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Xochipilli, the “Flower Prince,” was the god of flowers and patron of music, song, dance, and gambling. Under his other name, Macuilxochitl, he was also the patron deity of the ballgame, in which betting was a common practice. The god figure is seated with his legs drawn towards him and his arms resting across his knees. He wears a loincloth and sandals, and his head is adorned with the feather crest of the tropical quetzal bird, whose song is the first to be heard at dawn.

Xochipilli, the “Flower Prince,” was the god of flowers and patron of music, song, dance, and gambling. Under his other name, Macuilxochitl, he was also the patron deity of the ballgame, in which betting was a common practice. The god figure is seated with his legs drawn towards him and his arms resting across his knees. He wears a loincloth and sandals, and his head is adorned with the feather crest of the tropical quetzal bird, whose song is the first to be heard at dawn.

Xochipilli, the god of flowers, plants, and music
clay and pigments
1200-1400 CE
Aztec
Mexico

#handmade #ceramic #clay #pigments #religion #art #xochipilli #aztec #prince #god #flowers #plants #music #sport #mexico #mesoamerica #precolumbian #prehispanic #sculpture #ancientart #ancientmexico

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Seated figure
carved greenstone
900-600 BCE
Olmec culture
Mexico

#handmade #carved #green #stone #seatedfigure #olmec #olmecculture #mesoamerica #ancientmexico #prehispanic #precolumbian #ancientculture #sculpture #art #ancientart #precolumbianjade #nephrite #stone #carvedstone

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The Mesoamerican ballgame is among the most important and enduring cultural features of the Pre-Columbian world, and its accompanying accoutrements of yokes, hachas, and palmas comprise one of the most important categories of stone sculpture.
The objects known as hachas, the Spanish word for “axes”, were originally named for their tapering form’s supposed resemblance to large stone axe heads. Like yokes and palmas, these enigmatic stone artifacts probably represent ritual effigies of actual ballgame equipment that was probably made of lighter and more perishable materials. These ceremonial objects in stone were evidently of high value, but many questions remain around the context in which they were originally used. 
The bold and assured carving of the present hacha illustrates several features that are particularly distinctive to hachas depicting bats. These include the large, pricked, ears, the depiction of the tragus, the fleshy form at the lower part of the ear, and the perforation in the upper half, which Shook and Marquis note “seldom occurs on specimens in other categories” (Edwin M. Shook and Elayne Marquis, op. cit., p. 77). Interestingly, this perforation is present on almost every hacha from the great Mayan city state of Palenque (ibid.).

Although illustrating features distinctive to a bat, something in the powerful physiognomy of this hacha seems to suggest a snarling jaguar. This hacha differs from most depictions of jaguars in hachas – although the fleshy snout suggests the big cat more than the bat – but Shook and Marquis note the resemblance, and state that “perhaps bat/jaguar/serpent would more accurately describe this representation.” (ibid., p. 80). The serpent, which here arches up from the bat’s snout, its slithering head atop the bat’s ear, was a creature with “important mythological connotations, and often associated with water and rain.” (ibid., p. 171). Hachas with secondary representations are rare.

The Mesoamerican ballgame is among the most important and enduring cultural features of the Pre-Columbian world, and its accompanying accoutrements of yokes, hachas, and palmas comprise one of the most important categories of stone sculpture. The objects known as hachas, the Spanish word for “axes”, were originally named for their tapering form’s supposed resemblance to large stone axe heads. Like yokes and palmas, these enigmatic stone artifacts probably represent ritual effigies of actual ballgame equipment that was probably made of lighter and more perishable materials. These ceremonial objects in stone were evidently of high value, but many questions remain around the context in which they were originally used. The bold and assured carving of the present hacha illustrates several features that are particularly distinctive to hachas depicting bats. These include the large, pricked, ears, the depiction of the tragus, the fleshy form at the lower part of the ear, and the perforation in the upper half, which Shook and Marquis note “seldom occurs on specimens in other categories” (Edwin M. Shook and Elayne Marquis, op. cit., p. 77). Interestingly, this perforation is present on almost every hacha from the great Mayan city state of Palenque (ibid.). Although illustrating features distinctive to a bat, something in the powerful physiognomy of this hacha seems to suggest a snarling jaguar. This hacha differs from most depictions of jaguars in hachas – although the fleshy snout suggests the big cat more than the bat – but Shook and Marquis note the resemblance, and state that “perhaps bat/jaguar/serpent would more accurately describe this representation.” (ibid., p. 80). The serpent, which here arches up from the bat’s snout, its slithering head atop the bat’s ear, was a creature with “important mythological connotations, and often associated with water and rain.” (ibid., p. 171). Hachas with secondary representations are rare.

