Relevant bibliographies by topics / Olmec art

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  2. Dissertations / Theses
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Academic literature on the topic 'Olmec art'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Olmec art"

1

Castañeda, Luis M. "Kubler's Sarcophagus: Cold War Archaeologies of the Olmec Periphery." ARTMargins 4, no. 1 (February 2015): 3–26. http://dx.doi.org/10.1162/artm_a_00103.

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This article examines conflicting racial, archaeological and art historical interpretations of Olmec art produced in the United States in the early 1960s. It inscribes shifting approaches to the study of monumental Olmec art by figures like George Kubler within the contexts of violent modernization of the Olmec ‘heartland’ of Veracruz and Tabasco, the politicized display of this artistic tradition in museums and traveling exhibitions, and the unstable horizons of U.S.-Mexico diplomatic relations during that period.
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Blomster, Jeffrey P. "WHAT AND WHERE IS OLMEC STYLE? Regional perspectives on hollow figurines in Early Formative Mesoamerica." Ancient Mesoamerica 13, no. 2 (July 2002): 171–95. http://dx.doi.org/10.1017/s0956536102132196.

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To understand better the significance of the Olmec style and its implications for Early Formative interregional interaction within Mesoamerica, one particular type of artifact—the hollow figurine—is examined. A definition of the Olmec style is provided based on Gulf Coast monumental art. One of several contemporaneous hollow-figurine types—“hollow babies” (Group 1)—is consistent with a Gulf Coast–based definition of the Olmec style. Fragments of Group 1 hollow figurines from across Mesoamerica are examined, revealing concentrations at a Gulf Coast center and, to a lesser extent, sites in southern Mexico. Rather than the primarily funerary function previously suggested for these objects, contextual data suggest multivalent meanings and functions. Group 2 figurines are related but different; variation appears in both the distribution of Group 2 fragments across Mesoamerica and their use. Available evidence suggests limited access to hollow figurines of both groups compared with contemporaneous solid figurines. A previous assertion that “hollow babies” were primarily produced and consumed in Central Mexico is rejected, and the significance of the differences among these hollow-figurine types is considered.
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Pool, Christopher A., Michael L. Loughlin, and Ponciano Ortiz Ceballos. "TRANSISTHMIAN TIES: EPI-OLMEC AND IZAPAN INTERACTION." Ancient Mesoamerica 29, no. 2 (2018): 413–37. http://dx.doi.org/10.1017/s0956536118000123.

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AbstractIn 1943, Matthew Stirling (1943:72) once opined, “Izapa appears to be much more closely related to the earth-mound sites of southern Veracruz … than it does with sites in the Maya area.” Since then, scholars have postulated ties of varying strength between Late Formative polities on either side of the Isthmus of Tehuantepec. Ceramic similarities have been noted between southern Chiapas and the Gulf Coast, but discussion of Late Formative transisthmian interaction has focused primarily on sculptural similarities between Izapa and sites of the lower Papaloapan basin, including Tres Zapotes, El Mesón, and Alvarado. Indeed, Michael Coe (1965b:773) suggested that the Izapan art style may have originated on the Gulf Coast rather than on the Pacific slope. In this article, we reexamine Late Formative interaction between Izapa and Epi-Olmec polities with an expanded data set based on recent iconographic studies and archaeological investigations in and around Tres Zapotes.
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Barberena, Elsa, Carmen Block, and Elda Mónica Guerrero. "Investig@rte: the national network of art libraries in Mexico." Art Libraries Journal 30, no. 3 (2005): 25–29. http://dx.doi.org/10.1017/s0307472200014061.

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Mexican art, dating back to 2500 BC, is enormously rich and stylistically varied, the product of the country’s indigenous, ‘mestizo’ [mixed race] and Mexican cultures, which range from Olmec, Teotihuacan, Zapotec and Mixtec, to Mayan and Aztec. During the colonial period, the influence of European art was added, brought via Spain, and at the same time Catholicism prevailed over pre-Hispanic polytheism. Mexican culture as it is known today emerged at the end of the Spanish colonial period and its wealth is amply demonstrated in the content of the writings and other documents found in Mexican libraries today.
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Diehl, Richard A. "Olmec Art at Dumbarton Oaks. Pre-Columbian Art at Dumbarton Oaks, No. 2. Karl A. Taube." Journal of Anthropological Research 61, no. 3 (October 2005): 397–99. http://dx.doi.org/10.1086/jar.61.3.3631332.

