Art & Architecture

Mexico's artistic and architectural legacy stretches back more than 3,000 years. Until the conquest of Mexico in A.D. 1521, art, architecture, politics, and religion were intertwined. Although the European conquest influenced the style and subject of Mexican art, this continuity remained throughout the colonial period.

Pre-Hispanic Forms

Mexico's pyramids were truncated platforms crowned with a temple. Many sites have circular buildings, such as El Caracol at Chichén Itzá, usually called the Observatory and dedicated to the god of the wind. El Castillo at Chichén Itzá has 365 steps -- one for every day of the year. The Temple of the Magicians at Uxmal has beautifully rounded and sloping sides. Evidence of building one pyramidal structure on top of another, a widely accepted practice, has been found throughout Mesoamerica.

Architects of many Toltec, Aztec, and Teotihuacán edifices alternated sloping panels (talud) with vertical panels (tablero). Elements of this style occasionally show up in the Yucatán. Dzibanché, a newly excavated site near Lago Bacalar, in southern Quintana Roo state, has at least one temple with this characteristic. The true arch was unknown in Mesoamerica, but the Maya made use of the corbeled arch -- a method of stacking stones that allows each successive stone to be cantilevered out a little farther than the one below it, until the two sides meet at the top, forming an inverted V.

The Olmec, considered the parent culture of Mesoamerica, built pyramids of earth. Unfortunately, little remains to tell us what their buildings looked like. The Olmec, however, left an enormous sculptural legacy, from small, intricately carved pieces of jade to 40-ton carved basalt rock heads.

Throughout Mexico, carved stone and mural art on pyramids served a religious and historical function rather than an ornamental one. Hieroglyphs, picture symbols etched on stone or painted on walls or pottery, functioned as the written language of the ancient peoples, particularly the Maya. By deciphering the glyphs, scholars allow the ancients to speak again, providing us with specific names to attach to rulers and their families, and demystifying the great dynastic histories of the Maya. For more on this, read A Forest of Kings (1990), by Linda Schele and David Freidel, and Blood of Kings (1986), by Linda Schele and Mary Ellen Miller. Good hieroglyphic examples appear in the site museum at Palenque.

Carving important historical figures on free-standing stone slabs, or stelae, was a common Maya commemorative device. Several are in place at Cobá; Calakmul has the most, and good examples are on display in the Museum of Anthropology in Mexico City and the archaeology museum in Villahermosa. Pottery played an important role, and different indigenous groups are distinguished by their different use of color and style. The Maya painted pottery with scenes from daily and historical life.

Pre-Hispanic cultures left a number of fantastic painted murals, some of which are remarkably preserved, such as those at Bonampak and Cacaxtla. Amazing stone murals or mosaics, using thousands of pieces of fitted stone to form figures of warriors, snakes, or geometric designs, decorate the pyramid facades at Uxmal and Chichén Itzá.

Spanish Influence

With the arrival of the Spaniards, new forms of architecture came to Mexico. Many sites that were occupied by indigenous groups at the time of the conquest were razed, and in their place appeared Catholic churches, public buildings, and palaces for conquerors and the king's bureaucrats. In the Yucatán, churches at Izamal, Tecoh, Santa Elena, and Muná rest atop former pyramidal structures. Indian artisans, who formerly worked on pyramidal structures, were recruited to build the new buildings, often guided by drawings of European buildings. Frequently left on their own, the indigenous artisans implanted traditional symbolism in the new buildings: a plaster angel swaddled in feathers, reminiscent of the god Quetzalcoatl, and the face of an ancient god surrounded by corn leaves. They used pre-Hispanic calendar counts -- the 13 steps to heaven or the nine levels of the underworld -- to determine how many florets to carve around the church doorway.

To convert the native populations, New World Spanish priests and architects altered their normal ways of teaching and building. Often before the church was built, an open-air atrium was constructed to accommodate large numbers of parishioners for services. Posas (shelters) at the four corners of churchyards were another architectural technique unique to Mexico, again to accommodate crowds. Because of the language barrier between the Spanish and the natives, church adornment became more explicit. Biblical tales came to life in frescoes splashed across church walls. Christian symbolism in stone supplanted that of pre-Hispanic ideas as the natives tried to make sense of it all. Baroque became even more baroque in Mexico and was dubbed churrigueresque, or ultrabaroque. Exuberant and complicated, it combines Gothic, baroque, and plateresque elements.

Almost every village in the Yucatán Peninsula has the remains of missions, monasteries, convents, and parish churches. Many were built in the 16th century following the early arrival of Franciscan friars. Examples include the Mission of San Bernardino de Sisal in Valladolid; the fine altarpiece at Teabo; the folk-art retablo (altarpiece) at Tecoh; the large church and convent at Mani with its retablos and limestone crucifix; the facade, altar, and central retablo of the church at Oxkutzcab; the 16-bell belfry at Ytholin; the baroque facade and altarpiece at Maxcanu; the cathedral at Mérida; the vast atrium and church at Izamal; and the baroque retablo and murals at Tabi.

When Porfirio Díaz became president in the late 19th century, the nation's art and architecture experienced another infusion of European sensibility. Díaz idolized Europe, and he commissioned a number of striking European-style public buildings, including many opera houses. He provided European scholarships to promising young artists who later returned to Mexico to produce Mexican subject paintings using techniques learned abroad.

The Advent of Mexican Muralism

As the Mexican revolution ripped the country apart between 1911 and 1917, a new social and cultural Mexico was born. In 1923, Minister of Education José Vasconcelos was charged with educating the illiterate masses. As one means of reaching people, he invited Diego Rivera and several other budding artists to paint Mexican history on the walls of the Ministry of Education building and the National Preparatory School in Mexico City. Thus began the tradition of painting murals in public buildings, which you will find in towns and cities throughout Mexico and the Yucatán.