By James John Aimers
“Aimers has introduced jointly top Maya ceramicists who offer their candid perspectives on how they classify pottery. This quantity is of specific theoretical energy for the dialogue on terminology in class, either for seriously comparing the type-variety process and for basic class of pottery.”—Heather McKillop, writer of Salt
“At final, we have now the chance to benefit the aptitude strengths in addition to the pitfalls of a unmarried approach for the research of the prehistoric Maya.”—Fred Valdez Jr., coeditor of Ancient Maya Commoners
“An fascinating trip via an analytical method that's foundational to development deep and complicated histories but is deployed with a flexibility that a few settle for and others question.”—Patricia A. McAnany, collage of North Carolina, Chapel Hill
“Aimers has pulled jointly a sequence of theoretical, methodological, and substantial papers through admired Maya ceramicists that overview the advance, present application, and barriers of the type-variety method.”—E. Wyllys Andrews, Tulane University
the traditional Maya produced a wide diversity of ceramics that has attracted concerted scholarly consciousness for over a century. Pottery sherds—the so much considerable artifacts recovered from sites—reveal a lot approximately creative expression, non secular ritual, fiscal platforms, cooking traditions, and cultural trade in Maya society.
this present day, approximately each Maya archaeologist makes use of the type-variety classificatory framework for learning sherd collections. This extraordinary quantity brings jointly a number of the archaeologists signally fascinated by the research and interpretation of old Maya ceramics and represents new findings and state of the art pondering. the result's a publication that serves either as a priceless source for archaeologists curious about pottery category, research, and interpretation and as an illuminating exploration of historic Mayan culture.
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Extra info for Ancient Maya Pottery: Classification, Analysis, and Interpretation
By the very Late Postclassic period, still more decorative freedom can be noted 21 22 Prudence M. 2. Parallel distributions of decorative types and varieties within Postclassic Petén paste wares Snail-inclusion Paxcamán (Red) Group: Fulano (Black) Trapeche Macchiato (Pink) (Brown) Cream Red Uapake Topoxté (Red) Augustine (Red) Chipotle Types Monochrome X X X X X X (2) X X X X X X X X X Polychrome Black paint Red paint Banded X Curvilinear X X Geometric X X Red + black X X X X X X X Fine X X X X X Groove X X X (2) X X Incised + paint X Censer X Incised X (2) X X X X as greater variation and combinations of possible choices came into use: for example, some vessels exhibit both painting and incising, or interior and exterior decoration, and so on.
The 1965 Maya ceramic conference reported some disagreement about where ware belonged in the hierarchical arrangement of taxonomic units: Smith felt it was a higher-order unit, “making the separation of wares the first procedural step in ceramic analysis,” whereas others thought wares were more integrative and “abstracted from completed type definitions” (WCA 1967: 304). Thus, wares organized the Mayapán and Barton Ramie type-variety classifications but not the Copán analysis (Willey et al. 1994).
Absent different and clearer (non-chronologically comparative) goals for ceramic analyses, type-variety will always come up short. If analysts are unable to equate types and varieties with meaningful social units, as Gifford hyperbolically claimed they could, we should not be surprised: given type-variety’s history and the procedural sequence of classification, analysis, and interpretation, that final interpretive level today is clearly not what type-variety was originally intended to achieve. I conclude with another pitch for wares and for keeping them in the typevariety system of pottery classification (Rice 1976; contra Culbert and Rands 2007: 185).
Ancient Maya Pottery: Classification, Analysis, and Interpretation by James John Aimers
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