Snake-Bat-Cat Hacha
carved stone
circa 550-950 CE
Maya culture
Mexico

#hacha #maya #snake #bat #cat #zoomorphic #carved #stone #Maya #mayanculture #mesoamerica #palenque #mexico #ancientart #precolumbian #prehispanic #mesoamericanballgame #ceremonial #ritual #sculpture #art #mayanart #ancientmexico

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Anthropomorphic pendant depicting the head of a Maya lord shown in profile. The finely carved face is distinguished by a hieratic expression characteristic of elite
representations, with full lips, a strongly defined nose, and almond-shaped eyes. The figure wears an elaborate headdress dominated by a stylized animal figure with an elongated snout and a prominent fang. The ear, integrated into the profile, is adorned with a circular ornament.
The overall composition, with its deliberately composite and serpentiform forms, does not allow for a precise iconographic identification.

Anthropomorphic pendant depicting the head of a Maya lord shown in profile. The finely carved face is distinguished by a hieratic expression characteristic of elite representations, with full lips, a strongly defined nose, and almond-shaped eyes. The figure wears an elaborate headdress dominated by a stylized animal figure with an elongated snout and a prominent fang. The ear, integrated into the profile, is adorned with a circular ornament. The overall composition, with its deliberately composite and serpentiform forms, does not allow for a precise iconographic identification.

Anthropomorphic pendant
jadeite
600-900 CE
Maya
Late Classic period
Mexico

#handmade #carved #jade #jadeite #pendant #mayaculture #lateclassicperiod #anthropomorphic #design #mesoamerica #precolumbian #prehispanic #ancientmexico #mexico #ancientculture #precolumbianjade #oneofakind #jewelrydesign

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Spiders in the Colima culture of ancient West Mexico (ca. 300 BC – 600 AD) were significant symbolic figures often depicted in terracotta zoomorphic vessels. These ceramic pieces, commonly found in shaft tombs, suggest that spiders held a complex, likely supernatural, role in their cosmology, connecting the earthly realm with the underworld.
Spiders are frequently represented in burial contexts, suggesting they functioned as protective entities or spiritual guardians for the deceased in the shaft tombs.
Similar to other Mesoamerican traditions, the spider was seen as a "weaver" of reality, representing the creative force and the ability to rebuild or transform, often linked to the cycles of life and death.
n broader pre-Hispanic contexts, including the nearby, roughly contemporary cultures in Peru (Cupisnique), spider imagery is closely associated with water, rain, and fertility, acting as a deity that brings necessary life forces. 
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Spiders in the Colima culture of ancient West Mexico (ca. 300 BC – 600 AD) were significant symbolic figures often depicted in terracotta zoomorphic vessels. These ceramic pieces, commonly found in shaft tombs, suggest that spiders held a complex, likely supernatural, role in their cosmology, connecting the earthly realm with the underworld. Spiders are frequently represented in burial contexts, suggesting they functioned as protective entities or spiritual guardians for the deceased in the shaft tombs. Similar to other Mesoamerican traditions, the spider was seen as a "weaver" of reality, representing the creative force and the ability to rebuild or transform, often linked to the cycles of life and death. n broader pre-Hispanic contexts, including the nearby, roughly contemporary cultures in Peru (Cupisnique), spider imagery is closely associated with water, rain, and fertility, acting as a deity that brings necessary life forces. Facebook

Spider form vessel
terracotta
300 BCE - 300 CE
Colima culture
Mexico

#spider #vessel #colimaculture #mesoamerica #ancientmexico #mexico #handmade #terracotta #weaver #spiritual #shafttombs #guardian #fertility #afterlife #water #rain #lifeanddeath

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Zborover 2019. View of Ch-254 and Structure 5A, looking east. Cerro Picacho is in the background.

