DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.67683#0575
EARLIEST TIMES TO SEVENTEENTH CENTURY 393
The feathered serpent formed one of the most common motifs
in Mayan art. Seldom is it found used naturalistically, but it
is highly simplified and conventionalized until it appears almost
as a geometric pattern. Its sinuous form adapted itself to a
generally rectangular shape, as on the base of the temple at
Xochicalco (Pl. 157 c). This was a settlement of the Toltec whose
patron god was Quetzalcoatl. The decorative band of both the
pyramidal platform and the temple is
based upon the sinuous folds of great
plumed serpents, between the coils
of which are human figures and
hieroglyphs, all standing out clearly
against the colored ground.
Another kind of decoration was
stone mosaic. The Governor s Palace
at Uxmal (Pl. 156c) well illustrates
the general effect. This long, rec-
tangular flat-roofed building has
a fagade that is boldly designed
and extremely decorative. Like the
typical Mayan building it is made
of rough concrete and is faced with
finely cut, light gray limestone. A
bold triple cornice divides the fagade
into two bands. Below is a plain
stone facing; above, an elaborate de-
sign in relief the dominant motif of
which is the fret against a lattice
ground with an elaborate ornament
over the doorway; a simple wave-
line border finishes the composition.
The design is not carved from the
stone but is built up of stone mosaic
in relief; that is, small pieces of
stone were cut and fitted, each in-
dividual piece to its own place, and set in mortar, a process
involving an enormous amount of patient labor. The ornament
over the doorway consists of a human figure, life-size, seated in
a niche with a curving base, surmounted by an enormous plumed
headdress; from this central figure extend horizontal bars enclos-
ing hieroglyphic inscriptions and terminating in conventional-
ized profile serpent heads.
Another example of stone mosaic worked out in geometric
The feathered serpent formed one of the most common motifs
in Mayan art. Seldom is it found used naturalistically, but it
is highly simplified and conventionalized until it appears almost
as a geometric pattern. Its sinuous form adapted itself to a
generally rectangular shape, as on the base of the temple at
Xochicalco (Pl. 157 c). This was a settlement of the Toltec whose
patron god was Quetzalcoatl. The decorative band of both the
pyramidal platform and the temple is
based upon the sinuous folds of great
plumed serpents, between the coils
of which are human figures and
hieroglyphs, all standing out clearly
against the colored ground.
Another kind of decoration was
stone mosaic. The Governor s Palace
at Uxmal (Pl. 156c) well illustrates
the general effect. This long, rec-
tangular flat-roofed building has
a fagade that is boldly designed
and extremely decorative. Like the
typical Mayan building it is made
of rough concrete and is faced with
finely cut, light gray limestone. A
bold triple cornice divides the fagade
into two bands. Below is a plain
stone facing; above, an elaborate de-
sign in relief the dominant motif of
which is the fret against a lattice
ground with an elaborate ornament
over the doorway; a simple wave-
line border finishes the composition.
The design is not carved from the
stone but is built up of stone mosaic
in relief; that is, small pieces of
stone were cut and fitted, each in-
dividual piece to its own place, and set in mortar, a process
involving an enormous amount of patient labor. The ornament
over the doorway consists of a human figure, life-size, seated in
a niche with a curving base, surmounted by an enormous plumed
headdress; from this central figure extend horizontal bars enclos-
ing hieroglyphic inscriptions and terminating in conventional-
ized profile serpent heads.
Another example of stone mosaic worked out in geometric