Advertisement · 728 × 90
#
Hashtag
#prehispanic
Advertisement · 728 × 90
A portrait of a dignitary, likely a priest or shaman. The finely modeled face is adorned with two undulating serpents whose heads face each other at the center of the forehead - a symbol of ritual power and access to invisible realms.
Wari culture Peru double-spout vessel in polychrome terracotta circa 700-1000 CE.

A portrait of a dignitary, likely a priest or shaman. The finely modeled face is adorned with two undulating serpents whose heads face each other at the center of the forehead - a symbol of ritual power and access to invisible realms. Wari culture Peru double-spout vessel in polychrome terracotta circa 700-1000 CE.

Double-spout vessel
polychrome terracotta
700-1000 CE
Wari culture
Peru

#handmade #pottery #ancientart #art #prehispanic #precolumbian #wariculture #peru #vessel #priest #shaman #ritual #magic #doublesnakes #religion #ancientcultures #ancientperu

13 2 0 0
Post image

The rain-god Chaac erupts from his cave flanked by swirling cascades of water, and with a fisher-bird for his crest!
carved stone
c. 695-738 CE
Maya culture
Copan, Honduras

#handmade #art #ancientart #carved #stone #mayaculture #copan #honduras #chaac #snakebody #raingod #precolumbian #prehispanic

38 8 0 0
In Ñuu Savi (Mixtec) and surrounding Mesoamerican cultures like the Zapotec, bat heads symbolize night, death, sacrifice, and the underworld. They are associated with caves—seen as portals to the spirit realm—and act as guardians, representing a connection to ancestors, agricultural protection by eating pests, and transformation. 
The Mixtec people are one of the oldest and most culturally rich Indigenous groups in southern Mexico.
They call themselves Ñuu Savi, meaning People of the Rain in their language, reflecting their spiritual bond with nature and the weather that sustains their crops. Their homeland, known as the Mixteca region, stretches across the highlands of Oaxaca, Puebla, and Guerrero, with misty mountains, fertile valleys, and sacred mountain peaks that shape their identity.
The Mixtec are remarkable artisans and storytellers. They create intricate gold jewelry, turquoise mosaics, and beautifully illustrated codices that record their myths and dynasties. Their ancient deerskin manuscripts preserve one of the most complete Indigenous histories in the Americas. Their artistry and craftsmanship were so advanced that Mixtec goldsmiths were highly sought after by other Mesoamerican kingdoms.
Even after the Spanish conquest, the Mixtec held on to much of their identity. Their villages remain centers of weaving, pottery, and farming, and their language is still spoken by hundreds of thousands today. The Mixtec story, like the Zapotecs, is one of endurance. They’ve carried their traditions through centuries of change, keeping their rain-soaked mountains and ancestral ways alive in modern Mexico.

In Ñuu Savi (Mixtec) and surrounding Mesoamerican cultures like the Zapotec, bat heads symbolize night, death, sacrifice, and the underworld. They are associated with caves—seen as portals to the spirit realm—and act as guardians, representing a connection to ancestors, agricultural protection by eating pests, and transformation. The Mixtec people are one of the oldest and most culturally rich Indigenous groups in southern Mexico. They call themselves Ñuu Savi, meaning People of the Rain in their language, reflecting their spiritual bond with nature and the weather that sustains their crops. Their homeland, known as the Mixteca region, stretches across the highlands of Oaxaca, Puebla, and Guerrero, with misty mountains, fertile valleys, and sacred mountain peaks that shape their identity. The Mixtec are remarkable artisans and storytellers. They create intricate gold jewelry, turquoise mosaics, and beautifully illustrated codices that record their myths and dynasties. Their ancient deerskin manuscripts preserve one of the most complete Indigenous histories in the Americas. Their artistry and craftsmanship were so advanced that Mixtec goldsmiths were highly sought after by other Mesoamerican kingdoms. Even after the Spanish conquest, the Mixtec held on to much of their identity. Their villages remain centers of weaving, pottery, and farming, and their language is still spoken by hundreds of thousands today. The Mixtec story, like the Zapotecs, is one of endurance. They’ve carried their traditions through centuries of change, keeping their rain-soaked mountains and ancestral ways alive in modern Mexico.