Zborover 2019. View of Ch-254 and Structure 5A, looking east. Cerro Picacho is in the background.

What can an ancient pithouse from the Viejo period (600 –1250 CE) in Chihuahua tell us about ritual and memory? Zborover uncovers how people shaped space to connect with their ancestors. doi.org/10.1080/0023...
#Archaeology #History #Chihuahua #AncientMexico #Ritual

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Olmec mask
carved stone
900 - 400 BCE
Veracruz, Mexico

#olmec #mexico #mesoamerica #ancient #precolumbian #prehispanic #carved #stone #mask #olmecmask #handmade #ancientart #art #archeology #culture #ancientamericas #ancientmexico

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Video

Uncover the mysteries of ancient Mexico at the Teotihuacan Pyramids! Marvel at the grandeur of the Pyramid of the Sun and the Pyramid of the Moon, and walk the Avenue of the Dead. A journey through history awaits! #Teotihuacan #AncientMexico #TravelHistory

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🇲🇽 MEXICO 🇲🇽
#MexicanHistory #AncientMexico #MexicoBeforeSpain #HiddenHistory #IndigenousMexico #ForgottenEmpires #TheRealMexico #DecolonizeHistory

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This bright green jade pendant depicts a Maya ruler wearing the headdress of a supernatural being. The lower half of the highly polished stone is a naturalistic face of a Maya lord whose lips are slightly parted, as if about to speak. The face seems to emerge from the gaping jaws of the deity depicted in the headdress. The iconography of the jade ties it strongly with Maya beliefs about rulership, particularly its connection with divine powers (see 2007.134).

The apex of the work terminates in a visual element that is common in artists’ depictions of crown jewels worn by Late Classic period (ca. 550 – 900 CE) kings and queens, especially in the 7th and 8th centuries. In fact, the pendant itself was likely a pectoral or a crown jewel, the centerpiece of a royal diadem, such as those found in the tombs of important historical figures. Fiber run through drill holes on the reverse side would have affixed the jewel to a bark paper or cloth fiber diadem, and multiple drill holes along the jaw of the ruler’s portraits would have allowed beads to dangle below. Red pigment in the drill holes indicates it was once part of a funerary assemblage, which the Maya often dusted with red minerals upon burial, as a king or queen took his or her jewels into the next life.

The work is exceptional for its relative size, the beauty of the apple-green jade (the shade most preferred by the Maya), and the outstanding sculptural qualities of the work. The richly volumetric carving sets this work apart from known, flatter compositions. There are two other pendants of comparable quality and imagery. The first was created for a ruler at Piedras Negras, Guatemala, and later deposited in the Great Cenote at Chichen Itza, Mexico; it is now in the collections of the Peabody Museum at Harvard University. The second was excavated from Burial 77 at Tikal, which likely held the final ruler of the city before its abandonment in the 9th century.

