Dean E Arnold
Datos Biográficos
| ID | 87806 |
|---|---|
| NOMBRE | Dean E Arnold |
| NOMBRES | Dean E |
| APELLIDO | Arnold |
| FIRMA | ARNOLD D E |
| AFILIACIONES | Wheaton College - Illinois |
| VERIFICADO | No |
| TOTAL DE OBRAS | 45 |
| TOTAL DE CITAS | 781 |
| TOTAL COMO AUTOR | 45 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1971 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 12 |
Palygorskite from Sacalum, Yucatán in Maya Blue From the Eastern Maya Lowlands
Maya Blue is a unique hybrid pigment created by combining organic indigo with the inorganic clay mineral palygorskite. First used for architectonic decoration in the Terminal Preclassic, it became widespread in the Late Classic on figurines, murals, and elite ceramics. Unlike indigo, it is notable for its durability and resistance to degradation by acids, alkalines, organic solvents and fading. The authors analyzed 17 samples of Maya Blue on pott…
The Potters’ Engagement with Drying and Firing
Conclusion
How Was the Data Collected?
Ticul Pottery as a “Distilled Landscape” / “Taskscape”
Figures
The Potters’ Engagement with Raw Materials
Tables
Index
Introduction
The Potters’ Engagement with Vessel Forming
The Potters’ Engagement with the Perceived Landscape
The Potters’ Engagement with Paste Preparation
Maya Potters' Indigenous Knowledge
The Materiality of Social Memory
This paper explores the means by which potters in Ticul, Yucatán, Mexico, materialized their social memory in the gremio festival to honor a 'Black Christ.' The gremio's 'Black Christ' is associated with the emergence of a unique indigenous Yucatecan identity in the 17th century, but the gremio activities also materially express occupation, social class, kinds of social relations, and multiple levels of social identity in their performance and in…
The first direct evidence of pre-columbian sources of palygorskite for Maya Blue
Ceramic Theory and Cultural Process after 25 Years
The first direct evidence for the production of Maya Blue
Maya Blue is a colour that is more than a pigment; it had roles in status, ritual and performance, being daubed onto pots and people before sacrifice. Here researchers use experimental and historical evidence to discover how it was made, including direct scientific analysis of Maya Blue on a pot thrown into the sacred well at Chichén Itzá. The results indicate that the formation of the colour was actually part of the ritual
Unconquered Lacandon Maya
Sourcing the Palygorskite Used in Maya Blue
Maya Blue is an unusual blue pigment consisting of a clay-organic complex of indigo and the unusual clay mineral palygorskite (also called attapulgite). Used on pottery, sculpture, and murals from the Preclassic to Late Colonial periods largely in Mesoamerica, blue was the color of sacrifice and ritual. Did the palygorskite used to make Maya Blue come from a restricted source in Yucatán like Shepard, Arnold, Arnold and Bohor believed, or from wid…
Maya Blue and Palygorskite
Maya Blue is an unusual blue pigment used on pottery, sculpture, and murals from the Preclassic to the Colonial period. Until the late 1960s, its composition was unknown, but chemists working in Spain, Belgium, Mexico, and the United States identified Maya Blue as a combination of indigo and the unusual clay mineral palygorskite (also called attapulgite). A source of palygorskite in the Maya area was unknown for years; then ethnoarchaeological re…
Does the Standardization of Ceramic Pastes Really Mean Specialization
The Emergence of Pottery
Testing Assumptions of Neutron Activation Analysis
Contemporary pottery and raw materials (N= 170) from three workshops in Ticul, Yucatán, were analysed by neutron activation to test the hypothesis that individual workshops that used their own clay sources could be identified by their pottery. Although the data failed to confirm the hypothesis, the results reinforced previous conclusions about the relationship of local communities of potters to the chemical patterning of pottery made in these com…
Ecology and Ceramic Production in an Andean Community
Ceramic theory and cultural process
Compositional Analysis and "Sources" of Pottery
One of the important assumptions of compositional analysis is that the elemental composition of an artifact reflects the source of the materials used to make it. Thus, pottery from a particular source will be chemically similar to the raw materials from that source. This "commonsense" assumption seems beyond dispute, but the fact that pottery is a mixture of clay, water, and often temper added by the potter, complicates the interpretation of comp…