Bat head carving
jade
c. 1300-1521 CE
Ñuu Savi culture (aka Mixtec)
Mexico

#handmade #carved #jade #jadeite #bathead #death #transformation #agriculture #rebirth #nuusavi #mixtec #mesoamerican #mexico #ancientculture #ancientart #art #prehispanic #precolumbian #arthistory #culture #religion #bats

19 5 1 0
A Mayan monkey tail spiral design, often found on Classic Period (300–850 AD) polychrome ceramics, primarily symbolizes the mythological transformation of the Hero Twins' older half-brothers into monkeys. It represents a blend of punishment, artistry, and the cyclical nature of life. 
The Popol Vuh Transformation: According to the Maya creation epic, the Hero Twins (Hunahpú and Ixbalanqué) tricked their arrogant older brothers, Hun Batz and Hun Chuen, into climbing a tree. The tree grew impossibly high, and when they tried to climb down, their sashes turned into tails. The spiral tail is a direct reference to this transformation moment.
Following their transformation, the monkey brothers became the divine patrons of artists, scribes, musicians, and sculptors. Therefore, the motif often signifies creativity and the arts.
The spiral itself, sometimes called Hunab Ku in this context, represents the continuous movement of energy, transformation, and the balance of the cosmos.

A Mayan monkey tail spiral design, often found on Classic Period (300–850 AD) polychrome ceramics, primarily symbolizes the mythological transformation of the Hero Twins' older half-brothers into monkeys. It represents a blend of punishment, artistry, and the cyclical nature of life. The Popol Vuh Transformation: According to the Maya creation epic, the Hero Twins (Hunahpú and Ixbalanqué) tricked their arrogant older brothers, Hun Batz and Hun Chuen, into climbing a tree. The tree grew impossibly high, and when they tried to climb down, their sashes turned into tails. The spiral tail is a direct reference to this transformation moment. Following their transformation, the monkey brothers became the divine patrons of artists, scribes, musicians, and sculptors. Therefore, the motif often signifies creativity and the arts. The spiral itself, sometimes called Hunab Ku in this context, represents the continuous movement of energy, transformation, and the balance of the cosmos.

Monkey Tail spiral design plate
pottery, pigment
c. 300-800 CE
Maya culture
Mexico

#handmade #oneofakind #monkeytail #spiral #design #ancientart #pottery #Maya #mayanpottery #ancientpottery #mexico #mesoamerica #prehispanic #precolumbian #archeology #religion #culture #belief #transformation #art

385 43 4 2
This Mochica portrait vessel is an exceptionally realistic ceramic piece that captures the detailed features of a high-status individual, distinguished by its serene and dignified expression, almond-shaped eyes, and prominent nose. The head is adorned with a headdress beautifully decorated with geometric patterns in cream and brown tones, complemented by large ear ornaments that hang down along the sides of the face. At the top, the characteristic stirrup handle and spout are visible - distinctive elements of Moche pottery that fuse functionality with an artistic mastery unparalleled in Pre-Columbian sculptural portraiture.

This Mochica portrait vessel is an exceptionally realistic ceramic piece that captures the detailed features of a high-status individual, distinguished by its serene and dignified expression, almond-shaped eyes, and prominent nose. The head is adorned with a headdress beautifully decorated with geometric patterns in cream and brown tones, complemented by large ear ornaments that hang down along the sides of the face. At the top, the characteristic stirrup handle and spout are visible - distinctive elements of Moche pottery that fuse functionality with an artistic mastery unparalleled in Pre-Columbian sculptural portraiture.

Stirrup spout vessel
pottery
circa 200-600 CE
Moche culture
Peru

#handmade #ceramic #pottery #portrait #vessel #stirrupspout #mocheculture #peru #prehispanic #precolumbian #ancientart #ancientculture #mochepottery #moche

11 2 0 0
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

322 50 11 2
Post image

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

166 22 3 0
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

19 1 0 0

#olmec #jade #mask #precolumbian #mesoamerica #prehispanic #mexico #olmecart #carving #ancientart

5 0 0 0
A Tumaco-La Tolita culture ancient Ecuador ceramic figure with several zoomorphic elements, including feline fangs, a necklace that transforms into a snake, and a snake emerging from its left eye - circa 350 BCE to 400 CE.

