The Jay I. Kislak !Foundation!

Gallery!

Ms. Perla Tabares Hantman, Chair!Dr. Lawrence S. Feldman, Vice Chair!

Dr. Dorothy Bendross-Mindingall!Mr. Carlos Curbelo!

Mr. Renier Diaz de la Portilla!Dr. Wilbert “Tee” Holloway!

Dr. Martin S. Karp!Dr. Marta Perez!

Ms. Raquel Regalado!

Ms. Hope Wilcox!Student Advisor!

Mr. Alberto M. Carvalho!Superintendent of Schools!

Ms. Milagros R. Fornell!Associate Superintendent!

Curriculum and Instruction!

Dr. Maria P. de Armas!Assistant Superintendent !

Curriculum and Instruction (K-12 Core Curriculum)!

Mr. John Doyle!Administrative Director!

Curriculum and Instruction, Division of Social Sciences and Life Skills!

Matthew Sabatella!Curriculum Support Specialist!

Curriculum and Instruction, Diivision of Social Sciences and Life Skills!

The School Board of Miami-Dade County, Florida!

Kislak Collection Information

Early in his career Jay Kislak developed an interest in the history. When he moved to Florida from New Jersey he began collecting the artifacts you will see in the Kislak gallery.

His interest in the history of Florida, Mexico, and the Caribbean led to a large collection of maps, books, and manuscripts. Many of the maps, some dating from the 1500’s, can be seen on the first floor of the Kislak building.!

Map of Florida. Engraved map by Jacques le Moyne de Moegues, published by Theodor de Bry, in Breves Narratio, Frankfort, 1591 (image from Wikipedia.org) !

Mr. Kislak and his wife, an art curator, expanded the collection to include pre-Columbian artifacts from Mesoamerica and the Caribbean.

This collection highlights the richness of the civilizations that the Spanish explorers found.

It focuses on the early Americas from the time of the indigenous people of Mexico, Central America, and the Caribbean through the period of European contact, exploration, and settlement and includes artifacts from Pre Columbian Taino, Olmec, Maya, Aztec and other civilizations and cultures in Mesoamerica from 1200 BC until the arrival of Hernan Cortes in 1521.

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Eventually Mr. and Mrs. Kislak collected a massive quantity of rare books, maps, and artifacts.

In March of 2005 the Kislaks donated over 4,000 objects to The Library of Congress in Washington D.C.

The Jay I. Kislak Collection, The Cultures and History of the Americas, at the Library of Congress in Washington D.C., features rare books, maps, documents, paintings, prints, and artifacts from Mesoamerica.!

Rivera, Diego (1886-1957) Illustrations for the Popol Vuh, 1930-1931.

Diego Rivera’s work of a series of illustrations for a translation of the Popol Vuh by North American writer John Weatherwax

(The Jay I. Kislak Collection, Library of Congress)

CHRONOLOGY: MESOAMERICAN TIMELINE

Archaeologists divide Mesoamerican civilization development into three major time periods:

•  the Pre Classic or Formative period extending from 1500 B.C. - A.D. 300

•  the Classic period extending from A.D. 300-950

•  the Post Classic period extending from A.D. 950-1521

As Mesoamerican populations developed more intensive agricultural techniques, political specialists began to govern their societies.

Eventually, population increase led to competition for localized resources.

Political leaders organized cooperative farming ventures, that could be applied just as effectively to mobilizing military forces.

In this way Pre Classic leaders secured the powers they needed to centralize authority.

Forms of writing begin to appear as early as 500 B.C. in Oaxaca. Between 500 and 200 B.C. ceremonial centers emerged in the Maya lowlands.

THE PRECLASSIC PERIOD

In the Classic period urban state societies emerged throughout Mesoamerica. The foremost was Teotihuacán. Boasting a population of over 100,000 inhabitants, it was one of the largest cities in the world between A.D. 200-700.

Enduring civic-ceremonial centers like Tikal, Palenque, Copán and scores of other powerful lowland Maya city-states, evolved from Pre Classic communities located deep of Guatemala’s jungle.

By A.D. 300, monuments with hieroglyphic texts describing divine origins illustrate the transformation of social organization from chiefdoms to institutionalized kingship.

Then by A.D. 900, most of the great centers had been abandoned, some after experiencing continuous growth for over a millenia.

There are many theories postulated to explain societal collapse, but no single factor tells the whole story. Most ideas focus on the fundamental instability of Classic elite socio-political organizations compounded by environmental degradation; climatic changes and the depletion of resources due to overpopulation.

Some areas witnessed a brief florescence of secondary-states between A.D. 800-1200 - an era sometimes called the Epi-Classic. Ceremonial centers such as Uxmal, Xochicalco, Cacaxtla, and El Tajín were renowned for their artistic developments in intricate mosaic stone facades and fresco painting.

