Читать книгу The Codex Mendoza: new insights онлайн

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Twenty-one years after Cooper Clark’s study, interest in the Codex Mendoza as an object of Mexica artistic ingenuity was rekindled. In Mexican Manuscript Painting of the Early Colonial Period, published in 1959, Donald Robertson crafted an artistic-historical context for the classification of pre- and colonial manuscripts that had survived into the twentieth century, similar to that used for the study of Early modern art. Thus, Robertson divided the manuscript according to schools and styles that, to a greater or lesser degree, incorporated elements traceable to the metropolitan areas of pre-Columbian Mexico or to European artistic influences. Robertson ([1959] 1994, 82–106) classified the Codex Mendoza as an “initial manuscript” of what he denominated the “second stage in the school of México Tenochtitlan” due to the presence of stylistic and formal elements which he deemed peripheral, such as the substitution of the traditional screen format in favor of the codex form or the use of European paper instead of amatl.10