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Trejo, Silvia. "The Art of Mesoamerica. From Olmec to Aztec, de Mary Ellen Miller." Anales del Instituto de Investigaciones Estéticas 15, no. 57 (August 6, 1986): 232. http://dx.doi.org/10.22201/iie.18703062e.1986.57.1343.

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7

Kett, Robert J. "Monumentality as Method." Representations 130, no. 1 (2015): 119–51. http://dx.doi.org/10.1525/rep.2015.130.5.119.

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This article examines the work of a father and son—archaeologist Robert Heizer and land artist Michael Heizer. While one is known as a methodological and technological innovator in Cold War archaeological practice, the other is a prominent figure in an art movement highly critical of modern forms of knowledge and experience. Looking past this apparent disjuncture, this article examines the unexpected continuities in both men’s methods, as evidenced in Robert Heizer’s study of the Olmec site of La Venta and Michael Heizer’s creation of massive earthworks inspired by ancient societies.
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Khokhriakova, Sandra А., and Аmina I. Fakhri. "ON ELEMENTS OF OLMEC ICONOGRAPHY IN ROCK ART SITES IN MEXICO AND GUATEMALA." Journal of historical philological and cultural studies 3, no. 57 (September 2017): 283–97. http://dx.doi.org/10.18503/1992-0431-2017-3-57-283-297.

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9

Tiesler, Vera. "“Olmec” Head Shapes among the Preclassic Period Maya and Cultural Meanings." Latin American Antiquity 21, no. 3 (September 2010): 290–311. http://dx.doi.org/10.7183/1045-6635.21.3.290.

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This paper analyzes the biographical and related archaeological information of 10 artificially shaped skulls from the broader Maya area, which bear resemblance to the high and narrow head morphology depicted in Olmec art. The skeletal evidence of this head form, which was accomplished by combining compression cradleboards with constricting horizontal wraps (tabular erect type in its pseudo-circular variety), is rare and predates A.D. 250 in all cases. Here I compare the cranial vaults shaped in this fashion with that of 49 other Preclassic period Maya indivisuals from different parts of the Maya world. The discussion explores the possible evolving social and religious roles of this emblematic body modification. I argue that Olmecoid head modification was a syncretic cultural adoption, since it was just one of many expressions of a deeply embedded Preclassic tradition, still practiced centuries after the demise of Olman’s societies themselves. The visible effect of the artificial pear-shaped heads most likely reflected gradual shifting ideological schemes, probably emulating early versions of the Maya Maize God, given the resemblance to Preclassic period renderings of this supernatural force.
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Reilly, F. Kent. "The Shaman in Transformation Pose: A Study of the Theme of Rulership in Olmec Art." Record of the Art Museum, Princeton University 48, no. 2 (1989): 4. http://dx.doi.org/10.2307/3774730.

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Dissertations / Theses on the topic "Olmec art"

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Follensbee, Billie J. A. "Sex and gender in Olmec art and archaeology /." Ann Arbor (Mich.) : UMI dissertation services, 2001. http://catalogue.bnf.fr/ark:/12148/cb37711865s.

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"The structure and periodization of the Olmec representational system." Tulane University, 1990.