This bright green jade pendant depicts a Maya ruler wearing the headdress of a supernatural being. The lower half of the highly polished stone is a naturalistic face of a Maya lord whose lips are slightly parted, as if about to speak. The face seems to emerge from the gaping jaws of the deity depicted in the headdress. The iconography of the jade ties it strongly with Maya beliefs about rulership, particularly its connection with divine powers (see 2007.134). The apex of the work terminates in a visual element that is common in artists’ depictions of crown jewels worn by Late Classic period (ca. 550 – 900 CE) kings and queens, especially in the 7th and 8th centuries. In fact, the pendant itself was likely a pectoral or a crown jewel, the centerpiece of a royal diadem, such as those found in the tombs of important historical figures. Fiber run through drill holes on the reverse side would have affixed the jewel to a bark paper or cloth fiber diadem, and multiple drill holes along the jaw of the ruler’s portraits would have allowed beads to dangle below. Red pigment in the drill holes indicates it was once part of a funerary assemblage, which the Maya often dusted with red minerals upon burial, as a king or queen took his or her jewels into the next life. The work is exceptional for its relative size, the beauty of the apple-green jade (the shade most preferred by the Maya), and the outstanding sculptural qualities of the work. The richly volumetric carving sets this work apart from known, flatter compositions. There are two other pendants of comparable quality and imagery. The first was created for a ruler at Piedras Negras, Guatemala, and later deposited in the Great Cenote at Chichen Itza, Mexico; it is now in the collections of the Peabody Museum at Harvard University. The second was excavated from Burial 77 at Tikal, which likely held the final ruler of the city before its abandonment in the 9th century.

Pendant
carved jade, pigment
Maya culture
circa 600-700 CE
Mexico

#jade #mayaculture #mesoamerica #pendant #mayanjade #carved #handmade #ancientjade #tikal #piedrasnegras #chichenitza #mexico #ancientmexico #precolumbian #prehispanic #archaeology #jadeite #pigment #oneofakind #carving #royaljade

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Identified by the hieroglyphic inscription on his leg, Yax Ahk’, the lord of a place called Anaayte’, along the Usumacinta River on the modern border between Guatemala and Mexico, is shown as a captive impersonating the jaguar god. The flaming jaguar ear and the twisted cord between his eyes are attributes of the deity, a warrior who was himself captured and tortured by fire in primordial war myths.

Identified by the hieroglyphic inscription on his leg, Yax Ahk’, the lord of a place called Anaayte’, along the Usumacinta River on the modern border between Guatemala and Mexico, is shown as a captive impersonating the jaguar god. The flaming jaguar ear and the twisted cord between his eyes are attributes of the deity, a warrior who was himself captured and tortured by fire in primordial war myths.

Yax Ahk’ as captive impersonating jaguar deity
sandstone sculpture
Maya culture
circa 700 CE
Mexico

#Maya #mesoamerica #ancientmexico #stone #sculpture #yaxahk #deity #legend #myth #jaguargod #ritual #religion

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Mayan Artifacts are displayed at museums and areas of importance to show the way of life of the Mayans and what they used to believe. Those statues played an important role when it comes to worship #mayan #ancienthistory #museum #Cancun #rivieramaya #vacation #artifacts #musee #ancientmexico

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Fragment of a mural depicting the Quetzal bird, Puebla, Mexico, 200-600 AD.⁣ ⁣ #archaeology #ancientmexico #puebla #quetzal #mural #precolumbian

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In Aztec culture, snakes held significant symbolic meaning, primarily associated with rebirth, fertility, and the connection between the underworld and the sky. The snake's ability to shed its skin was interpreted as a symbol of transformation and renewal. Additionally, snakes were linked to gods like Quetzalcoatl (Feathered Serpent), Coatlicue (She of the Serpent Skirt), and Huitzilopochtli, the principal Aztec god. 
The ability of snakes to move freely between water, earth, and the forest canopy led to them being seen as intermediaries between the different layers of the cosmos, including the underworld, earth, and sky. 
Coatlicue, the earth goddess and mother of Huitzilopochtli, was often depicted with a serpent skirt, further emphasizing the snake's connection to the earth and fertility. 
Serpents were also used in architecture, with a wall of serpents (coatepantli) often marking out sacred spaces within a ceremonial area.

In Aztec culture, snakes held significant symbolic meaning, primarily associated with rebirth, fertility, and the connection between the underworld and the sky. The snake's ability to shed its skin was interpreted as a symbol of transformation and renewal. Additionally, snakes were linked to gods like Quetzalcoatl (Feathered Serpent), Coatlicue (She of the Serpent Skirt), and Huitzilopochtli, the principal Aztec god. The ability of snakes to move freely between water, earth, and the forest canopy led to them being seen as intermediaries between the different layers of the cosmos, including the underworld, earth, and sky. Coatlicue, the earth goddess and mother of Huitzilopochtli, was often depicted with a serpent skirt, further emphasizing the snake's connection to the earth and fertility. Serpents were also used in architecture, with a wall of serpents (coatepantli) often marking out sacred spaces within a ceremonial area.

