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Tomb 7 Summary

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During the Post-Classic period of Mexico, the Mixtec people accumulated a great amount of wealth, and became highly talented in artistry. The development of these art practices helped reflect on their political organization, religious practices, and social structure. In particular, Tomb 7 at Monte Alban has revealed a multitude of fascinating artifacts and remains from the Mixtec peoples. Tomb 7 at Monte Alban is one of the richest and most famous archaeological discoveries made in the New World (McCafferty and McCafferty: 1994) Along with a central noble figure and a few sacrificed servants, there lay many gold treasures, such as the famous Gold Pectorals, silver artifacts, turquoise mosaics, and fine jewelry (Coe and Koontz: 2013).These Gold Pectorals discovered both show the dedicated time it took to create such an intricate design, and significance it has to its …show more content…

Particularly, the largest of all the gold pectorals, is thought to represent Mictlantecuhtli, the Mixtec’s God of Death. Many scholars believe that some of the other pectorals represent a variety of gods, such as the God of Rain, the God of Intelligence/Self-reflection, and the God of Summer/Pleasure/Souls (McCafferty and McCafferty: 1994). The Mixtec people show evidence of very advanced religious organization from their elaborate burials to their spiritual significance of their deities. Many of these “elites” who are buried, are thought to once hold religious status in society, like priests or divine elders. Specifically, in Tomb 7, it is now coming to attention that the human buried, known to be central noble figure, might as well be female (McCafferty and McCafferty: 1994). This idea could give evidence to a female’s religious and social power in the Mixtec civilization, which has gone unknown till very

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In this week’s reading, “Creation Myths and Concepts about Death” by Manuel Aguilar-Moreno describes the myth of the creation of the fifth sun and how Aztecs believed that sacrifices are required to maintain the fifth sun. Likewise, the destination of the human soul was determined by the cause of death rather than the person’s attitude in life. The souls that went to Chichihuacuauchco were infants who souls would return back to earth, the souls that went to Tonatiuh-Ilhicac were warriors and mothers who died during childbirth, the souls that went to Tlaocan were individuals who died from drowning, lightning, dropsy, goat, lepers, mange or tumors, and the rest of the individuals who died of other causes would go to Mictlan and endure a long

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This paper will discuss the well-published work of, Pomeroy, Sarah B. Goddesses, Whores, Wives, and Slaves: Women in Classical Antiquity. New York: Schocken, 1975. Print. Sarah B. Pomeroy uses this book to educate others about the role women have played throughout ancient history. Pomeroy uses a timeline to go through each role, starting with mythological women, who were called Goddesses.

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These types of features are common in Aztec art, and are thought to be representative of the culture’s the beauty standards. A lot of the masks were also colored with precious minerals and stones, like turquoise or jade, two valuable greenish-blue stones that was sacred to the Aztec people. Although precious stones were common decorative pieces, masks were also made up of many other materials, like stones and wood. Some of the most unique masks even contained materials like coral and gold.

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This is one of the civilizations that flourished form the ninth to thirteenth century A.D, and is now home to enormous archeological sites. Among the sites, there is evidence of remains of skulls racks, which once displayed the multiple rows of stone-craved skulls of sacrificial victims (Brandes 1998, 190). However, during the Spanish Conquest, much of the design was removed and completely destroyed by the beginning of the Sixteenth century (Shcmal 2010). During the time of the Spanish Conquest, the Aztec and the Zapotec were the leading power holders of the region of southern Mexico. Because of this, it only makes sense that their usage of elaborate representations of death was then carried over into the artwork of colonial Mexico, becoming, then, associated with Dia de Los Muertos (Brandes 2003,

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