A Tumaco-La Tolita culture ancient Ecuador ceramic figure with several zoomorphic elements, including feline fangs, a necklace that transforms into a snake, and a snake emerging from its left eye - circa 350 BCE to 400 CE.

Zoomorphic sculpture
ceramic
350 BCE - 400 CE
Tumaco-La Tolita culture
Ecuador

#ancient #art #ceramic #sculpture #ceramicsculpture #religion #culture #TumacoLaTolita #ecuador #precolumbian #prehispanic #zoomorphic #snake #felinefangs #ritual #nature #divine #magic #tribalart #ancienttribalart

217 36 9 0
Post image

Seated Ruler with Pampas cat
ceramic
250-550 CE
Mochica culture
Peru

#ancient #ancientart #mochica #culture #peru #ancientamericas #precolumbian #prehispanic #southamerica #handmade #ceramic #seatedruler #pampascat #figural #art #sculpture

232 39 6 4
Mace head depicting a jaguar, its open mouth revealing powerful fangs. The ears are raised and alert, while the eyes, set within circular cavities, intensify a fierce expression that gives the figure an immediate sense of tension, as if ready to leap upon its prey. The volumes are compact and powerful, reflecting a deliberately massive and
expressive conception.
The Chorotega were a powerful, culturally advanced indigenous group that migrated from Mexico to Pacific Nicaragua and Costa Rica's Nicoya Peninsula, forming the southernmost Mesoamerican culture. Famous for intricate, hand-polished ceramics and strong agriculture, they were fierce warriors with a complex society, featuring elected leaders and a strict religious caste.

Mace head depicting a jaguar, its open mouth revealing powerful fangs. The ears are raised and alert, while the eyes, set within circular cavities, intensify a fierce expression that gives the figure an immediate sense of tension, as if ready to leap upon its prey. The volumes are compact and powerful, reflecting a deliberately massive and expressive conception. The Chorotega were a powerful, culturally advanced indigenous group that migrated from Mexico to Pacific Nicaragua and Costa Rica's Nicoya Peninsula, forming the southernmost Mesoamerican culture. Famous for intricate, hand-polished ceramics and strong agriculture, they were fierce warriors with a complex society, featuring elected leaders and a strict religious caste.

Jaguar mace head
nephrite jade
500 BCE - 500 CE
Chorotega culture
Costa Rica

#handmade #ancientart #culture #chorotega #costarica #mesoamerica #precolumbian #prehispanic #carved #nephrite #jade #jaguar #macehead #weapon #ceremonial #ritual #religion #art #craft #oneofakind

127 18 2 0
The Huaca
de Moho represents a valuable example of pre-incaic lithic art in the Titicaca basin. It is a monolith located in the province of Moho that exhibits typical features of the Tiahuanaco style, with its most distinctive element being a winged cross carved with a rotating effect.
This visual dynamism is not casual, but probably reflects the worldview and sense of cosmic order of the societies that inhabited the area between 500 and 1000 AD. Although its ritual importance is evident by its location, this site remains a treasure little explored by official archeology and still lacks state protection.

The Huaca de Moho represents a valuable example of pre-incaic lithic art in the Titicaca basin. It is a monolith located in the province of Moho that exhibits typical features of the Tiahuanaco style, with its most distinctive element being a winged cross carved with a rotating effect. This visual dynamism is not casual, but probably reflects the worldview and sense of cosmic order of the societies that inhabited the area between 500 and 1000 AD. Although its ritual importance is evident by its location, this site remains a treasure little explored by official archeology and still lacks state protection.

