Indigenous image theory

Abstract Pliny the Elder’s Natural History, which contains an account of the origins of painting, offered sixteenth-century European artists a gift as they struggled to advance the status of painting as an intellectual rather than a mechanical art. The Roman authority was also read by Indigenous intellectuals in New Spain; they described their autochthonous painting practice in an account written in the Nahuatl language to respond to Pliny. This article offers a new translation of their account and a careful analysis that draws on recent work by material scientists to construct an Indigenous ontology of the image, and gives a comparison to the Plinian ideal. Crucial to both accounts is the role of the shadow as it relates to the nature of representation.