~ Seated Puppy.
Culture: Jalisco
Date: 300 B.C.-A.D. 300
Period: Late Pre-Classic
Medium: Ceramic buffware with ochre paint overall
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~ Seated Puppy.
Culture: Jalisco
Date: 300 B.C.-A.D. 300
Period: Late Pre-Classic
Medium: Ceramic buffware with ochre paint overall
~ Storyteller Figure.
Place of origin: Jalisco, Mexico
Date: A.D. 100–800
Medium: Ceramic and pigment
~ Seated Male Figure.
Place of origin: Mexico, Jalisco
Date: 200 B.C.-A.D. 500
Medium: Slip-painted ceramics
~ Storyteller Figure.
Date: A.D. 100/800
Place of origin: Ameca Valley, Jalisco, Mexico
Medium: Ceramic and pigment.
~Warrior and Captive.
Place of origin: Mexico, Jalisco
Date: 200 B.C. - A.D. 500
Medium: Slip-painted ceramic, Ameca Gray style.
~ Mask. Period: Late Formative Date: 300 B.C.-A.D. 300 Place of origin: Ameca, Jalisco, West Mexico Medium: Earthenware
~ Musician-Singer. Date: A.D. 100-300 Medium: earthenware, slip paint Place of origin: Mexico, Jalisco-Zacatecas border region
~Warrior Bearing Weapon and Shield. Place: Mexico, Jalisco Date: 200 B.C. - A.D. 500
~Female Performer Holding Drum and Striker or Rattle. Mexican (Zacatecas style) (Artist) Period: A.D. 100-1521 (Classic-Postclassic) Geography: Jalisco-Zacatecas border region, Mexico (Place of Origin)
~Conjoined Man and Woman (Curing Ritual Narrative). Jalisco (Artist) Period: 100 BC-AD 300 Medium: burnished earthenware (Sculpture) Geography: Jalisco, Mexico (Place of Origin)
~Ball player. Late Formative, 300 BCE-300 CE Ameca, Jalisco, West Mexico
~Ballgame (?) Performer. Jalisco (Artist)Colima (Artist) Period: 300 BC-AD 200 Medium: earthenware, traces of black paint (Sculpture) Geographies: Jalisco, Mexico (?) (Place of Origin)Colima, Mexico (?) (Place of Origin) The Mesoamerican ballgame was part of a ceremonial complex that included dance, music, and drama, and often was associated with warfare and solemn rites of cosmic renewal. Its ceremonial components-from parades to ritual dance performances to sacrificial rites-constituted a potent collective activity that reinforced social cohesion. Given the importance of these ceremonies, it is not surprising that Mesoamerican art is filled with portrayals of ballplayers as performers. Whether the Tuxcacuesco-Ortices style figurine depicts a ballplayer is uncertain, although the wide belt is characteristic of such portrayals. This one may represent a female, suggested by the slightly enlarged breasts, although gender is often ambiguous in Tuxcacuesco- Ortices figurines. The figure's loin covering resembles the male loincloth but also recalls the bound-grass covering worn by females. This figurine is further notable for the hornlike protuberance on the forehead, although it remains uncertain whether it represents a shaman's horn, an emblem of power, or some other headdress element.