Formal Analysis: Shapes and Lines in the art of Teotihuacan

        The symbolic art of Teotihuacan is charecterizable as a form of pictorial language based on visual communication. The signs used in the mural are range from naturalistic representations, to stylized geometric forms and abstract patterns. Many of the images are highly stylized representations of living organisms in the natural world; anthropomorphized creatures as well as animals common to the area are often represented by compound forms that have no correspondence to nature. Organic shapes and geometric forms, such as circles, squares and triangles are juxtaposed and welded to form a coherent yet stylized pictorial representation of the natural world. The natural world can thus be said to have been represented through a coherent simplification of reality. These basic shapes often form patterns that serve to stylize pictures with an aesthetic sensibility that is specific to the Teotihuacán culture.             

     The circle, or sphere played an important role in Teotihuacán ornaments; most of the accessories reflect this. Ear flares, composed of two concentric circles were a very common ornament for the Teotihuacán; the concentric circles of the ear-flares are visually echoed in statuettes and relief representations of the eyes of the god of warfare and rain, Tlaloc. Similarly necklaces made out of spherical beads, and the concentric circles reappear in Tlaloc's headdress and forms various interesting patterns in several murals. The circle could be an aesthetic parallel to their cyclical view of nature, and of time in terms of death, and regeneration.

      In most murals, shapes are marked with heavy, bold, and solid outlines, much like Egyptian art, strong outlines along with bold colors endow the images with flatness and amplify the intrinsic two dimensionality and pattern full quality of the works. The mural of Tepantitla; Great Goddess of Teotihuacan, who was a vegetation and fertility goddess and predecessor of the Aztec goddess Xochiquetzal, is formed of adjacent bands of motifs and Thin tubular forms which dominate the pictorial plane. The trees branches are formed of organic lines, instead of being harsh and angular, they are soft and curved. The red branches, which seem to flow freely are outlined with a thick green color, and enclose several small concentric circles. The lines making up the general form of the tree are organic and the overall use of color and shape is simplistic, yet true to nature. The natural, flowing, soft, and peaceful depiction of the tree is juxtaposed with the queen’s headdress, which seems to be far more convoluted and elaborate. The ornate headdress could be seen as being perplexing due to the multiplicity of different forms, patterns and parallel lines. Again the green tubular outline is made use of to produce organic shapes, which are repeated to form an intricate design. However some angular geometric shapes could be discerned here as well; triangles, rectangles and squares seem to mingle with the curves and circles to illustrate and beautiful harmony between geometric and organic shapes. The mural achieves a perfect balance between the two. Each of these shapes can be seen as recurrent individual symbols that come to make a sensible representational and symbolic statement that can be read as a sum of individual parts.