Ancient Mexico. Pre-Columbian Art Galleries
Flagon of integrated silhouette | Ancient Mexico. Pre-Columbian Art Galleries | Museo Amparo, Puebla
Flagon of integrated silhouette | Ancient Mexico. Pre-Columbian Art Galleries | Museo Amparo, Puebla
Flagon of integrated silhouette | Ancient Mexico. Pre-Columbian Art Galleries | Museo Amparo, Puebla
Flagon of integrated silhouette | Ancient Mexico. Pre-Columbian Art Galleries | Museo Amparo, Puebla
Flagon of integrated silhouette | Ancient Mexico. Pre-Columbian Art Galleries | Museo Amparo, Puebla
Flagon of integrated silhouette | Ancient Mexico. Pre-Columbian Art Galleries | Museo Amparo, Puebla
Flagon of integrated silhouette | Ancient Mexico. Pre-Columbian Art Galleries | Museo Amparo, Puebla
Flagon of integrated silhouette | Ancient Mexico. Pre-Columbian Art Galleries | Museo Amparo, Puebla
Flagon of integrated silhouette | Ancient Mexico. Pre-Columbian Art Galleries | Museo Amparo, Puebla
Flagon of integrated silhouette | Ancient Mexico. Pre-Columbian Art Galleries | Museo Amparo, Puebla
Flagon of integrated silhouette | Ancient Mexico. Pre-Columbian Art Galleries | Museo Amparo, Puebla
Flagon of integrated silhouette | Ancient Mexico. Pre-Columbian Art Galleries | Museo Amparo, Puebla

Flagon of integrated silhouette

Culture Tlatilco
Region Valley of Mexico
Period Middle Preclassic, Manantial phase
Year 1000-800 B.C.
Year 1000-800 B.C.
Technique

Modeled clay, red on bay, intense polish

Pieces per lot 2
Location Vault. Pre-Columbian Art Collection
Record number 52 22 MA FA 57PJ 391
Researcher

This style of high neck flagons is part of a set of ceramic types that have been considered evidence of the fact that the Valley of Mexico and the upper Balsas Basin participated during the Manantial phase, of which the Tertium Quid has been called: a third cultural ingredient that was embedded in the local culture and the Olmec ecumene. It is an area of interaction with the West of Mexico, where through overseas, elements of the Andean culture would have arrived, particularly from the Coast of Ecuador (Machalilla and Chorrera phases). This topic of continental relationships has acquired new vigor recently thanks to the archaeological advances on the mastering of ocean navigation on behalf of these southern populations.  

The museum has a pair of flagons, which were made by ing two pieces, the convex base and the concave body and at the top the convex shoulder that ends at the high neck. The t is marked by a deep crease. This created a dynamical shape with a series of opposed curves. The decoration was made with wide red bands on the bay background and was applied before an intense polishing, which provided the pieces with a strong sheen, but also took away some sharpness of the motifs.

These consist of a series of concentric and opposing triangles in the first piece and in sets of four opposing triangles in the shape of a Malta cross in the second piece. Under the decoration of the second bottle, another application can be appreciated from the first cooking in negative technique and with many similar motifs of oblique bands.

This style of high neck flagons is part of a set of ceramic types that have been considered evidence of the fact that the Valley of Mexico and the upper Balsas Basin participated during the Manantial phase, of which the Tertium Quid has been called: a third cultural ingredient that was embedded in the local culture and the Olmec ecumene. It is an area of interaction with the West of Mexico, where through overseas, elements of the Andean culture would have arrived, particularly from the Coast of Ecuador (Machalilla and Chorrera phases). This topic of continental relationships has acquired new vigor recently thanks to the archaeological advances on the mastering of ocean navigation on behalf of these southern populations.  

--Works in this gallery --

Ancient Mexico. Pre-Columbian Art Galleries