An Aztec carving of a coiled snake. To the ancient Aztecs, the snake was a symbol of rebirth and transformation.

#aztec #snake #carved #stone #mesoamerica #ancientmexico #handmade #archeology #aztecsnake #azteccarving #precolumbian #prehispanic #ancientcarving #aztecreligion #aztecritual #art

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For the Aztecs, skulls held profound spiritual significance, symbolizing death, rebirth, and the continuation of life. They were used in rituals to honor the dead, displayed as trophies, and believed to represent the "seeds" that ensured humanity's continued existence. Skulls were also incorporated into art and architecture, reflecting the Aztecs' complex beliefs about the afterlife and the cyclical nature of life and death. 
Aztecs believed in a cyclical view of life and death, where death was not an end but a transition to another realm.
Skulls, as reminders of mortality, were seen as a gateway to the afterlife and the renewal of life.
The Day of the Dead (Día de los Muertos), which has roots in ancient Aztec rituals, continues to use skulls as a symbol of honoring the deceased and their return.

For the Aztecs, skulls held profound spiritual significance, symbolizing death, rebirth, and the continuation of life. They were used in rituals to honor the dead, displayed as trophies, and believed to represent the "seeds" that ensured humanity's continued existence. Skulls were also incorporated into art and architecture, reflecting the Aztecs' complex beliefs about the afterlife and the cyclical nature of life and death. Aztecs believed in a cyclical view of life and death, where death was not an end but a transition to another realm. Skulls, as reminders of mortality, were seen as a gateway to the afterlife and the renewal of life. The Day of the Dead (Día de los Muertos), which has roots in ancient Aztec rituals, continues to use skulls as a symbol of honoring the deceased and their return.

Incredibly modern but made by an Aztec artisan over 600 years ago!

#aztec #carved #obsidian #art #artwork #tribalart #archeology #aztecart #mesoamericanart #mexico #ancientmexico #precolumbian #prehispanic #aztecskull #rebirth #cyclical #lifeanddeath #diadelosmuertos #remembrance

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In Mesoamerica, jade and other green stones held immense cultural and symbolic importance, being prized for their green color, associated with life, water, and fertility, and used in religious objects, royal adornments, and burial rituals
The Olmec civilization thrived in the Preclassic or Formative period of Mesoamerica, roughly from 1500 BCE to 400 BCE, primarily in the Gulf Coast region of Mexico, encompassing the present-day states of Veracruz and Tabasco. 
The Olmec civilization is what is known as an archaeological culture. This means there is a collection of artifacts thought by archaeologists to represent a particular society. What is known about archaeological cultures is based on artifacts, rather than texts. In the case of the Olmec, archaeologists think artifacts found primarily on the northern half of the Isthmus of Tehuantepec in Mesoamerica from 1200–500 B.C.E. timeframe represent the Olmec society. The name Olmec was actually invented by scholars. Derived from the Nahuatl (Aztec) word “Olmecatl”, which means “inhabitant of the rubber country”, Olmec is a reference to the rubber production in the area where many of the artifacts have been found.
San Lorenzo and La Venta are the most significant Olmec centers. San Lorenzo was at its height around 1150 to 900 B.C.E. La Venta reached its height in about 900–500 B.C.E.
Research at these and other sites has led to the following insights. The Olmec created massive monuments, including colossal stone heads, thrones, stela (upright slabs), and statues. They may have been the originators of the Mesoamerican ball game, a ceremonial team sport played throughout the region for centuries. They also built earthen mounds and pyramids, and ceramics of several types that became common throughout a broad region influenced by the Olmec civilization.

