Postclassic Maya slips and paints and their relationship to socio-political groups in El Petén, Guatemala

Cecil, Leslie G.; Neff, Héctor

doi:10.1016/j.jas.2006.02.005

Cited by 29 publications

(20 citation statements)

References 4 publications

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“…This study was carried out in combination with EDS technique Spectrochimica Acta Part B 119 (2016) [10][11][12][13][14][15][16] that confirmed the presence of iron in the pigment under analysis [5]. Other analytical studies were carried out on Maya ceramics from Guatemala and Honduras neighbouring countries, but none has been conducted on Tarascan ceramics [6,7].…”

Section: Introductionmentioning

confidence: 99%

The ceramics of Malpaís of Zacapu, Michoacán, Mexico, during the Early and Middle Postclassic periods (900–1450AD): Micro-chemical characterization of surface paintings

Jadot

Schiavon

Manso

2016

Spectrochimica Acta Part B: Atomic Spectroscopy

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Tarascan ceramic sherds from two Postclassical archaeological sites (900-1450 AD) at the Malpaís of Zacapu, Michoacán, Mexico, were investigated by combining Back-Scattered Scanning Electron Microscopy and Energy Dispersive Spectroscopy (BSEM-EDS), μ-X-Ray Diffractometry (μ-XRD), μ-X-ray Fluorescence Spectroscopy (μ-XRF) and μ-Raman Spectroscopy. These sherds are famous for their forms and decorations although the composition of its raw materials remains so far unknown and focused only on the composition of the ceramic paste. For the purpose of surface decoration characterization, the pigments used in slips and paintings were identified as hematite, magnetite, amorphous carbon, graphite and lignite. Furthermore chemical and molecular structure determination allowed the identification of technological aspects such as the firing temperatures and atmospheres used in ceramics production.

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Section: Introductionmentioning

confidence: 99%

The ceramics of Malpaís of Zacapu, Michoacán, Mexico, during the Early and Middle Postclassic periods (900–1450AD): Micro-chemical characterization of surface paintings

Jadot

Schiavon

Manso

2016

Spectrochimica Acta Part B: Atomic Spectroscopy

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“…It will also be important to obtain compositional data on pigments, and correlate these data with body composition, because first-order polychromes appear to have been potted and painted by different individuals or groups. Analyses of paints on Copán pottery (Goodall et al 2008) and Postclassic Petén pottery (Cecil and Neff 2006) have revealed that different pigments can distinguish imports from local wares, and different motifs, layouts, and ethnopolitical groups, respectively.…”

Section: Methods and Theorymentioning

confidence: 99%

Late Classic Maya Pottery Production: Review and Synthesis

Rice

2009

J Archaeol Method Theory

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Studies of the organization of Maya pottery production have been pursued via numerous methods but without theoretical models. I review available data on production of Late Classic southern lowland Maya polychrome pottery in light of my calendrically based may model of geopolitical organization. I conclude that: (1) production arrangements vary by "kind" of pottery; (2) "craft specialization" and "workshops" are inappropriate concepts; (3) study of polychrome production necessitates multiple approaches, including analysis of decorative content; (4) better "bridging arguments" and "middle-range theory" are needed; (5) figural polychromes were "inalienable" wealth goods; and (6) they were painted in palaces of primary and secondary centers-may and k'atun seats in the model-in realmspecific signature styles.Pottery in Mesoamerica was made in a multitude of shapes and colors to meet a multitude of needs, both quotidian and ceremonial. The most abundant pottery consists of containers for the preparation, serving, and storage of solid and liquid foodstuffs and also might be used for gifts, display, funerary service, burning of resins, and ritual caches. Non-container fired clay goods such as figurines, whistles, rattles, drums, and the like are also common. Among the Classic Maya, the best known ceramics are multi-colored polychromes painted with human figures, glyphic texts, mythic and palace scenes, and myriad floral, faunal, and geometric motifs.

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“…The standard materials usually used to correct the instrumental drift were NIST SRM612 [47,[72][73][74][76][77][78], SRM610 [73][74][75][76][77], SRM679 brick clay [76,77], SRM 1412 [72], Ohio Red Clay [73,74,78], SRM 981 [46], Corning glass B and D [73] and Glass Buttes obsidian [47,74,77,78].…”

Section: Ceramicsmentioning

confidence: 99%

“…LA-ICP-MS was used to distinguish red and black Postclassical Maya slips and decoration from Guatemala [77], 19th century lead from tin-based Colonial Period glazed pottery [82] and Mancos and Mesa Verde Blackon-white ceramics, characterized by iron-manganese ore and by carbon paint respectively [71]. As an example, the last paints were discriminated on the basis of iron and manganese ratio.…”

Section: Ceramicsmentioning

confidence: 99%

Role of laser ablation–inductively coupled plasma–mass spectrometry in cultural heritage research: A review

Giussani

Monticelli

Rampazzi

2009

Analytica Chimica Acta

106

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Postclassic Maya slips and paints and their relationship to socio-political groups in El Petén, Guatemala

Cited by 29 publications

References 4 publications

The ceramics of Malpaís of Zacapu, Michoacán, Mexico, during the Early and Middle Postclassic periods (900–1450AD): Micro-chemical characterization of surface paintings

The ceramics of Malpaís of Zacapu, Michoacán, Mexico, during the Early and Middle Postclassic periods (900–1450AD): Micro-chemical characterization of surface paintings

Late Classic Maya Pottery Production: Review and Synthesis

Role of laser ablation–inductively coupled plasma–mass spectrometry in cultural heritage research: A review

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