La Venta, Tabasco: a Study of Olmec Ceramics and Art

By Philip Drucker | Go to book overview

motif, which as Spinden has demonstrated is such a basic and important feature of Mayan art, never appears.

Decorative elements. --The following motifs occur in the sparingly decorated areas often enough to make them fairly diagnostic traits:

Open rectangles, usually round cornered,
Rectangles enclosed within others, usually asymmetrically,
L-shaped (or wider-angled) elements with split or notched ends,
Notched rectangles or thick-armed truncated V figures,
Flaring U-shaped elements with outcurved tips (perhaps derivations from
the mouth form of the Jaguar-monster mask),
Simple, rather short and stiff feather motifs.

Sporadic elements. --In addition to the nondiagnostic traits mentioned in the discussion of representations of human beings under (3) postures, and (4) dress, there are a series of motifs and elements in the art style which are not distinctive. That is to say, unless they appear in conjunction with some diagnostic element or elements, as above, they cannot be relied on to assign an object to the art style. These include: sporadically used faunal themes (the monkey, the kinkajou (?), etc.), beards on human figures, the X-shaped design element, bordering rows of triangles, occasional use of simple scrolls, and occasional use of simple plant (or "floral") motifs.


AREAL RELATlONSHIPS OF THE ART STYLE

The purpose of the present section is not to discuss the areal range from which stray pieces assignable to this art have come, but to draw comparisons with sculptural complexes of surrounding regions. We shall discuss materials from nearby southern Veracruz, Central Veracruz, the Maya area, Oaxaca, and the Valley of México, in that order. It would be a nearly endless task to deal with this vast corpus of material in any detail, of course. Consequently, summary characterizations of the carver's art in each region will be drawn upon where available, except in the case of the first region of our list.


SOUTHERN VERACRUZ AND ADJACENT REGIONS

Comparisons in the southern Veracruz region are of necessity restricted principally to the site of Tres Zapotes. It would be a useless piece of academic virtuosity to approach the problem of the comparison of the sculptural arts of La Venta and Tres Zapotes as though the relationship between the two sites was unknown. La Venta, as ceramic comparisons indicate, represents one segment, or temporal horizon, of Tres Zapotes culture. The longer occupation at the latter site comprises a series of such segments, Upper, Middle, and Lower.

-204-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
La Venta, Tabasco: a Study of Olmec Ceramics and Art
Table of contents

Table of contents

  • Title Page i
  • Letter of Transmittal ii
  • Contents iii
  • Illustrations v
  • Foreword ix
  • Introduction 1
  • Part I: Excavations and Artifacts 4
  • Structural Investigations in 1943 34
  • The Ceramics of La Venta 80
  • Part II: the Sculptor's Art 152
  • The Stone Monuments 173
  • Stylistic Characters of the Sculptures 185
  • Summary 204
  • Appendix - Technological Analyses 234
  • Bibliography 241
  • Index 249
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 260

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.