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327 N o t e s o f M i d d l e A m e r i c a n A r c h a e o l o g y a n d E t h n o l o g y Carnegie Institution of Washington Division of Historical Research No. 83 October 21, 1947 Representations of Temple Buildings as Decorative patterns on Teotihuacan pottery and figurines Hasso von Winning sel to which a moldmade application showing a temple was attached, The thatch roof is clearly distinguishable above the doorway. The pinnacles appear in a rectangular frame decorated with knoblike protuberances, probably representing chalchihuites. However, these pinnacles differ from those previously discussed, in so far as the one in the center is modeled completely, while only half a pinnacle appears on either side. The spaces between are filled out. This peculiar pinnacle arrangement is used on the next figure (Fig. 83.4), which is also a moldmade motif attached to the base of a vessel and which alternates with a half-star surrounded by a mountain design. The roof is almost two thirds of the entire motif, but, by comparing it with our Figure 83.1, we are undoubtedly concerned with a temple façade. In Figure 83.5, which was an appliqué, appears a similar representation. Traces of clay found on the back of Figure 83.6 indicate that it had been formerly applied to the bottom rim of a vessel. It is a similar motif: posts supporting a thatch roof surmounted by pinnacles. This construction rests on a base formed by a panel above a sloping wall. Attention must be called to the fact that the base resembles in all its details the typical nose plaque which appears frequently in relation to figurines and adorned braseros. The sculptor ostensibly intended to depict a temple base, but for some reason or other he incorporated in it the pattern of a nose plaque because the center of the temple platform is grooved. Miniature clay temples occur frequently in the Aztec cultural horizon, as well as in western Mexico, but they do not appear in the Teotihuacan period. Nevertheless, the pattern of temple façades has been widely applied by the Teotihuacanos as decorative motifs on pottery and moldmade figurines. Its use has been conventionalized as have many other patterns in this culture period. A number of selected specimens manifest the gradual changes which this motif has undergone. The first example to be considered is a champleve tripod vase on which has been incised four times g temple construction, alternating with a Tlaloc face (Fig. 83.1). The temple has been depicted in such a way that all its architectural details are clear and unmistakable. The sloping base, as well as the rectangular wall panels, is characteristic of the classical Teotihuacan period. The stairway in the center ascends to the entrance of the temple chamber . Emphasis is given to the elaborate roof, consisting of beams over the doorway, supporting the typical thatched roof, which, in turn, is crowned by three pinnacles. Thus we have a complete picture of a teocalli, and if we compare it with the corresponding designs on the murals at Tetitla (Teotihuacan) of the same epoch (Fig. 83.2), we find that the artist followed an established pattern. Also at Tetitla the roof is out of proportion, being larger than the lower part. In both cases the pinnacles are above the thatch. The same structural patterns appear on a fragment (Fig. 83.3) from the lower part of a great ves- haSSo von Winning 328 This example points to the probable existence of an ideological association between the representation of temple bases and nose plaques. Figure 83.7 shows a corresponding arrangement in relief on a small bowl decoration. The temple , with raindrops on either side (Winning 1947), alternates with a half-star, a combination we have already seen in Figure 83.4. The design is repeated four times around the rim of the bowl. If we now analyze the triple motif introduced in the headdress of a moldmade Teotihuacan figurine (Fig. 83.8), we come to the conclusion that the representation of a temple roof is intended. The pinnacles are clearly shown between two parallel beams, from which are suspended vertical shafts representing thatch. Below this roof design is a circle of owl feathers. Superimposed on its lower sector is an ornament like the nose plaque encountered on small clay masks covering the mouth...

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