Behind the Mask - Mesoamerica
by Kimberly Melgoza
From as early as 12th century BC in Tlatilco to the 15th century CE in Tenochtitlan, there were many masks discovered. These masks come from all areas in Mexico and from different Mesoamerican people, such as the Aztecs, Olmecs, and Mixtecs. All of these masks were made from different materials such as: greenstones, ceramics, turquoise, onyx, or even serpentine. For the most part, it is evident that Mesoamerican masks were generally not worn. Whether that was because of the material they were made from that was too heavy to be worn on the face or the fact that the masks did not have openings in the eyes or mouth. Thus, instead of being worn they were buried with the dead, mounted on sculptures, or merely just added to ceremonial clothing. In addition, the masks either represented a deity, something supernatural, or their own people. As will be seen in this exhibit, each mask is very unique to its location, time period, and creators (Mesoamerican group).
The early peoples of what is now Mexico used masks in their religious rituals. These masks dated from as early as 12th century BCE in Tlatilco until the 15th century CE in Tenochtitlan. Ancient ritual masks come from all areas in Mexico and from diverse Mesoamerican people, including the Aztecs, Olmecs, and Mixtecs. All of these masks were made from different materials such as: greenstones, ceramics, turquoise, onyx, and serpentine, among others. As will be seen in this exhibit, each mask is unique to its location, time period, and Mesoamerican group. By examining these masks we are able to learn more about the religions of the Mesoamerican people especially by how and what they are made of.
For the most part, it is evident that Mesoamerican masks were generally not worn. This could be because of the material they were made from which was too heavy to be worn on the face or the fact that the masks did not have openings in the eyes or mouth. In terms of the materials used for these masks, if they were made from scarce materials such as turquoise it probably meant that the mask represented someone important to them. In this exhibit we will see a mosaic mask that was tedious to make, which is indicative that the mask represents either a god or someone crucial in their life. If they were made from very heavy material, it probably meant that the mask was meant to be sedentary. These masks were buried with the dead, mounted on sculptures, or merely just added to ceremonial clothing. Some masks either represented a deity, something supernatural, or their own people. This can also be said about masks that are able to be worn (holes on the eyes and mouth), these probably represented important figures because then the indigenous people were able to wear the mask and impersonate them at ceremonies. Thus, the way that these masks functioned in society within their culture was a different way of venerating their deities. Instead of creating a statue, they created a face of the deity which not only could be worn, but bounded to other sacred objects.
According to Bill Brown, the difference between a thing and an object is that a thing is general and unspecific, while an object is identified with a name and has an actual purpose. (1) In the case of these masks, the raw materials “greenstone” (for example) are identified as a thing, but once it is shaped into a mask and has characteristics it becomes an object. The masks have specific characteristics such as similar features of the people from the area – specific eye shapes or mouths. Those characteristics can also come in as referring to a deity, those that are represented as animals will show certain features such as fangs to allude who it is.
As mentioned, it is very objective as to what the creator wanted to represent with the masks. As outsiders, we may never truly understand what the masks actually represent and why they were made the way they were. Most of our knowledge comes from archaeological assumptions on where and how these masks were found. One of the masks we will see in this exhibit was found alongside other stone objects, giving the conclusion that it was an offering to one of their gods. (2) Additionally, our own cultural baggage when looking at these objects can lead to us having preconceived ideas and misinterpreting the religious significance of the masks. For example, if you belong to a certain culture which only wears masks and does not have them bound to other items, you may not be able to truly comprehend why Mesoamerican people created such masks.(3) In fact, the general religious function of these masks was to create a representation of their deity to venerate, especially made by precious stone to further show its importance. And the fact that they were not worn shows how they were representative of being a statue, perhaps as idols.
Unlike spiritual religion, something that is embodied, these masks represent a physical interpretation of religion. It is something that not only lives inside a person but can be shared among others in the group. While some religions, such as Judaism, are not allowed to create icons of their God, these Mesoamerican religions believed that by creating masks of their deities they would reach a higher sense of connection. It not only let them wear the mask and allow them to perform important ceremonies (ritual performance), but also allowed for the masks to be bound to other ritual objects, including a burial. This representing that the deity goes with the person after death and not just in this life. This exhibit of masks will thus show you a preview of physical religion. Below you will find resources that further explain Mesoamerican religions.
