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Taino culture flourished in the Caribbean
between c.1200-1500. The arrival of the Spanish
in 1492 resulted in its rapid decline but objects
such as this striking trigonolitos, also known as a
three-pointer, testify to high levels of
craftsmanship. The Taino left no written
language so our knowledge about them derives
solely from archaeology and the testimonials of
the Spanish settlers. As a result, although
significant numbers of three-pointers survive,
their precise function within Taino society is
unclear. The central cone of these triangular
objects has been interpreted in a variety of ways.
Suggestions include manioc shoots (one of the
main crops of the Taino), volcanoes, the roofs of
Taino houses, phalluses and the human breast.
None of these theories has been universally
accepted and the precise origins of the shape are
likely to remain a mystery. Despite this many
scholars agree that these ceremonial objects
were symbols of power and fertility. This seems
to be supported by a letter written by Columbus
in which he reports on his findings among the
Taino, ‘Equally the majority of caciques (chiefs)
have three stones to which they and their people
have great devotion. One they say is for the
fertility of the grain and vegetables that they
grow; the next for mothers to give birth without
pain, and the third for the water and sun when
they have need.’
Three-pointers were made in various sizes and
have a long history that predates the Taino
fluorescence. Small examples with minimal
decoration have been dated to c.400-200 BC.
However anthropomorphic examples such as this
one, with intricate incised decoration, played a
crucial part in Taino public life. As Columbus’
testimony implies they were the preserve of the
ruling elite and their ownership was synonymous
with power.
One end of this piece has been carved in the
form of a skull with large eye sockets and a
broad jaw. The reverse has been incised with an
abstract geometric design, including
symmetrically arranged concentric circles.
Symmetry is a recurring feature in Taino art and
may have had religious significance. The Taino
believed in the existence of a supreme god or
creator called Yucahu Maorocoti and a fertility
goddess called Attabeira. Ancestor worship was
also fundamental to their belief system. Images
of the gods and spirits were created in wood,
bone, shell and stone and are referred to
collectively as zemis. This example clearly had
spiritual associations for its first owner and our
inability to define them closely only contributes
to its sense of mystery.
- (LO.1317)
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