The vessel would seem to be somewhat impractical, for although it was doubtless able to hold liquids (probably maize beer) it is likely to have had another function, probably votive, funerary or ritual. Its most valuable aspect, however, is in what it represents. The body of the vessel is a seated male adult, hunched over and supporting his weight on his hands, pressed against his thighs. His face is a study in passivity, with stark cheekbones, a rounded forehead, an angular nose and coffee bean-shaped eyes. From the front view, this would seem to be the subtotal of his characteristics, yet his profile and posterior views reveal a massive hunchback formation emerging from just below the shoulders to the mid-spine.

The deformity is a classical angular kyphosis, with the bodies of muscle on the shoulders rising above the midline of the spine. The detailing is merciless in its exactitude; it is clearly the most important aspect of the sculpture in the eyes of its creator. The significance of this pathology is discussed after a short summary of the culture that produced it.

All of the cultures encompassed under the WMST nomenclature 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 urbanisation, they developed very much in isolation, and it behoves us to learn what we can from what they have left behind.

The arts of this region are enormously variable and hard to understand in chronological terms, mainly due to the lack of context. The most striking works are the ceramics, which 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. More abstract pieces – such as reclinatorios – probably had a more esoteric meaning that is hard to recapture from the piece.

The current piece falls within the Colima style, which is perhaps the most unusual stylistic subgroup of this region. Characterised by a warm, red glaze, the figures are very measured and conservative, while at the same time displaying a great competence of line. They are famous for their sculptures of obese dogs, which seem to have been fattened for the table. Colima reclinatorios are also remarkable, curvilinear yet geometric assemblages of intersecting planes and enigmatic constructions in the semi- abstract. The current piece, however, is in many respects more socially valuable than the aforementioned, as it portrays not only naturalistic aspects of Colima lifestyle, but also something of the nature of their society.