Does the Standardization of Ceramic Pastes Really Mean Specialization
Ethnomineralogy of Ticul, Yucatan Potters
The emic cultural categories of pottery materials used by the community of potters in Ticul, Yucatan, were compared to the etic mineralogical analysis of these materials. The study reveals that there is a definite relationship between the cognitive ethnomineralogical system used by the community of potters in Ticul and the verbal, non-verbal, and material aspects of the process of selecting and using raw materials for making pottery. This relatio…
Ceramic Ecology of the Ayacucho Basin, Peru
The paper examines some of the interrelationships of environment and ceramic specialization in the area around the village of Quinua, Department of Ayacucho,Peru. The study reveals that agricultural land dependent on rainfall provides a significant limiting factor in the development of full-time ceramic specialization. Furthermore, the complex series of Quinua ceramic styles depends upon a diverse set of ceramic resources which are mined nearby i…
The Cashinahua of Eastern Peru
Sourcing the Palygorskite Used in Maya Blue
Maya Blue is an unusual blue pigment consisting of a clay-organic complex of indigo and the unusual clay mineral palygorskite (also called attapulgite). Used on pottery, sculpture, and murals from the Preclassic to Late Colonial periods largely in Mesoamerica, blue was the color of sacrifice and ritual. Did the palygorskite used to make Maya Blue come from a restricted source in Yucatán like Shepard, Arnold, Arnold and Bohor believed, or from wid…
On the Argument From Ceramics to History
The assumption that major changes in pottery closely reflect change in other areas of culture has been widely accepted by prehistorians, but it has seldom been tested against independent historical or ethnographic evidence. It is here suggested, on the basis of dated pottery types and of independently dated historical developments, that there is not necessarily a close connection between the two. The evidence for this conclusion is derived from h…
Testing Assumptions of Neutron Activation Analysis
Contemporary pottery and raw materials (N= 170) from three workshops in Ticul, Yucatán, were analysed by neutron activation to test the hypothesis that individual workshops that used their own clay sources could be identified by their pottery. Although the data failed to confirm the hypothesis, the results reinforced previous conclusions about the relationship of local communities of potters to the chemical patterning of pottery made in these com…
Reconstructing Ceramic Production from Ceramic Compositional Data
In order for ceramic compositional analysis to yield more than tentative attribution of ceramics to broad source areas, models of ceramic resource procurement and production will have to incorporate some of the acknowledged complexities of real-world ceramic production. In this paper, we discuss some experiments using artificially-mixed data sets derived from raw materials collected in contemporary pottery-making communities. These experiments su…
Maya Potters' Indigenous Knowledge
Ceramic Theory and Cultural Process after 25 Years
Maya Blue and Palygorskite
Maya Blue is an unusual blue pigment used on pottery, sculpture, and murals from the Preclassic to the Colonial period. Until the late 1960s, its composition was unknown, but chemists working in Spain, Belgium, Mexico, and the United States identified Maya Blue as a combination of indigo and the unusual clay mineral palygorskite (also called attapulgite). A source of palygorskite in the Maya area was unknown for years; then ethnoarchaeological re…
A Reexamination of the Compositional Affiliations of Formative Period Whiteware from Highland Guatemala
An earlier study (Rice 1977, 1978a) purportedly found compositional similarity between raw materials used by modern potters in the northern Valley of Guatemala and Formative period whiteware ceramics from sites in the valley, particularly the major highland center of Kaminaljuyu. The compositional similarity suggested that Formative whiteware was manufactured in the northern valley, and this inference in turn underpinned a model of the developmen…
Mineralogical Analyses of Ceramic Materials From Quinua, Department of Ayacucho, Peru