Huaca de Moho
carved stone
500-1000 CE
Moho, Peru

#carved #stone #monolith #tiahuanaco #swastika #wingedcross #symbol #cosmology #heavenandearth #townofmoho #punoregion #peru #laketiticaca #andes #preincaicculture #religion #culture #belief #precolumbian #prehispanic #ancientamericas #southamerica

0 0 0 0
Post image Post image Post image Post image

Mexican art is something else. This is Eduardo Robledo. He grew up in Xochimilco and was profoundly influenced by pre-Hispanic mythology and local spiritual practices, as well as by some European beliefs. 1/2

#art #shamanism #nagualism #prehispanic #pagan #surreal #carnival #carousel #dreams

8 2 1 0
Ceremonial cylindrical vessel with two handles, resting on an openwork annular foot. The body of the vase is sculpted in the round with two frontal deities displaying feline features, identifiable by their open jaws and prominent fangs. These figures are integrated into an architectonic composition that includes arcades evoking temple façades or stepped structures, as well as lateral ideograms, among which appears a serpentiform motif possibly associated with the Feathered Serpent deity, Kukulcan.
The decoration is framed at the top and bottom by two continuous friezes of serpent scales, sculpted
Stone ceremonial vessels from the Ulúa Valley rank among the most prestigious productions of the southern Maya area. Likely used in major elite rituals, they combine divine iconography, architectural symbolism, and mythic animal imagery in compositions of remarkable complexity. The presence of the Feathered Serpent Kukulcan—a major deity
associated with fertility, power, and the circulation of cosmic forces— emphasizes the sacred character of the piece. Examples of such vessels have been documented as far as Guatemala, Mexico, and Costa Rica, attesting to the cultural influence and wide-reaching connections of the Ulúa Valley ceremonial centers during the Late Classic and Early Postclassic periods.

Ceremonial cylindrical vessel with two handles, resting on an openwork annular foot. The body of the vase is sculpted in the round with two frontal deities displaying feline features, identifiable by their open jaws and prominent fangs. These figures are integrated into an architectonic composition that includes arcades evoking temple façades or stepped structures, as well as lateral ideograms, among which appears a serpentiform motif possibly associated with the Feathered Serpent deity, Kukulcan. The decoration is framed at the top and bottom by two continuous friezes of serpent scales, sculpted Stone ceremonial vessels from the Ulúa Valley rank among the most prestigious productions of the southern Maya area. Likely used in major elite rituals, they combine divine iconography, architectural symbolism, and mythic animal imagery in compositions of remarkable complexity. The presence of the Feathered Serpent Kukulcan—a major deity associated with fertility, power, and the circulation of cosmic forces— emphasizes the sacred character of the piece. Examples of such vessels have been documented as far as Guatemala, Mexico, and Costa Rica, attesting to the cultural influence and wide-reaching connections of the Ulúa Valley ceremonial centers during the Late Classic and Early Postclassic periods.

Ceremonial vessel
carved travertine
c. 500-1000 CE
Maya culture
Ulúa Valley, Honduras

#Maya #mayanart #precolumbian #prehispanic #mesoamerica #UlúaValley #honduras #ceremonialvessel #carved #travertine #religion #ritual #shaman #magic #kukulcan #featheredserpent #lateclassic #earlypostclassic

24 7 0 1
Post image

Burial mask
wood base covered with turquoise mosaic and teeth made of shell
1321-1421 CE
Mixtec culture
Oaxaca, Mexico

#precolumbian #prehispanic #mixtec #mexico #oaxaca #mask #burial #funeral #wood #turquoise #shell #ritual #religion #death #afterlife #culture #unique #handmade #art #craft

17 3 0 1
Teotihuacan culture cult mask depicting the idealized face of a high-ranking individual, probably a lord or dignitary invested with a ritual function. The modeling is marked by great sobriety, entirely based on the balance of volumes and the accuracy of proportions. The deeply carved almond-shaped eyes, with elongated eyelids, give the gaze an introspective, calm, and vigilant expression.
Circa 450-650 CE.

Teotihuacan culture cult mask depicting the idealized face of a high-ranking individual, probably a lord or dignitary invested with a ritual function. The modeling is marked by great sobriety, entirely based on the balance of volumes and the accuracy of proportions. The deeply carved almond-shaped eyes, with elongated eyelids, give the gaze an introspective, calm, and vigilant expression. Circa 450-650 CE.