1. Brown, Bill. "Thing Theory." Critical Inquiry 28, no. 1 (2001): 1-22. doi:10.1086/449030.
2. Klein, Cecelia F. "Masking Empire: The Material Effects Of Masks In Aztec Mexico." Art History 9, no. 2 (1986): 135-67. doi:10.1111/j.1467-8365.1986.tb00192.x.
3. Buggeln, Gretchen Townsend, Crispin Paine, and S. Brent Plate. Religion in Museums: Global and Multidisciplinary Perspectives. London: Bloomsbury Academic, an Imprint of Bloomsbury Publishing Plc, 2017.
For the most part, it is evident that Mesoamerican masks were generally not worn. This could be because of the material they were made from which was too heavy to be worn on the face or the fact that the masks did not have openings in the eyes or mouth. In terms of the materials used for these masks, if they were made from scarce materials such as turquoise it probably meant that the mask represented someone important to them. In this exhibit we will see a mosaic mask that was tedious to make, which is indicative that the mask represents either a god or someone crucial in their life. If they were made from very heavy material, it probably meant that the mask was meant to be sedentary. These masks were buried with the dead, mounted on sculptures, or merely just added to ceremonial clothing. Some masks either represented a deity, something supernatural, or their own people. This can also be said about masks that are able to be worn (holes on the eyes and mouth), these probably represented important figures because then the indigenous people were able to wear the mask and impersonate them at ceremonies. Thus, the way that these masks functioned in society within their culture was a different way of venerating their deities. Instead of creating a statue, they created a face of the deity which not only could be worn, but bounded to other sacred objects.
According to Bill Brown, the difference between a thing and an object is that a thing is general and unspecific, while an object is identified with a name and has an actual purpose. (1) In the case of these masks, the raw materials “greenstone” (for example) are identified as a thing, but once it is shaped into a mask and has characteristics it becomes an object. The masks have specific characteristics such as similar features of the people from the area – specific eye shapes or mouths. Those characteristics can also come in as referring to a deity, those that are represented as animals will show certain features such as fangs to allude who it is.
As mentioned, it is very objective as to what the creator wanted to represent with the masks. As outsiders, we may never truly understand what the masks actually represent and why they were made the way they were. Most of our knowledge comes from archaeological assumptions on where and how these masks were found. One of the masks we will see in this exhibit was found alongside other stone objects, giving the conclusion that it was an offering to one of their gods. (2) Additionally, our own cultural baggage when looking at these objects can lead to us having preconceived ideas and misinterpreting the religious significance of the masks. For example, if you belong to a certain culture which only wears masks and does not have them bound to other items, you may not be able to truly comprehend why Mesoamerican people created such masks.(3) In fact, the general religious function of these masks was to create a representation of their deity to venerate, especially made by precious stone to further show its importance. And the fact that they were not worn shows how they were representative of being a statue, perhaps as idols.
Unlike spiritual religion, something that is embodied, these masks represent a physical interpretation of religion. It is something that not only lives inside a person but can be shared among others in the group. While some religions, such as Judaism, are not allowed to create icons of their God, these Mesoamerican religions believed that by creating masks of their deities they would reach a higher sense of connection. It not only let them wear the mask and allow them to perform important ceremonies (ritual performance), but also allowed for the masks to be bound to other ritual objects, including a burial. This representing that the deity goes with the person after death and not just in this life. This exhibit of masks will thus show you a preview of physical religion. Below you will find resources that further explain Mesoamerican religions.
1. Brown, Bill. "Thing Theory." Critical Inquiry 28, no. 1 (2001): 1-22. doi:10.1086/449030.
2. Klein, Cecelia F. "Masking Empire: The Material Effects Of Masks In Aztec Mexico." Art History 9, no. 2 (1986): 135-67. doi:10.1111/j.1467-8365.1986.tb00192.x.
3. Buggeln, Gretchen Townsend, Crispin Paine, and S. Brent Plate. Religion in Museums: Global and Multidisciplinary Perspectives. London: Bloomsbury Academic, an Imprint of Bloomsbury Publishing Plc, 2017.
