Abstract
Studies of the organization of Maya pottery production have been pursued via numerous methods but without theoretical models. I review available data on production of Late Classic southern lowland Maya polychrome pottery in light of my calendrically based may model of geopolitical organization. I conclude that: (1) production arrangements vary by “kind” of pottery; (2) “craft specialization” and “workshops” are inappropriate concepts; (3) study of polychrome production necessitates multiple approaches, including analysis of decorative content; (4) better “bridging arguments” and “middle-range theory” are needed; (5) figural polychromes were “inalienable” wealth goods; and (6) they were painted in palaces of primary and secondary centers—may and k'atun seats in the model—in realm-specific signature styles.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
