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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 little
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 side of the piece depicts a skull-like human
face with circular sunken orbits and nostrils. The
artist has made excellent use of his material,
exploiting the contrast of textures between
highly polished areas and the coarser surface of
the facial details. The reverse features a section
of incised geometric motifs which may recall
textile designs or tattoos worn by the Taino elite.
The carving is particularly controlled and precise
and the green-flecked stone has a strong
aesthetic appeal in its own right. This is a Taino
masterpiece of great power and expression.
- (AM.0078)
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