Part I. Using pots -- Forming intentions -- Feasting families -- Telling stories -- Honoring ancestors -- Burying pots -- Part II. Understanding fragments -- Collecting pots -- Making time -- Finding places -- Tracing boundaries -- Picturing meaning -- Epilogue
Summary
In 'Painted Pottery of Honduras, ' Rosemary Joyce describes the development of the Ulua Polychrome tradition in Honduras from the fifth to sixteenth centuries AD and critically examines archaeological research on these objects that began in the nineteenth century. Previously treated as a marginal product of Classic Maya society, this study shows that Ulua Polychromes are products of the ritual and social life of indigenous societies composed of wealthy farmers engaged in long-distance relationships extending from Costa Rica to Mexico. Drawing on concepts of agency, practice, and intention, Rosemary Joyce takes a potter's perspective and develops a generational workshop model for innovation by communities of practice who made and used painted pottery in serving meals and locally meaningful ritual practices
Bibliography
Includes bibliographical references and index
Notes
Print version record and CIP data provided by publisher; resource not viewed
