Description
GROUP OF THREE FEMALE FIGURES - PRIESTESSES? Veracruz culture, Remojadas, Gulf Coast, Mexico Classical, 600-900 A.D.C. Beige-orange ceramic with remains of ornamental black bituminous paint H. 37 to 43 cm Veracruz (Remojadas) three standing female figure, priestesses? Beige-orange ceramic with remains of ornamental asphalt paint, Mexico H. 14 ½ to 17 in Provenance: Private American collection, acquired 1990 Merrin Gallery, New York These three Remojadas culture priestesses in clay - a soft material - obey the artist's intentions: The three Remojadas priestesses are made of clay - a flexible material - and follow the artist's intentions: delicately pastilted clothes with wide horizontal bands, a kind of tunic called huipil, as well as three identical headdresses, each with flat ribbons on the sides that fall on the shoulders; and finally, small dots of black paint (bituminous material), applied on the eyes and mouth, which establish the relationship with the goddess "with the black mouth", Tlazolteotl, so important in the region of Veracruz. The women danced and sang, and the one who embodied the deity was sacrificed during the ritual to bring new strength to the vegetal and human renewal.
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GROUP OF THREE FEMALE FIGURES - PRIESTESSES? Veracruz culture, Remojadas, Gulf Coast, Mexico Classical, 600-900 A.D.C. Beige-orange ceramic with remains of ornamental black bituminous paint H. 37 to 43 cm Veracruz (Remojadas) three standing female figure, priestesses? Beige-orange ceramic with remains of ornamental asphalt paint, Mexico H. 14 ½ to 17 in Provenance: Private American collection, acquired 1990 Merrin Gallery, New York These three Remojadas culture priestesses in clay - a soft material - obey the artist's intentions: The three Remojadas priestesses are made of clay - a flexible material - and follow the artist's intentions: delicately pastilted clothes with wide horizontal bands, a kind of tunic called huipil, as well as three identical headdresses, each with flat ribbons on the sides that fall on the shoulders; and finally, small dots of black paint (bituminous material), applied on the eyes and mouth, which establish the relationship with the goddess "with the black mouth", Tlazolteotl, so important in the region of Veracruz. The women danced and sang, and the one who embodied the deity was sacrificed during the ritual to bring new strength to the vegetal and human renewal.
