Keith Jordan
Biographic Data
| ID | 3845383 |
|---|---|
| NAME | Keith Jordan |
| GIVEN NAMES | Keith |
| FAMILY NAME | Jordan |
| SIGNATURE | JORDAN K |
| AFFILIATIONS | California State University, Fresno |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 13 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 3 |
Human Sacrifice at Tula
Crowned Not Bound
Over the past three decades, arguments for derivation of the chacmool form from Classic Maya iconography of captives destined for sacrifice have dominated our understanding of this sculptural type at Early Postclassic Tula and Chichén Itzá. However, there are significant differences between the chacmools at the two sites in iconography and context, suggesting variations in meaning despite the similarities. I argue that at least at Tula, chacmools…
Agency, Alterity, Appropriation
Maya participation in the Postclassic Mixteca-Puebla or International Style has long been recognized in murals and manuscript painting. Recent explanations for Maya adoptions/modifications of this central Mexican style have shifted from invasion or “influence” to emphasize the active and selective participation of the Maya. I examine two examples, the solar murals of Mayapan and Flores Stela 4, to elucidate how they reflect Maya uses of the Mexic…
From Tula Chico to Chichén Itzá
In the last four decades, a number of archaeologists and art historians have posited that "Toltec" Chichén Itzá (Yucatán, Mexico) flourished during the ninth and tenth centuries A.D. They argued that because the "Toltec" style in Yucatán predated the Tollan phase at Tula (Hidalgo, Mexico), most of the style features shared between the cities originated with the Maya. Here, I examine the relevance of the Epiclassic relief sculpture of Tula Chico f…
Stone Trees Transplanted? Central Mexican Stelae of the Epiclassic and Early Postclassic and the Question of Maya ‘Influence
Stelae dating to the Epiclassic (650-900 CE) and Early Postclassic (950-1150 CE) from Tula, Xochicalco, and other sites in Central Mexico have been presented in the archaeological and art historical literature of the last four decades, when they have been addressed at all, as evidence of classic Maya 'influence' on Central Mexican art during these periods. This book re-evaluates these claims via detailed comparative analysis of the Central Mexica…
Serpents, Skeletons, and Ancestors
Since Acosta's work in the 1940s, relief carvings of serpents entwined with partially skeletonized personages on the coatepantli at Tula have frequently been identified as images of the Nahua Venus deity, Tlahuizcalpantecuhtli. Comparing these Toltec sculptures with this deity's iconography in Late Postclassic to Colonial period manuscripts, however, provides no support for this identification. Based on the northern Mesoamerican cultural connecti…
From Tula Chico to Chichén Itzá
In the last four decades, a number of archaeologists and art historians have posited that "Toltec" Chichén Itzá (Yucatán, Mexico) flourished during the ninth and tenth centuries A.D. They argued that because the "Toltec" style in Yucatán predated the Tollan phase at Tula (Hidalgo, Mexico), most of the style features shared between the cities originated with the Maya. Here, I examine the relevance of the Epiclassic relief sculpture of Tula Chico f…
Stone Trees Transplanted? Central Mexican Stelae of the Epiclassic and Early Postclassic and the Question of Maya ‘Influence
Stelae dating to the Epiclassic (650-900 CE) and Early Postclassic (950-1150 CE) from Tula, Xochicalco, and other sites in Central Mexico have been presented in the archaeological and art historical literature of the last four decades, when they have been addressed at all, as evidence of classic Maya 'influence' on Central Mexican art during these periods. This book re-evaluates these claims via detailed comparative analysis of the Central Mexica…
Serpents, Skeletons, and Ancestors
Since Acosta's work in the 1940s, relief carvings of serpents entwined with partially skeletonized personages on the coatepantli at Tula have frequently been identified as images of the Nahua Venus deity, Tlahuizcalpantecuhtli. Comparing these Toltec sculptures with this deity's iconography in Late Postclassic to Colonial period manuscripts, however, provides no support for this identification. Based on the northern Mesoamerican cultural connecti…
Agency, Alterity, Appropriation
Maya participation in the Postclassic Mixteca-Puebla or International Style has long been recognized in murals and manuscript painting. Recent explanations for Maya adoptions/modifications of this central Mexican style have shifted from invasion or “influence” to emphasize the active and selective participation of the Maya. I examine two examples, the solar murals of Mayapan and Flores Stela 4, to elucidate how they reflect Maya uses of the Mexic…
Serpents, Skeletons, and Ancestors
Since Acosta's work in the 1940s, relief carvings of serpents entwined with partially skeletonized personages on the coatepantli at Tula have frequently been identified as images of the Nahua Venus deity, Tlahuizcalpantecuhtli. Comparing these Toltec sculptures with this deity's iconography in Late Postclassic to Colonial period manuscripts, however, provides no support for this identification. Based on the northern Mesoamerican cultural connecti…
Stone Trees Transplanted? Central Mexican Stelae of the Epiclassic and Early Postclassic and the Question of Maya ‘Influence
Stelae dating to the Epiclassic (650-900 CE) and Early Postclassic (950-1150 CE) from Tula, Xochicalco, and other sites in Central Mexico have been presented in the archaeological and art historical literature of the last four decades, when they have been addressed at all, as evidence of classic Maya 'influence' on Central Mexican art during these periods. This book re-evaluates these claims via detailed comparative analysis of the Central Mexica…
Agency, Alterity, Appropriation
Maya participation in the Postclassic Mixteca-Puebla or International Style has long been recognized in murals and manuscript painting. Recent explanations for Maya adoptions/modifications of this central Mexican style have shifted from invasion or “influence” to emphasize the active and selective participation of the Maya. I examine two examples, the solar murals of Mayapan and Flores Stela 4, to elucidate how they reflect Maya uses of the Mexic…
From Tula Chico to Chichén Itzá
In the last four decades, a number of archaeologists and art historians have posited that "Toltec" Chichén Itzá (Yucatán, Mexico) flourished during the ninth and tenth centuries A.D. They argued that because the "Toltec" style in Yucatán predated the Tollan phase at Tula (Hidalgo, Mexico), most of the style features shared between the cities originated with the Maya. Here, I examine the relevance of the Epiclassic relief sculpture of Tula Chico f…
Crowned Not Bound
Over the past three decades, arguments for derivation of the chacmool form from Classic Maya iconography of captives destined for sacrifice have dominated our understanding of this sculptural type at Early Postclassic Tula and Chichén Itzá. However, there are significant differences between the chacmools at the two sites in iconography and context, suggesting variations in meaning despite the similarities. I argue that at least at Tula, chacmools…
Human Sacrifice at Tula
Archaeology (6 works) · Latin American history and culture (5 works) · Ancient history (4 works) · Geography (4 works) · History (4 works) · Iconography (4 works) · Maya (4 works) · Archaeology and ancient environmental studies (3 works) · History (3 works) · Sculpture (3 works)