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Results 1 - 15 of 18 for "niza"

Key:  CMA 54.857 Actual Location:  Cleveland Museum of Art, Ohio, United States. Collection:  Donated by the Hanna Fund, 1954. Registration:  54.857 Provenance:  Unknown Measurements:  32.3 cm. Color:  Brown polished clay with traces of red pigment. Chronology:  Niza 100 BC - 200 AD   Click to view Chronology Reference:  Milliken 1955: 60; Easby and Scott 1970: fig. 155. Comments:  Known as the "Scribe of Cuilapan" because it resembles a Chinese scribe. There is another almost identical piece at the Museum of Cultures in Oaxaca, but which is slightly taller. See MCO 1170. Glyphs:  Glyph 13 water in the headdress and 13 Q (flint) on the chest.

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Key:  MCO 0012 Actual Location:  Museum of Cultures of Oaxaca, City of Oaxaca, Mexico (exhibited). Collection:  José Juan Canseco 1850 Registration:  Cat. 0012/INAH 10-104350 Provenance:  Zaachila (Peñafiel 1893: 24) ; Mitla (F. León 1903?: 115); Cuilapan (N. León 1905: 403). Measurements:  33.5 x 17.5 cm. Color:  Polished brown clay with traces of red pigment. Chronology:  Niza 100 BC - 200 AD   Click to view Chronology Reference:  Peñafiel 1893: 24-25; Calderón León 1903?: 115 [description]; Nicolás León, Mayan Hieroglyphs, 1896 & 1905: 403, plate 1, fig. 1; Caso 1928 (reproduction of the glyphs); Keleman 1943: vol. II, plate 123 d; Toscano 1944: 432; Covarrubias 1946: fig. 18; C Comments:  There is a head with the same properties as this piece (cf. Caso and Bernal, 1952: 337, fig. 500bis). There is also a complete piece at the Cleveland Museum (CMA 54.857). About the pieces, Caso and Bernal comment: "We do not know if we should include it with the figures of period II, because we have not found in Monte Albán, during our stratigraphic explorations, any objects of this style and the two that exist come from the old collections of the National Museum and the Museum of Oaxaca" (1952: 337). It was always said that this piece came from Cuilapan, but it seems to have been a mistake from León, as from the very beginning, it was established that its provenance was Zaachila. Glyphs:  Glyph 13 for water in the headdress and 13 Q on the chest. Bernal (1979: 103) interprets the glyphs as 13 water and 13 alligator's eye.

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Key:  ROM 1944 Actual Location:  Royal Ontario Museum, Toronto, Canada. Collection:  Constantino Rickards Registration:  HM 1944 Provenance:  Monte Albán, Oaxaca. Measurements:  23 cm. Color:  Grey clay covered with red pigment. Chronology:  Niza 100 BC - 200 AD   Click to view Chronology Comments:  The object held by this feminine figure has the shape of a board, maybe to carry a child. The child's figure is removable and is missing. A figure similar to this one was found in San José Mogote, t/1-95, building 1 (cf. Fernández Dávila, Arqueología Mexicana, 1997: 20).

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Key:  ROM 1945 Actual Location:  Royal Ontario Museum, Toronto, Canada. Collection:  Constantino Rickards Registration:  HM 1945 Provenance:  Unknown Measurements:  20 cm. Color:  Grey clay. Traces of red pigment. Chronology:  Niza 100 BC - 200 AD   Click to view Chronology Comments:  A very early example of the Cocijo. Glyphs:  The figure has a variant of glyph C in the headdress. Glyph epsilon or "blood" hanging from the ears.

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Key:  ROM 1946 Actual Location:  Royal Ontario Museum, Toronto, Canada. Collection:  Constantino Rickards Registration:  HM 1946 Provenance:  Monte Albán, Oaxaca. Measurements:  34 cm. Color:  Grey clay. Chronology:  Niza 100 BC - 200 AD   Click to view Chronology Comments:  This piece is fragmented. Glyphs:  Glyph C in the headdress (broken). The hairpin glyph decorates the cape (rain?).

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Key:  SLAM 250.1978 Actual Location:  Saint Louis Art Museum, Saint Louis, Missouri, United States. Collection:  Everett Rassiga; Morton D. May. Registration:  250:1978 1-5 / former loan number 1967.471 a-e Provenance:  Unknown Measurements:  39.5 a 41 cm. Color:  Grey clay with traces of red pigment. Chronology:  MA II-III (Parsons 1980: 139); Niza 100 BC - 200 AD   Click to view Chronology Reference:  Photo from Shaplin's files; Parsons 1980: 139, fig. 211. Comments:  It belongs to a series of five pieces, all identical. Dating:  Shaplin and Zimmerman, 1978, TL no. 9 (165 rads - authentic).

