[Aztlan] ON THE SUBJECT OF ANCIENT PACIFIC COAST TRADE
Katherine Reece
kat at hallofmaat.com
Wed Mar 19 17:48:53 CDT 2008
I wonder how many sailors got blown off course and didn't survive?
Kat
> Just wanted to refresh this story about Mexican sailors spending 9 months
> at
> sea. If modern Mexican sailors can survive this kind of an ordeal, one
> would
> assume that ancient sailors could also manage a voyage.
> This story has been researched and reprinted in an edition of New Yorker
> Magazine
>
> http://news.bbc.co.uk/2/hi/americas/4798243.stm
>
>
> Three Mexican fishermen who say they spent about nine months drifting
> across
> the Pacific Ocean have been rescued.
>
> The three men said they survived on rain water, sea birds and fish after
> the
> engine on their eight-metre (25ft) boat broke down.
>
> They were eventually picked up by a Taiwanese tuna trawler close to the
> Marshall Islands on 9 August.
>
> A trip to catch shark off the Mexican Pacific coast turned into a
> 5,000-mile
> (8,000km) ordeal, they said.
>
>
> -----Original Message-----
> From: aztlan-bounces at lists.famsi.org
> [mailto:aztlan-bounces at lists.famsi.org]
> On Behalf Of michael ruggeri
> Sent: Wednesday, March 19, 2008 2:41 PM
> To: aztlan at lists.famsi.org
> Subject: [Aztlan] ON THE SUBJECT OF ANCIENT PACIFIC COAST TRADE
>
>
> Listeros,
>
> On the subject of Ancient Pacific coast trade between the Andean
> cultures and Mexico, Lloyd Anderson posted notes on the Moche-Maya
> symposium awhile ago. Here is what he posted;
>
>
> Parallels between Moche and Maya or other Mesoamerican iconographies
>
> This is my attempt [Lloyd Anderson] to pull together my personal
> view of
> some results of the Moche-Maya symposium, and to distinguish two
> classes of
> parallels.
> I am more generous than many would be in including parallels in
> part B
> here, for two reasons. The first is that it encourages more research
> on the
> possible origins of the parallel. The second is that our research is
> almost
> always biased towards isolating cultures because of the loss of
> information
> from earliest stages (as iconography or writing on perishable
> materials, or
> simply not dug up yet).
> So we should keep open the possibilities of historical
> connections unless
> there is apparent disproof (showing for example that older forms look
> less
> alike, therefore proto-inheritance from a common source is less likely).
> Personally, I suspect that a better candidate for Mesoamerican
> connections
> with Moche is Teotihuacan rather than the Maya. Maya-Moche parallel
> features
> would then be a consequence of an older shared cosmology, and would
> preserve
> some cultural elements which we accidentally do not have from
> Teotihuacan.
>
> Part A. Parallels which are most likely independently developed, not
> signs of
> historical connection whether in deep prehistory or borrowing.
> (If a given choice is made the same way around the world in a
> majority of
> cultures of the same general type, then we would attribute to chance any
> similarities between any two such cultures. We would consider these
> to be
> independent developments.)
>
> Part B. Parallels which might reflect either a deep connection in
> prehistory,
> as for cosmological concepts or early technologies, or else a later
> transmission through trade etc. "Might" here means that the
> parallels concern
> items which seem to me not completely obvious, at a minimum, that
> they are not
> the choices made in a majority of cultures of the same general type
> around the
> world (estimated, whether or not we actually have a survey of all such
> cultures).
> ------------------------------------------------------------------------
> ----
> Part A. Chance inedependent parallel developments
>
> 1. The three most elaborated narrative pottery traditions are
> Greek, Mayan, and Moche. Independent developments.
>
> 2. Fineline drawings rather than filled areas on pottery.
> Similar techniques on the NW Coast, Mimbres, etc?
> (Filled areas occur in Paracas, Nazca, Huari, Tiahuanaco,
> Inca.)
> Independent developments.
>
> 3. Developments towards elaborate filling of "negative spaces"
> between the figures. Occurs in the latest level of Moche
> more than in earlier Moche; also in NW Coast,
> Cocle (Pacific coast of Panama), Izapa? and some Maya.
> Independent developments. "Zoned" pottery links Maya with
> Greater Nicoya, not with Moche.
>
> 4. Dominance over men and over animals is a prominent theme among
> societies at the level of chieftanships (Donnan notes this).
> So analogies between captive-taking and deer-hunting can
> easily arise independently. (Certain details might
> nevertheless show closer historical connections.)
>
> 5. Nudity as an iconographic tradition to signal vulnerability -
> This is more marked among the Moche, but the famous Mayan
> pot with the rabbit holding the headdress and clothes of God L
> could reflect a similar tradition. Is it common world-wide?
