Dual Portraits of the Deceased in Yangqiaopan M1, Jingbian, Shaanxi

Murals decorating an Eastern Han tomb excavated in Jingbian, Shaanxi include two large-scale representations of the deceased who appears in a processional scene on the left front wall of the tomb wearing typical Han elite dress, and then again on the rear wall in a regional version of a spirit seat (lingwei) composition, clean-shaven and donning a hairstyle uncommon in Han mortuary art. This paper considers these depictions in terms of Han pictorial conventions and argues that they are dual portraits of the deceased in which different attributes of his political, social, and cultural identity are stressed.

Conspicuous Consumption in Ancient Costa Rica and Panama

This chapter considers the mechanisms by which sumptuary art was deposited in mortuary contexts across southern Central America. Rather than indicating elite dominance, it is argued that the production and procurement of mortuary art promoted a factionalized political landscape. The burial of staggering quantities of goods may be interpreted as deflationary attempts to limit the capital available to rivals. Such practices may have promoted a zeitgeist of conspicuous consumption that frustrated attempts at further political consolidation in the Isthmus.

Some Social Aspects of New England Colonial Mortuary Art

The spatial, temporal, and formal controls available in Colonial gravestones permit the investigation of the various social dimensions of their occurrences. Those aspects which can be studied include status, community intermarriage, the social implications of stylistic evolution, and, in the case of the cemeteries, relative importance of community as opposed to familial control of interment practices. Such studies provide an understanding of some of the social factors reflected by measurable data of the type encountered in archaeological research. This paper documents specific responses in the evolution of marker styles to the Great Awakening's effect at Boston.