On view
Labret,
1400–1520
Aztec Jewelry
Among the Aztec, jewelry made of precious materials marked its wearer’s high social status and conveyed certain ideas about his or her character. The labret, or lip-plug, was inserted through a pierced hole in the lower lip and qualified the wearer's speech and breath as precious. The Aztec term for king, tlahtoani, means "speaker," attesting to the high value of refined, poetic rhetoric in Aztec culture. Many peoples of Mesoamerica also believed in a soul which resided in one’s breath; decorating the openings in the head, including the nostrils, mouth, and ears, signaled the preciousness and vitality of a person’s soul. The materials used in these ornaments came from distant lands through the Aztec’s expansive trade network. Turquoise, for example, originated in modern-day New Mexico, whereas jade was procured from the border of Guatemala and Honduras.
More Context
Didactics
In Mesoamerica the labret, or lip-plug, was a piece of jewelry worn only by noble males in Central Mexico. Inserted through a pierced hole in the lower lip, a labret qualified the wearer's speech and breath as precious. The Aztec term for king, tlatoani, literally means "speaker," attesting to the value of refined, poetic rhetoric. As with most Aztec jewelry, these pieces were actually fabricated by artisans from allied groups to the east, including the Eastern Nahuas, Mixtecs, and Zapotecs. This example is unique in the artist's choice of a variety of obsidian with a high hematite content, providing its distinctive red color. The combination of the red hue with the greenish blue color of the turquoise mosaic results in a striking contrast. Turquoise was considered by the Aztecs to be more precious than gold, and they received it principally in tribute from the Pacific coastal region of Oaxaca. The Mixtecs imported large quantities of turquoise through middlemen who shipped it by canoe or sailing raft from the north. It was transported as tesserae (small tiles), which were then carried by Chichimec traders over long distances across formidable mountain ranges and deserts to west Mexico, where it was redistributed and eventually transformed into remarkable creations of mosaic sculpture and ornament.
Information
1400–1520
North America, Mexico, Puebla
- "Acquisitions of the Art Museum 1989," Record of the Art Museum, Princeton University 49, no. 1 (1990): p. 24-57., p. 34
- Felipe Solís, The Aztec Empire: Catalogue of the Exhibition (New York: Guggenheim Museum Publications, 2004)., cat. no. 129 (illus.)
- Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007), p. 65 (illus.)
- Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013), p. 65