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The rest of the city is recognizably Maya in architecture and in the helter-skelter arrangement of household clusters. However, in decorated wares, especially the polychrome styles, there are radical changes. The Copador and Salua Polychromes that characterized the decorated wares of Classic Salvadoran sites were replaced by a series of local geometric polychrome styles, but also by a local type of Mixteca-Puebla Polychrome with a fully developed, although somewhat limited, iconography which is demonstrably of Mexican derivation.
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Also the background red slip usually contains specular hematite, a hallmark of "real" Copador. But the style, including shapes, had changed drastically. To date known Banderas Polychrome vessel forms are flaring bowls with a flat bottom and, often, with tripod supports locally called huacales and annular or pedestal based cups with a hemispherical, egg-shaped, or flanged hemispherical bowl.
Rare forms are shallow plates and small ollas. All are of a thin, generally cream or beige, paste with a relatively coarse sand temper; all are painted in brilliant colors white, orange, gray on a bright red background and bear the remains of a high polish. These larger vessels are known only from a single context and are associated with the area of the royal palace.
Indeed, the only whole vessel we have is from a residential offering, buried in the center of the floor of one house of a plazuela group just to the south of the Acropolis fig. This purely Maya household arrangement was located adjacent to the monumental center. It boasted one higher domestic platform structure and may have been home to a lower elite family, assuming the upper elite lived in the Acropolis palace or adjoining buildings. Unfortunately, we have only a very small comparative sample of excavated and published Early Postclassic Mixteca-Puebla Polychrome from southern Mexico and it is not very similar.
Banderas ceramics, for example, lack the elaborate step fret designs characteristic of the Mexican ware. In fact, Banderas iconography is quite limited and ignores many of the common themes of Cholula, being, in some ways, more central Mexican in content.
This immediately raises questions as to how such a developed iconography was introduced, especially since no genuine pieces from southern Mexico have been found within El Salvador. 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.
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.
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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.Tradiciones mixtecas
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. 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.
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.
años demasiado pronto: la cerámica mixteca-Puebla de estilo polícromo en El Salvador
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. Comments 0 Please log in to add your comment. Es el conjunto de "particularidades" del habla, propia de los hombres o de las mujeres.
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