S Mineralogical analyses of clays, tempers and paints from contemporary sources in the vicinity of Quinua, Peru, were carried out by means of X‐ray diffraction, microscopic examination and physical separation. The data indicates that (1) there is a substantial amount of mineralogical variability in these materials, (2) the differences between the clays and tempers consist of the differences between the relative amounts of plastics and non‐plastic…
The first direct evidence of pre-columbian sources of palygorskite for Maya Blue
An Ancient Clay Mine at Yo' K'at, Yucatan
This paper describes the contemporary clay mine at Hacienda Yo' K'at, Yucatan, and documents the archaeological association of a restored sherd-tool of Puuc slateware in a collapsed tunnel of the mine. The shape of the sherd and its in situ position suggest that it was used to gather clay in the mine during the period of A.D. 800-1000. The paper suggests the relationship of these data to the neutron activation studies of Yucatan pottery and their…
The first direct evidence for the production of Maya Blue
Maya Blue is a colour that is more than a pigment; it had roles in status, ritual and performance, being daubed onto pots and people before sacrifice. Here researchers use experimental and historical evidence to discover how it was made, including direct scientific analysis of Maya Blue on a pot thrown into the sacred well at Chichén Itzá. The results indicate that the formation of the colour was actually part of the ritual
Ecology and Ceramic Production in an Andean Community
The Materiality of Social Memory
This paper explores the means by which potters in Ticul, Yucatán, Mexico, materialized their social memory in the gremio festival to honor a 'Black Christ.' The gremio's 'Black Christ' is associated with the emergence of a unique indigenous Yucatecan identity in the 17th century, but the gremio activities also materially express occupation, social class, kinds of social relations, and multiple levels of social identity in their performance and in…
Mold-made potters' marks from the department of Apurimac, Peru
Field Reports
Extensive earthworks in the form of fields, canals, mounds, and causeways have been reported for the tropical savannas in many areas of South America, but few such earthworks are known from the tropical forest habitat outside of thesegrasslands. This paper reports on the ditch-like earthworks at a remote site in the tropical forest of extreme NE Bolivia. In contrast to most earthworks reported elsewhere in South America, those described here are …
Ethnology
On Ceramic Ecology in the Ayacucho Basin
Ethnomineralogy of Ticul, Yucatan Potters
The emic cultural categories of pottery materials used by the community of potters in Ticul, Yucatan, were compared to the etic mineralogical analysis of these materials. The study reveals that there is a definite relationship between the cognitive ethnomineralogical system used by the community of potters in Ticul and the verbal, non-verbal, and material aspects of the process of selecting and using raw materials for making pottery. This relatio…
Mineralogical Analyses of Ceramic Materials From Quinua, Department of Ayacucho, Peru
S Mineralogical analyses of clays, tempers and paints from contemporary sources in the vicinity of Quinua, Peru, were carried out by means of X‐ray diffraction, microscopic examination and physical separation. The data indicates that (1) there is a substantial amount of mineralogical variability in these materials, (2) the differences between the clays and tempers consist of the differences between the relative amounts of plastics and non‐plastic…
Mold-made potters' marks from the department of Apurimac, Peru
Ceramic Ecology of the Ayacucho Basin, Peru
The paper examines some of the interrelationships of environment and ceramic specialization in the area around the village of Quinua, Department of Ayacucho,Peru. The study reveals that agricultural land dependent on rainfall provides a significant limiting factor in the development of full-time ceramic specialization. Furthermore, the complex series of Quinua ceramic styles depends upon a diverse set of ceramic resources which are mined nearby i…
On Ceramic Ecology in the Ayacucho Basin
The Anna O. Shepard Bibliography
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Ethnology
The Cashinahua of Eastern Peru
An Ancient Clay Mine at Yo' K'at, Yucatan
This paper describes the contemporary clay mine at Hacienda Yo' K'at, Yucatan, and documents the archaeological association of a restored sherd-tool of Puuc slateware in a collapsed tunnel of the mine. The shape of the sherd and its in situ position suggest that it was used to gather clay in the mine during the period of A.D. 800-1000. The paper suggests the relationship of these data to the neutron activation studies of Yucatan pottery and their…
