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Pre-Columbian, Mexico, Teotihuacan, ca. 300 to 700 CE. A dramatic theater-type censer lid, the base of a conical form with an upper decorative sculptural work similar to the architectural entablature of Teotihuacan temples. Censers like this are called theater-types, because the masked "face" hidden behind a nose ornament with earspools seems to be looking out from a stage surrounding a proscenium adorned with symbols. This example features four round adornos representing flowers (three above and one below the visage) and a row of three trios of feather motifs on rectangular panels called mantas. Some scholars have argued that the central mask represents the Teotihuacan Goddess due to the butterfly symbolism that oftentimes accompanies it and the nosebar. In the figure's right hand is a feather-adorned blade with motifs similar to the upper plumes. Size: 16.875" W x 19.5" H (42.9 cm x 49.5 cm)

Given the repeated depictions of masks in various media - mural painting, statues, and incensarios lids like this one, scholars have concluded that masks played an important role in Teotihuacan rituals. This example presents distinct indications of elite rank and status such as prominent earspools and that wonderful nose ornament. Due to the shape of the nose or mouth ornament, scholars have suggested that it represents a Teotihuacan talud-tablero temple. This form, oftentimes featured in theater-type censers, was also associated with butterfly symbolism. According to scholar Annabeth Headrick, Sejourne first made the association of the nose plaque with the butterfly in 1962, and Caso agreed to label it by its Nahautl name, yacapapalotl in 1966. Adding further support to this was von Winning who argued it was associated with the "Butterfly God" (1987), and Kubler (1972) and von Winning (1987) associated butterflies with the deceased. (The Teotihuacan Trinity: The Sociopolitical Structure of an Ancient . . ." by Annabeth Headrick, University of Texas Press, 2007)

Such ceramic censers were used to burn fragrant incense. According to Berrin and Pasztory, "Copal was placed in the bowl of the flower-pot-shaped vessel which was elevated on another inverted flower-pot-shaped vessel. It was covered by a conical lid; through the back rose a chimney like tube where the smoke escaped. The emphasis is not on the function of the vessel but on the scene that had been constructed on top and the images and ideas it was meant to convey." (Teotihuacan Art From the City of the Gods, edited by Kathleen Berrin and Esther Pasztory, Thames and Hudson: The Fine Arts Museums of San Francisco, 1993, p. 216)

Compare to a similar example published in "Teotihuacan Art From the City of the Gods," edited by Kathleen Berrin and Esther Pasztory, Thames and Hudson: The Fine Arts Museums of San Francisco, 1993, p. 217. Another useful source is, "The Teotihuacan Trinity: The Sociopolitical Structure of an Ancient . . ." by Annabeth Headrick, University of Texas Press, 2007.

This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full printed and bound report is available to the buyer upon request.

Please note that this piece is only available for local pick up only.

Provenance: Whisnant Gallery, New Orleans, Louisiana, acquired prior to 1997

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#123339

Professionally repaired with many losses as shown, nevertheless the surviving piece would make a fabulous centerpiece for any serious collection. Missing several adornos and left hand which probably held an object similar to that in the right hand. Surface still shows remains of red and yellow pigment. TL drill holes on 1 panel rim and behind main panel with face.