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The present study is an attempt to isolate the structure and the developmental periods of the Olmec representational system. A systemic view and comparative analysis of this art yielded a breakdown of its component parts, established their range of variability, and provided an understanding about their articulation. Recurrent patterns of articulation revealed the major themes of the system. The term Olmec is limited to a specific art style, and not to the civilization The human form was the system's underlying form. Three main themes, or iconic complexes, emerged: the realistic Baby Face, the composite anthropomorph, and the composite zoomorph. Each theme showed specific associated motifs which, in some cases, were shared by the other two. The fundamental structure underlying the entire system is dual, one determining the naturalistic expression and the other the composite expression The temporal sequence of the Olmec representational system may be divided into three major periods. Olmec I (1200-1000 B.C.) is characterized by the presence of the composite zoomorph iconic complex, and by hollow and solid clay figurines depicting individuals with the realistic Baby Face type of visage. Monumental sculptures were apparently carved during the second half of the period. Olmec II (1000-700 B.C) is characterized by the appearance of the composite anthropomorph and its associated symbols. Portable carving was introduced in the form of realistic Baby Face individuals, the composite anthropomorph, stone copies of utilitarian objects and objects of adornment. New forms such as seated realistic Baby Face figures holding the composite anthropomorph and the same individuals dressed as the composite anthropomorph are added to the extant inventory of altars and colossal heads. Beginning at about 700 B.C., new forms and stylistic aspects are introduced into the system without significantly altering its structure, establishing the Modified Olmec period (700-400 B.C.). Composite representation related to serpent and avian pars pro toto elements became dominant. The realistic Baby Face individual is replaced by one with plain realistic features, the focus of representations carved on rock outcroppings, stelae, or painted on walls. (Abstract shortened by UMI.)
acase@tulane.edu
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Books on the topic "Olmec art"

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(Firm), Taguchi Fine Art. Jaguar's children: The art of Olmec. Tokyo, Japan: Taguchi Fine Art, 2007.

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2

E, Clark John, and Pye Mary E, eds. Olmec art and archaeology in Mesoamerica. Washington, D.C: National Gallery of Art, 2000.

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3

Gerards, Francisca Philomena Johanna. Olmeekse hoofden: De omgekeerde pyramide. Leiden: Universiteit Leiden, 2000.

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4

D, Coe Michael, Princeton University Art Museum, and Museum of Fine Arts, Houston., eds. The Olmec world: Ritual and rulership. Princeton, N.J: Art Museum, Princeton University in association with Harry N. Abrams, 1995.

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5

Nuño, Rubén Bonifaz. Hombres y serpientes: Iconografía olmeca. México: Coordinación de Humanidades, Seminario de Estudios Prehispánicos para la Descolonización de México, Universidad Nacional Autónoma de México, 1989.

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E, Clark John, Pye Mary E, and National Gallery of Art (U.S.), eds. Olmec art and archaeology in Mesoamerica. Washington: National Gallery of Art, 2005.

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7

Tate, Carolyn Elaine. Reconsidering Olmec visual culture: The unborn, women, and creation. Austin: University of Texas Press, 2012.

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8

Rodrigo, Castañeda Valle, ed. Iconografía olmeca: Composición de signos y principio combinatorio. México: Universidad Nacional Autónoma de México, 2011.

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9

Miller, Mary Ellen. The art of Mesoamerica from Olmec to Aztec. London: Thames and Hudson, 1986.

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10

Nuño, Rubén Bonifaz. Olmecas: Esencia y fundación : hipótesis iconográfica y textual. México: El Colegio Nacional, 1992.

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Book chapters on the topic "Olmec art"

1

Steward, Michelle. "Referents in Olmec Art." In Semiotics, 392–405. Semiotic Society of America, 1990. http://dx.doi.org/10.5840/cpsem199062.

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2

"Order and Nature in Olmec Art." In The Ancient Americas: Art from Sacred Landscapes. Art Institute of Chicago, 1998. http://dx.doi.org/10.37862/aaeportal.00118.014.

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3

Brittenham, Claudia. "Shifting Scales at La Venta." In Figurines, 51–87. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861096.003.0003.

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This chapter explores figurines in a variety of media from the Olmec sacred site at La Venta. It examines the scaled relationships within a series of figurines: all are by definition small, but they are not equally small, something that can be hard to keep in mind when we usually see figurines in relative isolation or as disembodied images on page or screen, abstracted from all scaled referents. Crucial is that Mesoamerican figurines are almost universally scaled to the human body, so that they can be grasped with a single hand. Many bear patterns of wear corresponding to sites of repeated touch. Touch was fundamental to the making of figurines, and also to their subsequent use: many cannot stand independently, and instead require a kind of affective caretaking. These issues have fundamental significance for the play of scales at La Venta, where many monumental art forms, from pyramids to stelae, also engaged with matters of scale.
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Hirth, Kenneth, and Ann Cyphers. "The San Lorenzo Olmec." In Olmec Lithic Economy at San Lorenzo, 15–56. University Press of Colorado, 2020. http://dx.doi.org/10.5876/9781646420575.c002.