Cult Mask
carved limestone
c. 450-650 CE
Classic period
Teotihuacan, Valley of Mexico

#cult #mask #carved #stone #mesoamerica #mexico #handmade #teotihuacan #classicperiod #valleyofmexico #precolumbian #prehispanic #culture #religion #ritual

23 4 0 0
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

34 6 0 0
This naturalistic head was originally part of a larger figure that unfortunately has probably been lost to time, depriving scholars of the ability to fully understand how the work would have engaged its creators. Nevertheless, the quality and precision of the piece reflect the intense level of skill and knowledge of stone that Aztec (or Mexica) and other Mesoamerican artisans had cultivated over millennia. Finally, the facial expression and mouth appearing to be frozen in speech still convey a sense of the power and permanence that Mexica artists often sought to capture and transmit to their contemporaries and to future generations.
American Museum of Natural History, New York

This naturalistic head was originally part of a larger figure that unfortunately has probably been lost to time, depriving scholars of the ability to fully understand how the work would have engaged its creators. Nevertheless, the quality and precision of the piece reflect the intense level of skill and knowledge of stone that Aztec (or Mexica) and other Mesoamerican artisans had cultivated over millennia. Finally, the facial expression and mouth appearing to be frozen in speech still convey a sense of the power and permanence that Mexica artists often sought to capture and transmit to their contemporaries and to future generations. American Museum of Natural History, New York

Head of Young man
carved volcanic stone
1325 - 1521 CE
Mexica culture (Aztec)
Mesoamerica, Mexico

#precolumbian #prehispanic #indigenousculture #ancient #culture #mexicaculture #aztec #carving #stone #head #youngman #volcanicstone #mesoamerica #mexico

22 4 0 0
Quetzalcoatl (Comission made from Arkitect Haizara)

The past week in Monterrey, México, there was the “FURRegios Mercadito” and i saw a great artist, good friends, Arkitect Haizara . I ask ‘em for a commision to draw Itzcuauhtli back in 2024 (I’ll upload it up next), and now i asked for a commision to draw Quetzalcoatl, as like the one with Itzcuauhtli, this commision with Quetzalcoatl looks gorgeous, and very impressed with  the white color applied in the sketch.

Thanks for the comission Arkitect Haizara, I’m very glad as always with the result in the comms i love your style ❤️, TLAZOHCAMATI 🙏


Art made by Arkitect Haizara: https://arkitecthaizara.carrd.co/
Quetzalcoatl (Character) is made by me

Visit Arkitect Haizara! https://arkitecthaizara.carrd.co/
It has veeeery veeery interesting art!!, Don’t miss out *w*

Quetzalcoatl (Comission made from Arkitect Haizara) The past week in Monterrey, México, there was the “FURRegios Mercadito” and i saw a great artist, good friends, Arkitect Haizara . I ask ‘em for a commision to draw Itzcuauhtli back in 2024 (I’ll upload it up next), and now i asked for a commision to draw Quetzalcoatl, as like the one with Itzcuauhtli, this commision with Quetzalcoatl looks gorgeous, and very impressed with the white color applied in the sketch. Thanks for the comission Arkitect Haizara, I’m very glad as always with the result in the comms i love your style ❤️, TLAZOHCAMATI 🙏 Art made by Arkitect Haizara: https://arkitecthaizara.carrd.co/ Quetzalcoatl (Character) is made by me Visit Arkitect Haizara! https://arkitecthaizara.carrd.co/ It has veeeery veeery interesting art!!, Don’t miss out *w*

A commission requested from @arkitecthaizara.bsky.social , thank you!!! ❤️✨
Follow their social media: arkitecthaizara.carrd.co

#Quetzalcoatl #god #aztec #diosazteca #anthro #furry #furryfriday #mexica #warrior #comission #sketch #feathered #prehispanic #comission #arkitecthaizara

4 0 0 0
Post image

Help my #webcomic #Macoatl reach 1000 subscribers (HERE: tapas.io/series/macoatl) we are close to the next milestone (right now we are at 937 subscribers)

#comic #prehispanic #monstergirl

6 0 1 0
Votive plaque depicting a mask with extremely purified and stylized features. The composition, marked by striking formal radicality, is defined by a flat surface animated by two deeply hollowed eyes and an axial ridge running across the forehead, structuring the face along a vertical axis of symmetry. The outer contour follows a free, irregular form, abandoning any pursuit of naturalism in favor of deliberate abstraction. The deep carving and extreme simplification of volumes lend the work a presence that is both archaic and remarkably contemporary.
The Valdivia culture, one of the earliest in South America, remains partially enigmatic. The votive plaques and stylized masks attributed to it are generally interpreted as objects linked to shamanic practices, intended to facilitate passage between the human and divine realms. Their frequent association with nocturnal animals, such as the owl, suggests a connection to inner vision, transformation, and hidden knowledge. Through its radical abstraction and striking graphic modernity, this work exemplifies the conceptual and formal power achieved by Valdivian societies more than four millennia ago.

