"I find this book to be a superior piece of scholarship in every way. The monuments of the archaeological site of El Tajín contain one of the most extensive, continuous narratives that we have for any pre-Columbian civilization. While much recent work has focused on ancient writing systems like those of the Maya, Zapotec, and Mixe Zoque, Koontz's work calls attention to the even greater importance of narrative art that was used to provide context for the display of elite power within the privileged confines of ceremonial centers. It therefore represents a truly original contribution to our understanding of art and ritual in ancient Mesoamerica in general."

—John Pohl, Peter Jay Sharp Curator and Lecturer in the Art of the Ancient Americas, Princeton University Art Museum

"This book will fill an important lacuna in Mesoamerican studies, the absence of a detailed study of the sculpture of El Tajín informed by a contemporary understanding of Mesoamerican iconography. . . . El Tajín was clearly one of the major sites of the Epiclassic period, yet its iconography, when not ignored altogether, has been treated as something of a special case. This volume convincingly demonstrates that El Tajín shared many of the major concerns common to other Classic and Postclassic Mesoamerican societies: investiture, creation stories, etc. . . . I also admire Koontz's ability to bring architectural, ceramic, and stratigraphic evidence to bear on the study of El Tajín's sculpture, giving his conclusions an authority that a strictly art historical approach might not command."

—William Ringle, Chair and Professor of Anthropology, Davidson College

El Tajín, an ancient Mesoamerican capital in Veracruz, Mexico, has long been admired for its stunning pyramids and ballcourts decorated with extensive sculptural programs. Yet the city's singularity as the only center in the region with such a wealth of sculpture and fine architecture has hindered attempts to place it more firmly in the context of Mesoamerican history. In Lightning Gods and Feathered Serpents, Rex Koontz undertakes the first extensive treatment of El Tajín's iconography in over thirty years, allowing us to view its imagery in the broader Mesoamerican context of rising capitals and new elites during a period of fundamental historical transformations.

Koontz focuses on three major architectural features—the Pyramid of the Niches/Central Plaza ensemble, the South Ballcourt, and the Mound of the Building Columns complex—and investigates the meanings of their sculpture and how these meanings would have been experienced by specific audiences. Koontz finds that the iconography of El Tajín reveals much about how motifs and elite rites growing out of the Classic period were transmitted to later Mesoamerican peoples as the cultures centered on Teotihuacan and the Maya became the myriad city-states of the Early Postclassic period.

By reexamining the iconography of sculptures long in the record, as well as introducing important new monuments and contexts, Lightning Gods and Feathered Serpents clearly demonstrates El Tajín's numerous iconographic connections with other areas of Mesoamerica, while also exploring its roots in an indigenous Gulf lowlands culture whose outlines are only now emerging. At the same time, it begins to uncover a largely ignored regional artistic culture of which Tajín is the crowning achievement.