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By Gilda Hernandez Sanchez

The Spanish colonization dramatically interrupted the independent improvement of old Mesoamerican tradition. however, indigenous societies learnt to stay with the conquest. It was once not just a time of main issue, but additionally an awfully artistic period of time within which fabric tradition mirrored indigenous peoples' different responses and variations to the altering situations. This paintings offers insights into the method of cultural continuity and alter within the indigenous global through concentrating on pottery know-how within the Nahua (Aztec) area of vital Mexico. The overdue pre-colonial, early colonial and present-day features of this are explored so one can come to a renewed knowing of its long term improvement. with a contribution via Iliana Yunuen Caloca Rhi

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Extra resources for Ceramics and the Spanish Conquest: Response and Continuity of Indigenous Pottery Technology in Central Mexico

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He supposed that they were not acquainted with the norms of the community, and therefore were not restricted by them (Foster 1967:293-310). In his opinion, the conservatism of potters was inherent to a production process that encouraged caution. Also May Díaz (1966:17, 138) in her study of contemporary pottery from Tonalá, found that potters resisted technical innovation, even when there were economic and market stimuli. She believed that potters made any clay object which could be made by the molding methods they were accustomed to and by using their usual type of kiln, but nothing more.

Producers of artifacts innovate because they learn new ideas from other people and because they have creative inspiration, but also because they are influenced by other artifacts that they want, or reject, to imitate. In this perspective the relationship between social and material change is seen as dialectical and complex. Change is intrinsically related to conservatism. For this reason, many studies of material culture change have also considered material conservatism. The bipolar approach ‘change and continuity’ is widely extended in the analysis of past and present objects.

Technological methods of observation such as petrography or neutron activation analysis help to refine macroscopic observation; for example, they are particularly useful to identify clay provenance, as they permit us to identify in detail the mineralogical and the chemical composition of ceramics. These methods, however, do not help us to recognize many other aspects of the process of manufacture as normally the first steps of production are covered by later steps, and different procedures may leave similar marks on pottery.

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