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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 many permanent settlements. Their influence,
both cultural and political, extended far beyond their
boundaries; the exotic nature of Olmec designs became
synonymous with elite status in other (predominantly
highland) groups, with evidence for exchange of artefacts in
both directions. Other than their art (see below), they are
credited with the foundations of writing systems (the loosely
defined Epi-Olmec period, c. 500 BC), the first use of the zero
– so instrumental in the Maya long count vigesimal calendrical
system – and they also appear to have been the originators of
the famous Mesoamerican ballgame so prevalent among later
cultures in the region. The art form for which the Olmecs are
best known, the monumental stone heads weighing up to forty
tons, are generally believed to depict kingly leaders or possibly
ancestors. Other symbols abound in their stylistic repertoire,
including several presumably 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. Technically,
these include all non- secular items, of which there is a
fascinating array. The best- known forms are jade and ceramic
figures and celts that depict men, animals and fantastical
beasts with both anthropomorphic and zoomorphic
characteristics. Their size and general appearance suggests
that they were domestically- or institutionally-based totems
or divinities. The quality of production is astonishing,
particularly if one considers the technology available, 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
deliberate expressionist interpretation of some facial features
(notably up-turned mouths and slit eyes) that can be clearly
seen in the current mask.
For the Olmecs a mask was an icon of
transformation. When worn by a shaman in a
ritual dance, the mask would take on the
'character' of spirits invoked, and thus add to the
charismatic aura of the shaman. Large masks
often depict images of kings, seen through the
medium of stone or jade as possessing
supernatural qualities. This very lovely mask was
designed either to be worn as part of a necklace,
or hung from wooden armatures as was later a
practice in Teotihuacan. Its features are classic
Olmec, with beautifully curved lines of the
forehead and cheeks, oval eyes, horizontal ears
and full lips. The open mouth is a distinctive
attribute of Olmec masks and may be intended to
express a euphoric state of being. The stone's
natural coloration wonderfully highlighted with
green perfectly suits the facial contours. This
mask is not simply a sculpture, though it is a
beautiful one. It is something full of mysteries
beyond our reckoning that the skill and intent of
a talented artist long ago wished to convey in
eternal stone.
- (PF.4725)
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