The Olmecs are generally considered to be the
ultimate
ancestor of all subsequent Mesoamerican
civilisations.
Thriving between about 1200 and 400 BC, their
base was
the tropical lowlands of south central Mexico, an
area
characterized by swamps punctuated by low hill
ridges
and volcanoes. Here the Olmecs practiced
advanced
farming techniques and constructed permanent
settlements, including San Lorenzo Tenochtitlán,
La
Venta, Tres Zapotes, Laguna de los Cerros, and
La
Mojarra. However, the consolidation of their
city-states led to notable cultural influence far
beyond their heartland, and throughout the
Mesoamerican region. This was confirmed in
2005 with
the use of NAA (Neutron Activation Analysis) and
petrography to demonstrate the spread of Olmec
ceramic
vessels. It would appear that the Olmec style
became
synonymous with elite status in other
(predominantly
highland) groups, although there is evidence for
exchange of artefacts in both directions.
A non-literate group, the Olmecs nevertheless
paved
the way for the development of writing systems
in the
loosely defined Epi-Olmec period (c. 500 BC).
Further innovations include arguably the first
use
of the zero, so instrumental in the Maya long
count
vigesimal calendrical system. They also appear to
have
been the originators of the famous
Mesoamerican
ballgame so prevalent among later cultures in
the
region, and either retained or invented several
religious symbols such as the feathered serpent
and
the rain spirit, which persisted in subsequent and
related cultures until the middle ages.
Comparatively
little is known of their magico-religious world,
although the clues that we have are tantalising.
The
art forms for which the Olmecs are best known,
the
monumental stone heads weighing up to forty
tons, are
generally assumed to pertain to some form of
kingly
leader or possibly an ancestor, although this is of
course difficult to prove conclusively. It has also
been suggested that they are representations of
successful ball-players, or perhaps symbols of
specific Olmec groups. The smaller jade figures
of
which this is one are believed to be domestically
or
institutionally based totems or divinities. The
quality of production is astonishing, particularly
if
one considers the technology available for
production,
the early date of the pieces, and the dearth of
earlier works upon which the Olmec sculptors
could
draw. Some pieces are highly stylised, while
others
demonstrate striking naturalism with
interpretation of
some facial features (notably down-turned
mouths and
slit eyes) that can be clearly seen in the current
figure. The wide noses and thick lips of the
were-jaguars have been used to claim an African
ancestry for the Olmec. However, this belief has
not
been demonstrated in any way, and there is
absolutely
no anatomical, osteological, dental, mtDNA or
Y-chromosome DNA evidence to support such a
belief.
These all point at an East Asian origin for all
recent
Native American groups. Academics have also
pointed
out that the epicanthic folds on the colossal
stone
heads is an East Asian trait, and the continuous
recurrence of the half-man-half-jaguar figure in
Mesoamerican magico-religious artwork is an
interpretation of a belief rather than a literal
recording of a specific persons facial features. It
therefore appears that the Olmec truly were
master
agriculturists, settlers and sculptors, carving a
new
identity from the swampy jungles of the Mexican
heartland, and giving us a startlingly beautiful
artistic heritage of which this is such an excellent
example.
This figure is typical of the were-jaguar style,
with
large lips, small eyes and a highly paedomorphic
facial shape. The figures have been so named
because
they are believed by scholars to represent a
shamans
transition between anthropomorphic and
zoomorphic
form. The owner of the piece is also likely to
have
been involved in the magico-religious world. The
dark
stone is highly polished, with a light tracery of
veins running through it. The figure has no
sexual
organs or much detail on the limbs or torso,
possibly
indicating that the figure was once clothed.
Despite
the small size of the sculpture, it has a very
powerful presence that presages much of what
was to
come in Mesoamerican culture. This is a
stunningly
beautiful piece of ancient art, which would be the
pride of any collection.
- (X.0682)
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