Talavera Poblana (Unknown Role). Basin Depicting a Cistern, Tower and Domed Building. 1775–1825. Puebla. Tin-glazed earthenware Barely a decade after the Spanish conquered Aztec (Mexica) Tenochtitlan (present-day Mexico City) in 1521, they founded the city of Puebla de los Angeles sixty miles to the southeast. As colonial society began to take shape, a new visual environment was called into being, supplanting the major forms of native art and affirming the cultural ascendancy of the ruling order. Ceramics became important in this endeavor, and Puebla emerged as the principal center of a thrivi

Talavera Poblana (Unknown Role). Basin Depicting a Cistern, Tower and Domed Building. 1775–1825. Puebla. Tin-glazed earthenware Barely a decade after the Spanish conquered Aztec (Mexica) Tenochtitlan (present-day Mexico City) in 1521, they founded the city of Puebla de los Angeles sixty miles to the southeast. As colonial society began to take shape, a new visual environment was called into being, supplanting the major forms of native art and affirming the cultural ascendancy of the ruling order. Ceramics became important in this endeavor, and Puebla emerged as the principal center of a thriving pottery industry that included glazed tableware, secular and religious accessories, and tiles used in architectural ornamentation. The imagery of these objects stemmed from opposite ends of the earth, reflecting a New World synthesis that came into being as the Silk Road became ceramists from Spain settled in Puebla, bringing with them the potter’s wheel as well as tin-glazed earthenware and Hispano-Moresque ornamentation, both originally rooted in the artistic culture of the Islamic world. Indeed, a primary characteristic of the Spanish tradition can be traced to the formative period of Islamic art, which occurred between 800 and 1000. The artists, artisans, and architects charged with the task of creating a visual culture for the new faith did not immediately invent radically original forms; rather, they incorporated motifs and themes from the art of the Roman, Byzantine, and Persian empires, choosing and adapting from a variety of sources as a new imagery and aesthetic took Mexico this inheritance, which in ceramic art placed special value on ornamentation and avoided themes fixed by religious scripture, offered an approach to incorporating another unexpected source of artistic inspiration. During the 1560s, Chinese blue-and-white porcelain, along with other Asian luxury goods, began arriving on galleons from Manila, the new capital of the Spani

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