- 79
Maya Double Figure of the Moon Goddess and Companion, Jaina Late Classic, circa 550-950 AD
Description
- ceramic
- Height: 8 7/8 in (22.5 cm)
Provenance
Ancient Art of the New World, New York
American Private Collection, acquired from the above in 1991
Exhibited
Field Museum of Natural History, Chicago, temporary loan, 1966
The Arts Club of Chicago, High Culture in the Americas before 1500, November 15 - December 31, 1982
Literature
Nicholas M. Hellmuth, 'Maya Clay Sculpture of Pre-Columbian Mexico', Apollo, Vol. CIII, No. 169, March 1976, fig. 7
Nicholas M. Hellmuth, Tikal, Copan, Travel Guide: a General Introduction to Maya Art, Architecture, and Archaeology, St Louis, 1978, p. 166
Everett McNear, High Culture in the Americas before 1500, Chicago, 1982, p. 16, fig. 31
Condition
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
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Catalogue Note
This beautiful youthful female represents one of the two principal female role models, typically identified as the Moon Goddess, sometimes referred to as Ixchel. Her companion is often an aged man representing her companion, the aged Sun God. The Moon Goddess was associated with the role of nurturer and mother, and also with licentious behavior, as suggested in the body language of these joined figures. The embracing yet counterpoised posture shown here may represent a dancing or 'ritual clowning', as Taube observed in his study of Jaina figures as part of a courtly narrative (Taube, 'Ritual Humor in Classic Maya Religion' in Hanks & Rice, eds., Word and Image in Maya Culture, 1989, cited in O'Neil, Engaging Ancient Maya Sculpture, 2012, p. 424).
The female is clothed in a closefitting long huipil pulled to the side by her upraised arm; her striated and cropped coiffure is upswept with a filleted turban secured with a large bow, jewelry including tassel earrings swinging with her movement, a cord necklace and large beads. She tilts her head back as her left hand presses to her chest, and the male's right hand rests on her shoulder. Her companion is minimally clothed in contrast to her, wearing a long sashed loincloth low on his hips and a tufted cape over the shoulders. His leg steps in front and against hers. The couple forms a mold-made whistle, with the heads modeled by hand to achieve the detailed expressions and elaborate headdress ornaments.
For embracing couple figures, see Pillsbury et al., eds., Ancient Maya Art, 2012, p. 420, pl. 79, for the figure at Dumbarton Oaks, Washington D.C., and p. 423, fig. 233 for a similar coupled figure at the Detroit Institute of Arts.