Votive plaque depicting a mask with extremely purified and stylized features. The composition, marked by striking formal radicality, is defined by a flat surface animated by two deeply hollowed eyes and an axial ridge running across the forehead, structuring the face along a vertical axis of symmetry. The outer contour follows a free, irregular form, abandoning any pursuit of naturalism in favor of deliberate abstraction. The deep carving and extreme simplification of volumes lend the work a presence that is both archaic and remarkably contemporary. The Valdivia culture, one of the earliest in South America, remains partially enigmatic. The votive plaques and stylized masks attributed to it are generally interpreted as objects linked to shamanic practices, intended to facilitate passage between the human and divine realms. Their frequent association with nocturnal animals, such as the owl, suggests a connection to inner vision, transformation, and hidden knowledge. Through its radical abstraction and striking graphic modernity, this work exemplifies the conceptual and formal power achieved by Valdivian societies more than four millennia ago.

Mask
carved polished stone
circa 2300-2000 BCE
Valdivia culture
Ecuador

#ancient #art #valdiviaculture #shamanic #mask #ritual #belief #culture #funeral #funerarymask #spiritual #religion #magic #ecuador #2000BCE #sculpture #ancientsculpture #precolumbian #prehispanic #indigenous

7 0 0 0
Post image

Ritual beaker
carved wood
500-1200 CE
Wari culture
Peru

#ritual #beaker #culture #religion #carved #wood #handmade #wari #huari #wariculture #peru #andes #ancientamerica #precolumbian #prehispanic #ceremonial #ritualobject

18 4 0 0
Pectoral depicting a hybrid deity combining feline and spider features, holding a trophy head in one hand and a ceremonial tumi in the other. The figure wears a crescent-shaped crown adorned with a small projecting mask at the center of the forehead. The elongated eyes and open mouth revealing fangs give the piece a strong expressiveness.
This representation falls within the Chimú iconography of great tutelary deities, in which animal attributes are combined with symbols of power. The joint presence of the trophy head and the tumi refers to complex ritual practices related to authority, warfare, and the divine realm. The figure, both frontal and hieratic, embodies an intermediary between humans and gods, expressing the power and legitimacy of both religious and political rule.

Pectoral depicting a hybrid deity combining feline and spider features, holding a trophy head in one hand and a ceremonial tumi in the other. The figure wears a crescent-shaped crown adorned with a small projecting mask at the center of the forehead. The elongated eyes and open mouth revealing fangs give the piece a strong expressiveness. This representation falls within the Chimú iconography of great tutelary deities, in which animal attributes are combined with symbols of power. The joint presence of the trophy head and the tumi refers to complex ritual practices related to authority, warfare, and the divine realm. The figure, both frontal and hieratic, embodies an intermediary between humans and gods, expressing the power and legitimacy of both religious and political rule.

Pectoral
hammered copper, pigments
1100-1400 CE
Chimu culture
Peru

#precolumbian #prehispanic #ancientcultures #chimu #chimor #peru #pectoral #hammered #copper #pigment
#spiritual #religion #magic #power #culture #beliefsystem

22 7 0 0
Preview
Read MACOATL :: The review | Tapas Community Read MACOATL and more premium Comedy Community series now on Tapas!

New entry of my #webcomic Macoatl, guest starring Lita and Kraken from @torvosheza.bsky.social "Hoo talk dirty to me" (Link to her #comic on the first comment) tapas.io/episode/3807...

#Prehispanic #restaurant #humor

6 1 1 0
Preview
Read MACOATL :: Nopales | Tapas Community Read MACOATL and more premium Comedy Community series now on Tapas!

