with other areas of Mesoamerica, while also exploring its roots in an indigenous Gulf lowlands culture whose outlines are only now emerging. At the same time, it begins to uncover a largely ignored regional artistic culture of which Tajin is the crowning achievement., El Tajín, an ancient Mesoamerican capital in Veracruz, Mexico, has long been admired for its stunning pyramids and ballcourts decorated with extensive sculptural programs. Yet the city's singularity as the only center in the region with such a wealth of sculpture and fine architecture has hindered attempts to place it more firmly in the context of Mesoamerican history. In Lightning Gods and Feathered Serpents, Rex Koontz undertakes the first extensive treatment of El Tajín's iconography in over thirty years, allowing us to view its imagery in the broader Mesoamerican context of rising capitals and new elites during a period of fundamental historical transformations. Koontz focuses on three major architectural features--the Pyramid of the Niches/Central Plaza ensemble, the South Ballcourt, and the Mound of the Building Columns complex--and investigates the meanings of their sculpture and how these meanings would have been experienced by specific audiences. Koontz finds that the iconography of El Tajín reveals much about how motifs and elite rites growing out of the Classic period were transmitted to later Mesoamerican peoples as the cultures centered on Teotihuacan and the Maya became the myriad city-states of the Early Postclassic period. By reexamining the iconography of sculptures long in the record, as well as introducing important new monuments and contexts, Lightning Gods and Feathered Serpents clearly demonstrates El Tajín's numerous iconographic connections with other areas of Mesoamerica, while also exploring its roots in an indigenous Gulf lowlands culture whose outlines are only now emerging. At the same time, it begins to uncover a largely ignored regional artistic culture of which Tajín is the crowning achievement., El Tajín, an ancient Mesoamerican capital in Veracruz, Mexico, has long been admired for its stunning pyramids and ballcourts decorated with extensive sculptural programs. Yet the city's singularity as the only center in the region with such a wealth of sculpture and fine architecture has hindered attempts to place it more firmly in the context of Mesoamerican history. In Lightning Gods and Feathered Serpents , Rex Koontz undertakes the first extensive treatment of El Tajín's iconography in over thirty years, allowing us to view its imagery in the broader Mesoamerican context of rising capitals and new elites during a period of fundamental historical transformations. Koontz focuses on three major architectural features--the Pyramid of the Niches/Central Plaza ensemble, the South Ballcourt, and the Mound of the Building Columns complex--and investigates the meanings of their sculpture and how these meanings would have been experienced by specific audiences. Koontz finds that the iconography of El Tajín reveals much about how motifs and elite rites growing out of the Classic period were transmitted to later Mesoamerican peoples as the cultures centered on Teotihuacan and the Maya became the myriad city-states of the Early Postclassic period. By reexamining the iconography of sculptures long in the record, as well as introducing important new monuments and contexts, Lightning Gods and Feathered Serpents clearly demonstrates El Tajín's numerous iconographic connections with other areas of Mesoamerica, while also exploring its roots in an indigenous Gulf lowlands culture whose outlines are only now emerging. At the same time, it begins to uncover a largely ignored regional artistic culture of which Tajín is the crowning achievement.
LC Classification NumberF1219.1.T2K66 2009
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