>
> 6. Features typical of any pictorial writing system not too far from
> becoming writing. These are shared among Moche and Mixtec and
> Aztec, can have developed independently. (Certain details
> might
> nevertheless show closer historical connections.)
>
> 7. Iconographic element for "rain":
> Pueblo Southwest of USA (stacked mounds); Chalcatzingo in
> Mesoamerica
> (layered clouds); Proto-form of Chinese, Sumerian hieroglyphs.
> Similarity is only that shared with the original seen
> object, not
> between the artistic representations of the different cultures.
>
> ------------------------------------------------------------------------
> ----
> Part B. Parallels which might reflect either a deep connection in
> prehistory,
> or else a later transmission through trade etc.
>
> 1. Double-headed serpent sky-band
> Separating for example the upper and lower registers on the
> most
> famous Moche "Presentation Scene". Very common in Maya iconography,
> through
> codices. Also occurs in Greater Nicoya pottery.
>
> 2. Double headed serpent belts on Moche figures (K314-2-right,
> K316a) compared
> with the double-headed ceremonial bar held by Maya rulers.
> These two items (1,2) may reflect a very ancient cosmology
> common to much
> of Mesoamerica and South America.
>
> 3. Heads tilted back as indication of being vanquished or sacrificed.
> Moche pots a few; Mayan codices
>
> 4. Specific display of genitals of both humans and deer as indication
> of being vanquished or sacrificed. Moche common;
> Maya on deer, or famous pot with rabbit holding cloths of
> God L.
>
> 5. Bat-decapitator common among Moche, Maya some; also similar poses
> in the
> Pueblo Southwest of the USA and in the Southeast Ceremonial
> Complex.
> [Perhaps universal, bats pluck fruit as birds also do.]
>
> 6. Owl is chief of military on Moche pots.
> Compare Mayan Tikal influenced by Teotihuacan: Owl Atlatl-
> Shield,
> military, and Chac Te title. Source is Owl as predator.
>
> 7. Shape of the headdress with a central half-circle and two side arcs.
> Moche headdress of the owl or jaguar warrior general.
> Teotihuacan similar headdress.
>
> 8. Do deer volunteer to be captured? Is this a universal of Shamanism,
> so belongs in Part A above? Moche animated objects, is that a
> cosmological parallel? Compare arctic hunters (Eskimo)
> believing
> that a whale or other animal *consents* to be captured.
>
> 9. Deer with their tongue hanging out. This could be a universal,
> since
> deer have a gap between teeth and this behavior is
> characteristic.
> Question: does iconography show it world-wide?
>
> 10. Vanquished warriors with heads tilted (up):
> Moche pots AD137, AD138, K276; many Mayan codex examples
>
> 11. Sacrifice victims with a line through eye (symbolic of bleeding or
> crying?) and bloodied mouth: Moche pot AD140. Contrast victors
> with two halves of the faces painted different colors
> (pots AD140; K118 captors; etc.). Compare Mayan codices.
>
> 12. *Asymmetrical* stairstep shape for mountain or high place,
> Moche on cornices of temples and on paths climbing towards
> them.
> Teotihuacan also. (Sumeria, China use a *symmetrical* three-
> peaked form with the central peak higher, so not universal.)
>
> 13. Shields possibly used to distinguish groups. Round and Square
> shields.
> Aztec clearly used to distinguish groups. Moche perhaps so
> used.
> This could be universal.
>
> 14. Nose-piercing and nose ornamentation.
> Specific iconographic marking of "jewel", Moche and pre-Mayan
> Mesoamerican. Mixtec similar. La Mojarra. Others.
> (How common is this, or particular styles of it, in the world?)
>
> 15. Face-painting marked by IL sign on cheek, signifying 'woman'.
> Maya general. Moche one flat plate with several women weaving,
> contrasting on that plate with higher status figures.
> In this Moche example, presence of IL marks are on cheeks only
> of lower status women.
>
> 16. Sun-God (Benson's interpretation) or Warrior Priest (traditional
> interpretation), at least the figure normally receiving the
> cup in the Moche "presentation scene", is portrayed rayed,
> with the rays often as snakes, and sometimes on a rayed throne.
> Are there specific features of this which are not world-wide
> but are particularly Moche and Mesoamerican? (Borgia codex
> group,
> Mixtec codex group)
>
> 17. Wing feathers have parallel edges (very long parallelograms)
> Northwest Coast of the USA, Borgia codex group, Moche as
> pictured
> and as found in tomb headdresses. Southeast Ceremonial
> Complex?
>
> 18. Compare spread of Eagle Man of Southeastern Ceremonial Complex
> Flint-Eagle of Mixtec codices, club-winged Moche figure, etc.