On the Argument From Ceramics to History
The assumption that major changes in pottery closely reflect change in other areas of culture has been widely accepted by prehistorians, but it has seldom been tested against independent historical or ethnographic evidence. It is here suggested, on the basis of dated pottery types and of independently dated historical developments, that there is not necessarily a close connection between the two. The evidence for this conclusion is derived from h…
Stone Working in Ancient Peru
The ethnoarchaeology of pottery production
Reina, Ruben E. and Robert Hill. The Traditional Pottery of Guatemala. Austin: The University of Texas Press, 1978. 323 pp. 419 figures, 10 maps, 3 tables, 10 color plates. $35. Lackey, Louana M. The Pottery of Acatlán: A Changing Mexican Tradition. Norman: The University of Oklahoma Press, 1982. 164 pp. 18 color plates, 68 black and white photographs, 3 maps. $19.95
Ceramic theory and cultural process
Reconstructing Ceramic Production from Ceramic Compositional Data
In order for ceramic compositional analysis to yield more than tentative attribution of ceramics to broad source areas, models of ceramic resource procurement and production will have to incorporate some of the acknowledged complexities of real-world ceramic production. In this paper, we discuss some experiments using artificially-mixed data sets derived from raw materials collected in contemporary pottery-making communities. These experiments su…
News and Short Contributions
Field Reports
Extensive earthworks in the form of fields, canals, mounds, and causeways have been reported for the tropical savannas in many areas of South America, but few such earthworks are known from the tropical forest habitat outside of thesegrasslands. This paper reports on the ditch-like earthworks at a remote site in the tropical forest of extreme NE Bolivia. In contrast to most earthworks reported elsewhere in South America, those described here are …
Archeology
A Reexamination of the Compositional Affiliations of Formative Period Whiteware from Highland Guatemala
An earlier study (Rice 1977, 1978a) purportedly found compositional similarity between raw materials used by modern potters in the northern Valley of Guatemala and Formative period whiteware ceramics from sites in the valley, particularly the major highland center of Kaminaljuyu. The compositional similarity suggested that Formative whiteware was manufactured in the northern valley, and this inference in turn underpinned a model of the developmen…
Essays in Maya Archaeology
Compositional Analysis and "Sources" of Pottery
One of the important assumptions of compositional analysis is that the elemental composition of an artifact reflects the source of the materials used to make it. Thus, pottery from a particular source will be chemically similar to the raw materials from that source. This "commonsense" assumption seems beyond dispute, but the fact that pottery is a mixture of clay, water, and often temper added by the potter, complicates the interpretation of comp…
Ecology and Ceramic Production in an Andean Community
Does the Standardization of Ceramic Pastes Really Mean Specialization
The Emergence of Pottery
Testing Assumptions of Neutron Activation Analysis
Contemporary pottery and raw materials (N= 170) from three workshops in Ticul, Yucatán, were analysed by neutron activation to test the hypothesis that individual workshops that used their own clay sources could be identified by their pottery. Although the data failed to confirm the hypothesis, the results reinforced previous conclusions about the relationship of local communities of potters to the chemical patterning of pottery made in these com…
Maya Blue and Palygorskite
Maya Blue is an unusual blue pigment used on pottery, sculpture, and murals from the Preclassic to the Colonial period. Until the late 1960s, its composition was unknown, but chemists working in Spain, Belgium, Mexico, and the United States identified Maya Blue as a combination of indigo and the unusual clay mineral palygorskite (also called attapulgite). A source of palygorskite in the Maya area was unknown for years; then ethnoarchaeological re…
Archaeology (31 obras) · Geography (27 obras) · Archaeology and ancient environmental studies (26 obras) · History (18 obras) · Ecology (16 obras) · Latin American history and culture (14 obras) · Maya (14 obras) · Sociology (14 obras) · Anthropology (13 obras) · Biology (13 obras)