DOI Page / Citation link:
https://doi.org/10.11588/diglit.67683#0576
394 ABORIGINAL AMERICAN ART
motifs but interestingly varied we find at lAitla (Pl. 156s and
Fig. hi). The sloping base is made of blocks that are unequal
in size but finely cut and joined. Here for some inexplicable
reason, mythological and naturalistic subjects and sculpture were
entirely eliminated, and all the decoration, both exterior and
interior, is purely geometric. The tough yet easily worked stone
of this vicinity lent itself well to the technique. The small
pieces of stone, at most a few inches in size, were carefully cut
and finished on the face, which projected only about one and
one-half inches, with the back left rough and deeply triangular
in form so as to adhere more firmly to the mortar bedding. The
long fagade above the inclining lower courses of stone is broken
into panels, each filled with this mosaic, with great variety of
motif.
Another kind of ornament used very skillfully by the Maya
was stucco, particularly at Palenque, where the native stone
was usually too hard to work with stone tools. Commonly
it was employed to smooth over stone that had been roughly
dressed by pecking only. But it was also used plastically for
decorating the sides of pyramidal bases, piers, and crests. When
the relief was high, the rough wall was covered with plaster in
which small stones were set to give a framework for the figure.
Holes were sometimes cut in the foundation stone to give a firm
hold for this stone skeleton. On this the plaster was molded;
and the final coat of fine quality was polished and painted so
that the surface was brilliant and shining. Typical of this work
is a monumental relief from Palenque (Pl. 157 a). In the center
stands a figure in marvelous ceremonial costume and enormous
plumed headdress, carrying a staff surmounted by the conven-
tionalized serpent. The two seated figures reveal the power of
draughtsmanship as seen in the foreshortening. They also
strengthen by their seated position the importance of the central
figure. The brilliant color of the relief was probably determined
by symbolical as well as artistic criteria.
SCULPTURE
Sculptural decoration was applied to the so-called stelae and
altars found at many sites. These stelae are rectangular mono-
liths up to twenty-six feet high elaborately carved with figures
and inscriptions, and are thought to have a chronological sig-
nificance. The altars, such as that at Quirigua (Pl. 157 d), are
low, massive forms, also monoliths. The Great Dragon^ as it
4 Also called the Great Turtle because in general shape it resembles a gigantic turtle.
motifs but interestingly varied we find at lAitla (Pl. 156s and
Fig. hi). The sloping base is made of blocks that are unequal
in size but finely cut and joined. Here for some inexplicable
reason, mythological and naturalistic subjects and sculpture were
entirely eliminated, and all the decoration, both exterior and
interior, is purely geometric. The tough yet easily worked stone
of this vicinity lent itself well to the technique. The small
pieces of stone, at most a few inches in size, were carefully cut
and finished on the face, which projected only about one and
one-half inches, with the back left rough and deeply triangular
in form so as to adhere more firmly to the mortar bedding. The
long fagade above the inclining lower courses of stone is broken
into panels, each filled with this mosaic, with great variety of
motif.
Another kind of ornament used very skillfully by the Maya
was stucco, particularly at Palenque, where the native stone
was usually too hard to work with stone tools. Commonly
it was employed to smooth over stone that had been roughly
dressed by pecking only. But it was also used plastically for
decorating the sides of pyramidal bases, piers, and crests. When
the relief was high, the rough wall was covered with plaster in
which small stones were set to give a framework for the figure.
Holes were sometimes cut in the foundation stone to give a firm
hold for this stone skeleton. On this the plaster was molded;
and the final coat of fine quality was polished and painted so
that the surface was brilliant and shining. Typical of this work
is a monumental relief from Palenque (Pl. 157 a). In the center
stands a figure in marvelous ceremonial costume and enormous
plumed headdress, carrying a staff surmounted by the conven-
tionalized serpent. The two seated figures reveal the power of
draughtsmanship as seen in the foreshortening. They also
strengthen by their seated position the importance of the central
figure. The brilliant color of the relief was probably determined
by symbolical as well as artistic criteria.
SCULPTURE
Sculptural decoration was applied to the so-called stelae and
altars found at many sites. These stelae are rectangular mono-
liths up to twenty-six feet high elaborately carved with figures
and inscriptions, and are thought to have a chronological sig-
nificance. The altars, such as that at Quirigua (Pl. 157 d), are
low, massive forms, also monoliths. The Great Dragon^ as it
4 Also called the Great Turtle because in general shape it resembles a gigantic turtle.