THE CLASSIC PERIOD

THE POSTCLASSIC PERIOD

During the Post Classic period, regional governments became highly segmented and commercially oriented. Emphasis was placed on the development of “great houses,” networks of enclosed rooms and courts ideally suited not only to royal feasts that were an integral part of long distance alliance formation, but also to the proliferation of an unequaled level of art and craft production.

It was at this time that competition for access into exchange networks became so pronounced that traders and craftspeople were driven to seek out the rarest and most exotic materials to maximize the value of their gifts.

The technology for smelting gold, silver, and copper, was introduced from Central and South America, while turquoise mined in the American southwest was exchanged for the plumage of Scarlet Macaws.Never before had the Mesoamerican economy been exposed to so many rare materials from such far away places.

After the fall of Tula, a Toltec city-state, Aztec peoples moved south to Lake Texcoco. Eventually they were able to affect the balance of power in the region to such a degree that they were granted royal marriages with venerable Toltec families.

By 1450, the Méxica, now the most powerful of seven original Aztec groups, incorporated their former rivals and together they conquered an empire. Eventually, they gave their name to the nation of México, while their city of Tenochtitlán became what we know as México City today.

Some of the Mesoamerican Mexican cultures include the Aztec, Maya, Oaxaca,and Teotihuacan. The Andes cultures include the Inka, Chimu, Wari, Tiwanku,Moche, and Chavin.

Mesoamerican Cultures!

Writing in Ancient Mesoamerica!

Evidence has been found that confirms early dates for a Pre-Classic Olmec writing system. Artifacts have been discovered bearing glyphs dating to 650 B.C.

The Maya, Mixtec, and Aztec used colorfully painted screenfold books and carved and painted glyphs on walls and monuments, and stelae.

However, the Maya had the most advanced writing system.

There are only about 30 phonetic sounds in the Maya language so a purely phonetic alphabet could in theory be written with 30 signs. At this time, about 800 glyphs have been identified that correspond to verbs, nouns, adjectives, and particles. Many of the glyphs have two or more meanings.

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Maya Writing!

Pre-Columbian Maya books are called codices or screen-folded manuscripts because each book was made of a long strip of paper which was folded like a screen. The paper was made from the inner bark of various species of fig tree (Ficus cotonifolia, Ficus padifolia) which was pounded into a pulp with stone implements called bark beaters. Natural gums were used as a bonding substance to hold the pulp together. A coating of fine white lime was applied to both sides of the paper sheets to provide a smooth finish upon which to paint hieroglyphs, calendars and figures. The codices were painted on both sides of the paper so to read them you would read along one side of the paper strip, from left to right, and then turn the codex over and read the other side.

Maya Writing!

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The Popol Vuh or council book recounts the ideas and traditions, origins and dynastic chronology up to the year 1550 of the ancient Quiché Maya.

Beginning as oral tradition, handed down through generations of story tellers, the Popol Vuh was sent down in hieroglyphic form on ceramics and stelae, then into an “alphabetic substitute” before being transcribed and translated into Spanish by the Dominican friar Francisco Ximénez in the 18th century.

The Popol Vuh is also the creation story of the Maya. One story tells of the first attempts of the creator, Heart of Sky to make humans. The story explains the final attempt that resulted in the "True people", which was accomplished by constructing people with maize. It was the cultivation of maize that gave the early Maya culture the means to change from hunter gatherers to their highly advanced civilization.

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The Popol Vuh

The Ball Game!

The original ball game may have begun with the ancient Olmec civilization over 3,000 years ago but was played throughout Mesoamerica for fun, the settle local disputes and wars, and for religious rituals.

It is the first documented organized sport in history dating at least from 2500 BC.

The game was a sort of combination of volleyball, basketball, and soccer. The ball was not allowed to touch the ground. It was bounced off the walls of the court and off the players themselves.

It was a dangerous game that symbolized the battle between life and death and included human sacrifice.

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Conflict, War Fare and Sacrifice

The Ball Players Uniform!

Duane Hanson Sculpture of Dolphin football player,

Robert Tilley.

Ceramic Kneeling Ball Player, Guatemalan Highlands, Kaminaljuyu. Middle Classic, AD 400-700

Deflection off a player's midsection was one of the primary techniques of the Mesoamerican ballgame, during which the player's hands were used only at the beginning to put the ball into play.

Because the rubber ball itself could injure or kill, significant resources were invested in equipment to protect against broken bones and damaged internal organs

Parts of a Ball Players Uniform!

