Museum for the Aztec and Maya

Completed February 21, 2021

Figure 1

Maize Deity (Chicomecoatl)

15th- early 16th century

Aztec

Currently in the Metropolitan Museum of Art

The Aztec empire celebrated many gods, all of which were associated with different aspects of their life. Amongst them was the Maize Deity Chicomecoatl who represented agricultural fertility. Deities responsible for agriculture held a prominent place amongst the Aztecs, for it was them who would determine how well crops grew. In the Aztec language, Nahuatl, Chicomecoatl means seven serpents. She is the goddess of nourishment, especially of edible plants and corn. This particular sculpture depicts her standing barefoot wearing a long skirt held up by a belt. In her right hand, she is holding two maize ears. Her headpiece is large, covering most of her body. Depicted on her head piece are twisted elements that run horizontally, and rosettes at the top corner on each side. The entire headpiece is known as amacalli or “paper house” and it is most typically attributed with the corn goddess. During their religious rituals, amacalli were created to be worn by the corn goddess impersonators. The amacalli were elaborately created using brightly colored stiff bark paper. This Maize Deity was carved from a stone slab in a flat angular style. Most shapes seen in this sculpture are rectangular, only her face, maize, and rosettes are circular. The deity's face appears peeking out of the headdress, which resembles someone looking through an open door. Aztecs held great importance for fertility figures; because of this they were mass produced. It is most likely that this sculpture was a household idol. 

Figure 2

Head of a Rain God

10th-11th century

Maya (excavated in Chichen Itza in a small temple nicknamed “Casa de Cabecitas” or “House of the Small Heads”)

Currently in the Metropolitan Museum of Art

Similar to the Aztecs, the Mayans as well had a variety of gods they worshiped, one of them being the Rain God as seen in figure 2. This sculpture depicts a supernatural being who is defined by skeletal facial features, large ear flares, and a beaded headband pushing the back hair. On the forehead is a circular piece which possibly represents a round jewel which hangs down from the headband. As seen here the head is detached and was most likely connected to an architectural sculpture as part of a free standing monument. 

 Deities such as this one, were said to have a different ability to see than the humans; this is indicated by their eyes. Looking closely at the eyes, one will see remains of red pigment which was used to detail the spiral-shaped pupil. The eyes have a thick frame around them. On both cheeks there are dots, this helps in indicating the eyes of the deity are markers of godliness-this is commonly seen in Mayan art. The specific features on this sculpture are associated with the Rain God Chank, however, the under-eye scrolls as well make it possible for the artist of this sculpture to have infused both the rain deity with features of the Sun God. In this sculpture are representations of different style approaches, which is a common occurrence in the art found in Chichen Itza. This blurring of styles is most evident in the Early Post Classical Period from the years 900-1200 AD, which is when the Mayans in Chichen Itza and the Toltecs in Central Mexico interacted. When the head was found, it was not connected to the body; therefore it is possible that those who revered the Rain God may have moved the head into the temple in which it was found to give it more of a sacred place to stay. 

Museums are very crucial to the way one understands the art they are looking at. As stated in the article Introduction to Art/Artifact: African Art in Anthropology Collections by Susan Vogel ``Museum installations have naturally reflected the philosophies and attitudes of their organizers from the time they first began.” (210) For most visitors of a museum, they are unaware of how influenced their perspective of the art is based on the way it is laid out. What art museums consider most important is seen right in front or right in the middle; making sure everyone who enters is able to look at it. Most notably Europeans have set the standards for how art museums are to be laid out and the manners that come along with attending a museum. Museums are to be places of contemplation, meaning you are to be quiet and respectful of everyone else's experience. Thinking about the way museums nowadays have their layout done, the art of the indigenous cultures are either seen on the lowest level, or in the furthest part of the museum.

 What this goes to show is how art of Pre-Colombian era are still seen as less than the art of Europeans. As well the lighting in these rooms tend to be on the darker side, making it more challenging to see each element of the art piece. 