Here is the newest entry on my #webcomic MACOATL. Let's try some nopal tacos! tapas.io/episode/3801...

#comic #prehispanic #dragons

5 2 0 0
Post image

Jade-and-shell death mask of Te' Kab Chaak ("Tree Branch Rain God") was a Mayan king of Caracol in Belize.
He was a founder of the Caracol dynasty, becoming king in 331 CE.
The mask was discovered in 2025 during a tomb excavation.

#precolumbian #prehispanic #Maya #mesoamerica #mask #jade #shell

36 5 0 1
Post image

Smiling Figure
pottery
Late Classic Period 600-800 CE
Central Veracruz, Mexico

#art #pottery #sculpture #precolumbian #Maya #lateclassic #mayanpottery #prehispanic #mexico #mesoamerica #veracruz #smiling #man #happy

28 4 1 0
Post image

Venus Idol
stone
Valdivia Culture
3500-1500 BCE
Ecuador

#venus #woman #child #valdiviaculture #ecuador #prehispanic #precolumbian #handmade #stone #idol #ancientamerica #

35 5 1 0
The Nazca culture, which flourished in ancient Peru from about 100–800 C.E., is known for its large-scale desert geoglyphs (the Nazca Lines), sophisticated underground aqueducts called puquios, and advanced polychrome pottery. The Nazca people developed intricate art, including elaborate ceramics with detailed designs of nature, and a religious system centered around nature, with rituals likely involving processions on the lines and the use of hallucinogenic plants. They used their desert environment to their advantage, creating the lines by removing the dark topsoil, and using the arid climate for preserving their dead.
This vessel features a dark red bow and handle, contrasting with the container's black body. The polished finish and precision in detail reflect the remarkable technical mastery of the potters of the era.
On each side of the body is depicted a stylized orca (one of the most important and powerful creatures of its iconography. This is not exactly referring to the modern orca, but a mythical being combining traits of real cetaceans with supernatural elements) executed in different shades of color and shown holding a trophy head. This marine being occupies a prominent place within the Nasca iconography, where it symbolizes strength, control of the waters, and ritual power. Motif stylization, balanced composition, and intentional use of chromatic contrast demonstrate a sophisticated handling of visual language.
Beyond its possible ceremonial function, the piece functions as a symbolic stand expressing notions of prestige, transformation, and power. The iconography plastered in the ceramics of this great culture reveals the deep relationship between South Coast communities and the natural world, especially the marine realm, which played a central role in its worldview.

The Nazca culture, which flourished in ancient Peru from about 100–800 C.E., is known for its large-scale desert geoglyphs (the Nazca Lines), sophisticated underground aqueducts called puquios, and advanced polychrome pottery. The Nazca people developed intricate art, including elaborate ceramics with detailed designs of nature, and a religious system centered around nature, with rituals likely involving processions on the lines and the use of hallucinogenic plants. They used their desert environment to their advantage, creating the lines by removing the dark topsoil, and using the arid climate for preserving their dead. This vessel features a dark red bow and handle, contrasting with the container's black body. The polished finish and precision in detail reflect the remarkable technical mastery of the potters of the era. On each side of the body is depicted a stylized orca (one of the most important and powerful creatures of its iconography. This is not exactly referring to the modern orca, but a mythical being combining traits of real cetaceans with supernatural elements) executed in different shades of color and shown holding a trophy head. This marine being occupies a prominent place within the Nasca iconography, where it symbolizes strength, control of the waters, and ritual power. Motif stylization, balanced composition, and intentional use of chromatic contrast demonstrate a sophisticated handling of visual language. Beyond its possible ceremonial function, the piece functions as a symbolic stand expressing notions of prestige, transformation, and power. The iconography plastered in the ceramics of this great culture reveals the deep relationship between South Coast communities and the natural world, especially the marine realm, which played a central role in its worldview.

'Orca' vessel
pottery, glaze
100 BCE to 800 CE
Nazca culture
Peru

#nazcaculture #peru #precolumbian #prehispanic #pottery #vessel #ancientart #art #ceramic #orca #precolumbianart #precolumbianpottery #nazca #nazcapottery #nazcaart #ancientperu

17 3 0 0