A Ceremonial Ballgame yoke with reptilian earth monster, Gulf Coast Classic Ca.450-650 AD. It took thousands of hours to make stone yokes like this. They were used before and after games during ceremonies. It is thought that the stone yokes, weighing as much as 50 pounds, are ceremonial versions of leather, cotton, and/or wood yokes, although no such perishable artifacts have yet been unearthed.

The yokes and hachas (axes), have been found from Teotihuacan to Guatemala.

Hachas, made of stone, were set on the yoke, in front of the player, possibly to help control the ball or as a component of the ceremonial dress.

Hachas may also have been used as markers along the sides of the court.

The Ball Court!

Vessel Modeled as I-Shaped Ball Court, Guatemala, Kaminaljuyu. Terminal Pre classic, 200 BC - AD 200. Incised black-brown ceramic with traces of red hematite. A remarkably faithful model of an architectural ball court with expanded end zones and high tapered sidewalls bearing four serpent heads. There are two round openings on opposite sides of the centerline – symbolic openings to the underworld. The top and sides surfaces are decorated with crosshatched meanders that may be proto-Maya earth symbols appropriate to ballgame symbolism. This is one of the oldest depictions of a ball court.

Variations of Ball Courts!

Ball court with ring, Xochialco, Mexico!

Ball court with visible marker, Yaxchilan, Mexico

Ballcourt, Zaculeu, Guatemala

Taxtle, Cantona, Mexico

Thousands of ball courts have been found throughout Mesoamerica: as far north as Arizona, south as Nicaragua and on the Taino islands of Cuba, Hispaniola, Puerto Rico and the Virgin Islands.

The ball, or ulli, was made of hard rubber and weighed about 9 pounds.

The Olmecs were the first to use rubber, which is how the Olmecs got their name.

In the language Nahuatl, olli is the word for rubber and Olmec is “the people who use rubber”.

The Olmecs would use the rubber from the trees to create balls about the size of a hand.

The rubber gave the balls the ability to bounce, however they were hard and solid enough to cause injuries.

It is not known with any certainty the sizes or weights of the balls actually used in the ballgame. it is presumed by most researchers that the ancient hip-ball was roughly the size of a volleyball, and weighed between 6-9 lbs or 15 times heavier than the air-filled volleyball.

The ball used in the ancient handball or stickball game was probably slightly larger and heavier than a modern-day baseball.

The Ball!

This etching of two ball players (jugglers) is the first etching of indigenous people Europeans had seen.

There was nothing in any of their books or religion that referred to dark skinned people. Therefore the Europeans did not consider these people as human. They saw the indigenous people as evolving animals.

Ulama descended from the Aztec version of the Mesoamerican ballgame, the game is one of the oldest continuously played sports in the world, and is also the oldest known game utilizing a rubber ball. Its roots extend back to at least 2000 BC.

By the 18th century, Taíno society had been devastated by introduced diseases such as smallpox, as well as other factors such as intermarriages and forced assimilation into the plantation economy that Spain imposed in its Caribbean colonies, with its subsequent importation of African slave workers. The first recorded smallpox outbreak in Hispaniola occurred in December 1518 or January 1519

Taino culture in Haiti, 1200-1500 AD

Taino people lived from 700-1500 AD in Puerto Rico, Hispanola, Eastern Cuba and other geographic areas within the Caribbean rim. They were among the first indigenous people in the New World to be encountered by Columbus. The term Taino now is used to encompass the Arawak culture.

IronwoodNprobably made from a hollowed out portion of a tree trunk.

Taino Reliquary Drum!

Peruvian Feather Panels!Featherworking was a widespread in Peru in Pre Columbian times. Feathers were used in rituals as well as to embellish festive and ceremonial garments and ornaments of persons of high rank. Particularly sought after were the brilliantly colored feathers of rain-forest birds.

The feather panels were made by the Wari people of Peru and have a remarkably modern feel.

Well-preserved examples of featherwork are rare, because feathers are easily damaged and decompose.

Featherwork was made by adding feathers to cloth after the cloth was woven. Individual feathers were secured to a cord, which was then sewn to the cloth.

The plumes were considered luxury goods on a par with precious metals, shells and gemstones.

Macaws and other parrots supplied most of the plumage, but that of other species — Muscovy ducks, flamingos, egrets and the petite paradise tanager — were also prized.

Some colors were produced artificially. Birds with green and blue feathers were plucked and then rubbed with frog secretions; the feathers would then grow back in an unnatural yellow-orange hue.

Hunchback Dwarf Figures!

Early people had a belief that dwarfism indicated special spiritual gifts. The horn emerging from the top of the head is known as a shaman horn and it is from here that the magic was believed to issue. The existence of these figures indicates the esteem ancient people held for the magical powers persons with these conditions held.