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Peres, Tanya M., Amber M. VanDerwarker, and Christopher A. Pool. "The Zooarchaeology of Olmec and Epi-Olmec Foodways along Mexico’s Gulf Coast." In Archaeology of Mesoamerican Animals, 95–128. Lockwood Press, 2013. http://dx.doi.org/10.5913/2013055.ch05.

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It has been nearly three decades since any substantial works on Olmec zooarchaeology have been published, leaving a void in the recent literature for this important chronological and cultural period in Mesoamerica. This chapter synthesizes new and published studies on Formative (Olmec and epi-Olmec) zooarchaeology along Mexico’s Gulf Coast from the sites of Bezuapan, La Joya, San Lorenzo, and Tres Zapotes. The data we present here are fundamental to understanding regional foodways and the impor- tance of different ecological zones to human subsistence. We compare sub- sistence data from early and late phases of the Formative period, between elite and nonelite inhabitants, and between rural villages and political cen- ters to understand whether animal-use patterns were related to local ecol- ogy, status, or the needs of a nucleated population.
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Beekman, Christopher S. "Regional and Corporate Identities in Formative Period Western Mexico." In Identities, Experience, and Change in Early Mexican Villages, 158–93. University Press of Florida, 2022. http://dx.doi.org/10.5744/florida/9780813069296.003.0007.

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Western Mesoamerica is often left out of considerations of Formative Period Mesoamerican history and culture, due to the absence of objects in the Gulf Coast Olmec style. This chapter posits that the far western states incorporated a distinct cultural heritage, worldview, and language family from those areas to the east that interacted most closely with the Gulf Coast Olmec region in the Early Formative. The argument is substantiated by extending the existing evidence for connections between western Mesoamerican groups further into central Mexico to the Tlatilco/Cuautla cultures and the major center of Cuicuilco. Ritual practices, worldview, and the emergence of inequalities are addressed within the context of corporate groups and long-distance exchange that delineate a different set of historical processes at work in the western Mesoamerican Formative. Incorporating, rather than avoiding, western Mesoamerica provides greater clarity to the Olmec phenomenon and to Mesoamerica’s diverse origins.
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Bernard, Henri Noel, Sara Ladrón de Guevara, Mayra Manrique, and José Luis Ruvalcaba. "New Approaches to Jadeite Usage in Formative Mesoamerica." In Identities, Experience, and Change in Early Mexican Villages, 108–28. University Press of Florida, 2022. http://dx.doi.org/10.5744/florida/9780813069296.003.0005.

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Early studies of Olmec culture drew on greenstone objects as a key element in definition of the style and its distribution. These investigations proved unsatisfactory because the objects lacked clear archaeological contexts. In this chapter we summarize the history of studies of portable greenstone objects, discuss recent archaeological finds, and report our attempts to source the raw materials using contemporary geochemical techniques. Our goals are to better understand the Olmec style, choices and sources of raw materials, the exchange networks through which the raw materials and finished products flowed, and relationships among Mesoamerica’s earliest complex societies.
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Hirth, Kenneth, and Ann Cyphers. "Olmec Lithic Economy: What Have We Learned?" In Olmec Lithic Economy at San Lorenzo, 264–78. University Press of Colorado, 2020. http://dx.doi.org/10.5876/9781646420575.c010.

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Hirth, Kenneth, and Ann Cyphers. "Introducing Lithic Economy." In Olmec Lithic Economy at San Lorenzo, 3–14. University Press of Colorado, 2020. http://dx.doi.org/10.5876/9781646420575.c001.

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Hirth, Kenneth, and Ann Cyphers. "The Lithic Percussion Industries of San Lorenzo." In Olmec Lithic Economy at San Lorenzo, 57–81. University Press of Colorado, 2020. http://dx.doi.org/10.5876/9781646420575.c003.

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