In Mesoamerica, jade and other green stones held immense cultural and symbolic importance, being prized for their green color, associated with life, water, and fertility, and used in religious objects, royal adornments, and burial rituals The Olmec civilization thrived in the Preclassic or Formative period of Mesoamerica, roughly from 1500 BCE to 400 BCE, primarily in the Gulf Coast region of Mexico, encompassing the present-day states of Veracruz and Tabasco. The Olmec civilization is what is known as an archaeological culture. This means there is a collection of artifacts thought by archaeologists to represent a particular society. What is known about archaeological cultures is based on artifacts, rather than texts. In the case of the Olmec, archaeologists think artifacts found primarily on the northern half of the Isthmus of Tehuantepec in Mesoamerica from 1200–500 B.C.E. timeframe represent the Olmec society. The name Olmec was actually invented by scholars. Derived from the Nahuatl (Aztec) word “Olmecatl”, which means “inhabitant of the rubber country”, Olmec is a reference to the rubber production in the area where many of the artifacts have been found. San Lorenzo and La Venta are the most significant Olmec centers. San Lorenzo was at its height around 1150 to 900 B.C.E. La Venta reached its height in about 900–500 B.C.E. Research at these and other sites has led to the following insights. The Olmec created massive monuments, including colossal stone heads, thrones, stela (upright slabs), and statues. They may have been the originators of the Mesoamerican ball game, a ceremonial team sport played throughout the region for centuries. They also built earthen mounds and pyramids, and ceramics of several types that became common throughout a broad region influenced by the Olmec civilization.

Green stone Face Mask
Olmec Civilization
10th-6th century BCE

#olmec #mesoamerica #ancientmexico #carved #greenstone #face #mask #carving #precolumbian #prehispanic #archeology #handmade #art #ancientart #mexico

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Plate in the Form of a Jaguar with Interior Painted with Floral-Like Motif
ceramic and pigment
200–700 CE
Maya
Mexico

#Maya #mexico #mesoamerica #ancientculture #ancientart #art #handmade #ceramic #jaguar #floral #plate #ancientmexico #ancientamericanart #ancientpeoplesofmexico #archeology

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Step into the heart of the Aztec world—Teotihuacán in its prime! Towering pyramids, sacred rituals, and the vibrant pulse of an empire at its peak. Witness the City of the Gods as it once was. 🌞🛕✨ #AncientMexico #Teotihuacan #AztecEmpire #CityOfTheGods

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Step into the heart of the Aztec world—Teotihuacán in its prime! Towering pyramids, sacred rituals, and the vibrant pulse of an empire at its peak. Witness the City of the Gods as it once was. 🌞🛕✨ #AncientMexico #Teotihuacan #AztecEmpire #CityOfTheGods

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#History #AncientMexico

The Mexica (“ #Aztec ”) (1428-1521 AD) had a network of “painani”, relay runners, who would run almost 400 kms. to bring the first catch of the morning from the Gulf of Mexico to Tenochtitlan (Mexico City), so the Huēi Tlahtoāni (Emperor) could eat fresh fish every day.

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Coyolxauhqui

#ArteDigital #Ilustración #DibujoHechoAMano #ArteHistórico #Coyolxauhqui #MexicaGoddess #AztecMythology #PrehispanicArt #MexicanCulture #AncientMexico #MoonGoddess #AztecHistory #MesoamericanArt #TempleMayor #AztecLegend #Coyolxauhqui #DiosaMexica #MitologíaMexica

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Female Figurine
Ceramic and pigment
500–300 BCE
Chupícuaro
Guanajuato or Michoacán, Mexico

#precolumbian #prehispanic #mesoamerica #ancient #clay #femalefigure #chupicuaro #guanajuato #handmade #circa300BCE #mochoacan #mexico #aic #artsoftheamericas #ancientmexico #archeology #art #ancientart

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古代メキシコ展で買ったメガネ拭きをメガネケースに入れたら、明るくて楽しい色なので、開けるたびに楽しい気持ちになってる
#AncientMexico

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