For the museum that I would create, which would incorporate figures 1 and 2, would be based more on a timeline layout and the museum would be more of a circular format. The museum entrance would resemble the style and color scheme of the Museum of Fine Arts Boston-as seen in the image to the left. The first floor would be where one would check in and where the gift store and open lounge that had an entrance to a garden. All of the art would begin on the second floor, showing that nothing is being looked down upon as if they were to be covered up or hidden. Visitors would enter and start walking through the museum from the left where art of the Pre-Colombian era would be.  

In the Aztec room with the Maize Deity I would have the room in a white color that way all the colors would stand out in the room. The sculpture would as well stand out more since the sculpture is a  darker color. The sculpture would be on a stand that way it is seen as equal to everything else. Right next to the sculpture there would be a replica of the amacalli so that visitors could see how intricate these headpieces were and how brightly colored they are. It seems as though many people do not truly believe how complex art was from this time, my museum would help ensure that visitors see how much time and thought went into these pieces. Depending on what time of day the rituals for the Maize deity took place, would determine the lighting; even if it was at night, I would have enough light and spotlights to highlight every little detail and color incorporated into it. The lower light would allow for the viewers to see the headpieces and the sculpture the way it was used during ceremonies. Since the Aztec empire was surrounded by greenery, I would incorporate a few plants around the piece. Part of the plants would have a couple pieces of maize for more understanding of what the deity is holding in her right hand. The plants would also be in a brown vase, representing the ground and earth that hold these plants.

In the Mayan Rain God section, the walls would be white but the lighting would be dark with a blue tint so it would give off a sense of rain. The head of the sculpture would be placed on a stand giving it a sense of power and importance, since the Mayan held a great importance for it. Next to the sculpture would be a replica of the head that is in color so that visitors can see how the original sculpture looked. Having more color would brighten up the room and draw in more attention. Thinking about museums now, the art of Mesoamerica is not very colorful since much of it has come off. These sections tend to feel lifeless and dull, having color incorporated would liven up the rooms. I, as well, find it important to have something with it that shows its original form so that viewers can see how detailed this object was when it was first created. There will be a spotlight on it since the room would be darker. The light would be bright so that no one misses the small details. Around it would be mainly empty since it was found in a temple. With the sculpture would be a list of the iconography that is associated with the Rain God. This would help with identifying the objects on the sculpture. 

For both artifacts there would be a label that has information about it and the labels would be protruding from the wall just enough to catch attention. It would be white and have black writing so it can stand out against the wall. The writing would take a biographical approach so that more aspects of the piece would be read about. The biographical approach, as well, would give the art piece life as it once had. It seems to be that most people find an importance to objects when you talk about them as having a life, therefore, this would work better in speaking about the all the different ways it interacted with human life. Some of the questions answered in the biography would be regarding its creation, its career, its usefulness, its connection to the gods, and its connection to human life. (Igor Kopytoff, 66) There would be another label that went into the history of the deity that the sculpture is meant to embody. In having both labels, visitors are not only going to get information of the sculpture itself but also of the subject. Many times in museums the labels do not give enough information to get a full understanding of the importance of the piece. My museum would ensure that there is enough information given for all to have a well rounded understanding of the art piece and what it represents. 

The idea for the museum and these specific pieces, is to give visitors more of an understanding of what these pieces are. Showing the importance of these sculptures and the way they were viewed would allow for visitors to see its importance, and hopefully care more about it. As Amy Buono discussed in her article Museums as Realms of (dis)Enchantment. Latin American and Latinx Visual Culture there is a great separation between what is considered important in society. When Notre Dame burned down, the amount of support it received was incredible, however, when the Museo Nacional burned down there was hardly any media coverage on it and therefore hardly any support for recovering the museum. My museum would help focus on having all art pieces be seen as equal and unique in their own way, allowing visitors to immerse themselves somewhat into the culture of where the object is from. Since there is such a separation between art of Pre-Colombian era and art of the Europeans, I want to help create a sense of equality. The art that was made during the time of the Aztec and Maya is truly incredible especially considering the tools that were used to create these pieces.