>
> 19. Small circle attached to figures by simple line
> (or on the most famous "Presentation Scene" pot, sceptre attached
> to the jaguar on throne in lower register)
> This is a method used to attach names in the Mixtec codices.
> Is it a labeling of name or office among the Moche pots?
> Too universal to have much value in reconstructing connections.
>
> 20. Use of Atlatl (throwing-stick). Moche pot K150, Mesoamerica.
>
> 21. Use of interlocked fangs to indicate supernaturals or chiefs,
> Compare K205 and preceding. Extensive in Maya and earlier.
> Could be independent parallel developments.
>
> 22. Tlaloc - Huari turquoise eyes and tear channel ending in a bird.
> Connect to Mesoamerican Tlaloc?
>
> 23. Argument that there may be a Moche figure corresponding to the Yawi
> of the Mixtecs. (Counterargument, these Moche figures are
> simply
> Muscovy ducks, which are in fact very aggressive good
> fighters.)
> a) The decapitator holding knives identifies the shape as a
> knife
> b) The "backflaps" on soldiers are therefore (metal) knives
> (later confirmed from excavated tombs)
> c) A flying being with such a backflap knife and a similarly
> shaped nose or beak, therefore ambiguously also a
> *metal knife* as nose or beak. [If not the beak of a duck]
> d) Compare the Mesoamerican Mixtec Yahui = Mayan Xux Ek' =
> Venus,
> with flint knives at nose and at rear.
> e) The knife shape is not really a duck's beak shape (which is
> more rounded corners, not pointed ones).
>
> 24. A Moche Warrior chief depicted standing over a serpent, therefore
> similar to examples noted by Linda Schele at the Dumbarton Oaks
> conference, from Uxmal Nunnery Quadrangle and from Teotihuacan.
> Moche pot Kutscher #267, top center.
>
> 25. Patricia Anawalt has studied clothing from the Pacific Coast of
> Guerrero,
> Mexico, in relation to clothing of South America, and found strong
> parallels.
>
> 26. Metallurgy is thought by many investigators to have been
> introduced into
> the Pacific Coast of Mesoamerica from Ecuador.
>
> 27. There is a cluster of relatively late sudden changes in the
> Moche culture,
> including such things as introduction of the Mexican hairless dog,
> which seem
> to strongly imply contact with Mesoamerica (around 800 A.D.)
> ------------------------------------------------------------------------
> -----
> Here follow some possible links of Moche with their closer neighbors.
>
> 28. The Moon Animal (see Elizabeth Benson article "The Moche Moon")
> Connects Moche with other nearby cultures
>
> 29. Paired correlations (work of Alana Cordy-Collins) Moche with
> neighbors
> Female - Silver - Moon - Spondylus (spiny oyster) - Blood
> Sacrifice
> Male - Gold - Sun - Strombus (conch shell)
> (The Male/Female pairing is universally common for Sun/Moon.)
> ------------------------------------------------------------------------
> -----
> Here follow links between Mesoamerica and the Pueblo Southwest of the
> USA or
> the Northwest Coast.
>
> 30. Wind-God. Borgia style, compare long-beaked birds on North West
> Coast of USA.
>
> 31. Figures or faces emerging from within an animal head (beak or etc.)
> Mayan common, Northwest Coast of USA, Siberia.
>
> 32. Serpents = lightning (connecting Mesoamerica with Pueblos, Taube)
>
> 33. Serpents = blood (Borgia, Izapa, Maya?)
> ________________________________________________________________________
> _______________________________________________________________________
>
> Patricia Anawalt has done seminal work on striking and almost exact
> similarities between ancient Ecuadorian clothing and jewelry and
> ancient West Mexican clothing and jewelry contemporaneous in time in
> Latin American Antiquity;
>
> Ancient Cultural Contacts between Ecuador, West Mexico, and the
> American Southwest: Clothing Similarities
> Patricia Rieff Anawalt
> Latin American Antiquity, Vol. 3, No. 2 (Jun., 1992), pp. 114-129
> doi:10.2307/971939
> This article consists of 16 page(s).
> View Article Abstract
> ________________________________________________________________________
> ________________________________________________________________________
> _
>
> Allison Paulson published a monograph; "Patterns of Maritime Trade
> between South Coastal Ecuador and Western Mesoamerica, 1500 BCE-600
> CE in
> The Sea in the Pre-Columbian World; Dumbarton Oaks Publications; 1977
> ________________________________________________________________________
> ________________________________________________________________________
>
> Mike Ruggeri
>
>
>
> Mike Ruggeri's The Ancient Americas Breaking News
> http://web.mac.com/michaelruggeri
>
>
>
>
>
>
>
>
>
>
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