There are many distinct groups within the agglomeration
referred to as the Western Mexico Shaft Tomb (WMST) tradition,
foremost among them the Jalisco, Nayarit, and Colima. Their
relationships are almost totally obscure due to the lack of
contextual information. However, it is the artworks that are the
most informative. All of the cultures encompassed under the
WMST umbrella were in the habit of burying their dead in
socially-stratified burial chambers at the base of deep shafts,
which were in turn often topped by buildings. Originally
believed to be influenced by the Tarascan people, who were
contemporaries of the Aztecs, thermoluminescence has pushed
back the dates of these groups over 1000 years.
Although the apogee of this tradition was reached in the last
centuries of the 1st millennium BC, it has its origins over 1000
years earlier at sites such as Huitzilapa and Teuchitlan, in the
Jalisco region. Little is known of the cultures themselves,
although preliminary data seems to suggest that they were
sedentary agriculturists with social systems not dissimilar to
chiefdoms. These cultures are especially interesting to students
of Mesoamerican history as they seem to have been to a large
extent outside the ebb and flow of more aggressive cultures –
such as the Toltecs, Olmecs and Maya – in the same vicinity.
Thus insulated from the perils of urbanization, they developed
very much in isolation, and it behooves us to learn what we can
from what they have left behind.
There are few cultures in the Americas or indeed elsewhere that
can match the Jalisco for exuberant skill in the production of
figurative ceramics. These wares were usually placed in graves,
and do not seem to have performed any practical function,
although highly decorated utilitarian vessels are also known. It
is possible that they were designed to depict the deceased –
they are often very naturalistic – although it is more probable
that they constituted, when in groups, a retinue of companions,
protectors and servants for the hereafter. Many of the figures
represent warriors, judging from their apparel and martial
stance. These were probably protectors of the deceased,
symbolic of actual people who were buried with the deceased
as retainers in more sanguineous Central and Southern
American societies. Supernatural and more enigmatic figures
are also known, presumably representing aspects of Jalisco
cultural heritage (gods, spirits, ancestors, mythological figures
etc) that cannot be understood at the present time. However,
perhaps the best-known style is that of the maternity figure.
The current piece falls within the style known as the Ameca-
Ezatlán group, which is characterised by elongated faces,
turban-like headwear, wide mouths, large hands, defined nails
and staring eyes with elevated rims. The current piece is
therefore a classic example of the tradition. Insofar as theme is
concerned, the subject matter is likewise traditional. Just as in
other sophisticated social systems around the world – such as
the Egyptians or Dynastic China – figures were made to
represent the sorts of people and resources that might be
needed in the hereafter. They were in this sense symbolic of
actual people, who were buried with the deceased as retainers
in more sanguineous Central and Southern American societies.
Seemingly supernatural figures are also known, presumably
representing aspects of Jalisco cultural heritage (gods, spirits,
ancestors, mythological figures etc) that are currently beyond
our understanding, while maternity figures are also fairly well-
known. Of all the groups, however, it is perhaps the warriors
that are the most dramatic.
This deep-red fellow with a toothy smile has
chosen a relaxed pose in which to spend the
ages, resting one head on his shoulder. From the
faraway look in his eyes, it seems he is listening
to an intriguing tale. What a magical story must
have captivated his attention for all this time.