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Key:  MNA 6-5801 Actual Location:  National Anthropology Museum, Mexico City, Mexico. Registration:  MNA cat. 6-5801/ Inv. 10-61343. Provenance:  Tomb 77, no. 26, Monte Albán, Oaxaca. Measurements:  81.5 x 66 cm. Color:  Painted in blue, yellow, white and red. Chronology:  MA II (Caso and Bernal 1952: 202); Niza 100 BC - 200 AD   Click to view Chronology Reference:  Caso 1935: 26-27; Keleman 1943: vol. II, plate 121c; Toscano 1944: 429; Caso & Bernal 1952: 202-203, figs. 341, 341 bis; Covarrubias 1957: plate XXXIV; Paddock 1966: 124, fig. 80; Gendrop 1970: 137, fig. 158b; Pre-Columbian Art 1990: 151, fig. 52. Comments:  This piece was found by Alfonso Caso in the period PMA IV (1934-1935). According to Caso and Bernal, the piece is an early expression of the "God with Head Piece of a Wide-Beaked Bird" (1952: 204). Flannery and Marcus believe that the urn represents a warrior because, according to them, the head piece worn by the figure is a bird of prey (1996: 199). See also MNA t/77, no. 3.

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Key:  MAM 1 Actual Location:  Amparo Museum, Puebla, Mexico. Collection:  Josué Sáenz Provenance:  Unknown Measurements:  aprox. 9 cm. Color:  Beige Chronology:  Niza 100 BC - 200 AD   Click to view Chronology Comments:  For a comparison with a similar piece, in terms of style, see ROM 1945. Glyphs:  Glyph C in the headdress.

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Key:  MCO s/n 3 Actual Location:  Museum of Cultures of Oaxaca, City of Oaxaca, Mexico (exhibited). Provenance:  Unknown Chronology:  Niza 100 BC - 200 AD   Click to view Chronology Glyphs:  A glyph C in the headdress.

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Key:  MNA 6-450 Actual Location:  National Anthropology Museum, Mexico City, Mexico. Registration:  6-450 Provenance:  Cuilapan, Oaxaca. Measurements:  34 cm. Chronology:  MA II (Caso and Bernal, 1952: 33); Niza 100 BC - 200 AD   Click to view Chronology Reference:  Caso and Bernal 1952: 32, fig. 32. Comments:  Human figure with Cocijo mask.

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Key:  SLAM 298:1978 Actual Location:  Saint Louis Art Museum, Saint Louis, Missouri, United States. Collection:  Valetta Malinowska; Morton D. May Registration:  298:1978 / former loan number 1968.615 Provenance:  Unknown Measurements:  12.5 cm. Color:  Grey clay Chronology:  MA I (Parsons 1980: 129); Niza 100 BC - 200 AD   Click to view Chronology Reference:  Photo from Shaplin; Parsons 1980: 129, fig. 192. Comments:  Human figure with Cocijo mask. Dating:  Shaplin and Zimmerman, 1978, TL no. 85 (700 rads - authentic).

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Key:  MFR 1983 Actual Location:  Frissell Museum, Mitla, Mexico. Registration:  MFR 1983 / INAH 2732 Provenance:  Unknown. San Dionisio? Measurements:  27 x 21 cm. Color:  Light grey clay. Chronology:  Niza 100 BC - 200 AD   Click to view Chronology Reference:  Example of an early Cocijo effigy. Dating:  F18

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Key:  MFR 1361 Actual Location:  Frissell Museum, Mitla, Mexico. Registration:  MFR CC-1361 / INAH 3200 Provenance:  Unknown Measurements:  36.5 x 23 cm. Chronology:  Niza 100 BC - 200 AD   Click to view Chronology Comments:  Effigy of Cocijo. Glyphs:  The hairpin glyph decorates the garments. Dating:  F76

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Key:  SLAM 504:1978 Actual Location:  Saint Louis Art Museum, Saint Louis, Missouri, United States. Collection:  Valetta Malinowska; Morton D. May. Registration:  504:1978 / former loan number 1970.98 Provenance:  Unknown Measurements:  22.5 cm. Chronology:  Niza 100 BC - 200 AD   Click to view Chronology Reference:  Parsons 1980: 131, fig. 197. Comments:  This piece is part of a series of four identical objects. The human figure is wearing a Cocijo mask. Glyphs:  Glyph C in the headdress (early version).

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Key:  CHILA 1 Actual Location:  Unknown Provenance:  Bajos de Chila, Oaxaca. Measurements:  22 x 15 cm. Color:  Headdress with graffito paint. Chronology:  Niza 100 BC - 200 AD   Click to view Chronology Comments:  This piece was found by Donald Brockington in 1969, while travelling through the coast of Oaxaca. It was associated with stelae number one in the archaeological site of Chila (Brockington et al. 1974: 58-62). The piece was covered with a big plate decorated in black and red. The drawing is based on Jorrín (1974). In a letter from Brockington to Philippa Shaplin (01/19/76), the archaeologist established phase MA II or II-IIIA Transition.

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