The figure on the left that is crouching and leaning forward, has an infantile face and mustache. In both figures, the hands are small and the legs are bent and stocky. In the darker brown clay version, ribs show. These perhaps represent either dwarfism or mongolism (Down’s syndrome).

Dwarfs occur often in Classic Maya sculpture and vase painting. From our knowledge of Maya iconography, they appear to be connected with celestial gods. For example, at Yaxchilán, dwarfs appear in a bas-relief as stars watching a ball game. In the cave of Taj Tunich, they appear to form a link between ball game, underworld, and sky.

Throne Offering Box!

A ceramic throne offering box features flanking serpent heads from which emerge a scribe and an old god.

A bearded lord clad in turban and other royal garb, sits on a jaguar pelt thrown over the seat, its paws hanging over the edge.

A jaguar was considered a sacred animal because he could hunt day and night, on land or in water.

Many of the details are painted with "Maya blue", a special color which denotes the importance of this personage.

Pre Columbian Jewelry!

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HEAVY GOLD DOUBLE PENDANT Panama Cocle culture A.D. 500-1200 Lost-wax cast gold Ht. 10 cm (4"). W. 14 cm (5.5")

Weighing 363 grams, this is an extraordinarily bold casting. A pair of joined "dragons" with curved conical bodies breath out flanking openwork serpents. A double- headed serpent emblem is cast between the heads. The entire superstructure, including scrolls, is carried out in full round, with the rear duplicated as intricately as the front. The dragonheads are hollow, and the conical bodies are open on the back.

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1506 Birth Certificate of America!

Cuzco School Archangel Paintings!

Cuzco, Peru, the former capitol of the Inca Empire. 17th c. (16th, 17th and 18th centuries)

After 1534, with the Spanish conquest of the Incas, a Roman Catholic artistic tradition originated in Peru.

The Spanish sent a group of religious artists to Cuzco. In an effort to help convert the indigenous people to Catholicism, the Quechua (kech-wa) --former ruling class of the Incas-- were taught western painting traditions.

The art school was formed for the Quechuas and later the Mestizos (mixed race ancestry - Spanish & Indian) to teach, mostly men, drawing and painting.

The school continued into the 17th century.

Largest collection is in the Cathedral in Cuzco but there are also many displayed at the Lima Art Museum and the Inca Art Museum also in Lima.

Pocket Globes 1700-1800’s!

Although the popularity of pocket globes peaked in the first half of the 18th century, makers continued to produce the items into the 19th century.

Pocket Globes had several functions including acting as status symbols for wealthy gentlemen and educational tools for children.

They were made of cheap materials such as papier mâché but also wood or ivory. Cases were often made of fish skin and lined with celestial gores, in the case of terrestrial globes.

It is unlikely that pocket globes served precise practical ends; their size makes accurate calculations impossible.

It has been suggested that children possibly suspended the globe near a candle, representing the Sun, to demonstrate the passing of day into night. Some pocket globes have a hole drilled through their spindle, which could have been threaded with a cord for hanging.

This is a hand-made copy of the letter probably made by the King’s secretary. Because of the way it has been folded, we can deduce that this was a copy that would have been kept in a card file. The original would have been sent by ship.

History tells us that Cortes was a greedy and ambitious man who wanted to be given more power. His contemporaries feared him because of his reputation for violence. Among other things, he stole and burned an adversary’s ships and put out the eye of the Puerto Rican governor.

He spent 7 years trying to bring the Indians of Mexico to peace. But was eventually removed from his position by the king and sent back to Spain.

In 1530, Cortes returned to Mexico, explored the Pacific coast and died there in 1547. The Sea of Cortes is named after him. Carlos V of Spain died in 1556.

LETTER FROM CHARLES V TO HERNAN CORTES

Charles V - (Carlos Quinto), the Holy Roman Emperor and the King of Spain wrote the letter, displayed in the Kislak gallery, to Hernan Cortes, his governor of ”New Spain” (Mexico), in 1524

Charles V wrote to recommend a friend for preferential treatment by Cortes. At this time, Cortes was building Mexico City, on top of Aztec temples, which he had torn down.

Although King Carlos had made him governor, he didn’t trust Cortes. He had 4 royal officials appointed to advise him, in effect submitting him to close observation. One year before this letter was written, the king sent a military force under Francisco de Garay to conquer the northern part of Mexico, which cut into Cortes’s power base.

Acknowledgements!

Many thanks to !Mr. And Mrs Jay Kislak, !Mr. Arthur Dunkleman, !

and the staff at the J. Kislak Gallery!for their support and encouragement. !

Compiled by Evelyn Davila!