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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 permanent settlements, including San
Lorenzo Tenochtitlán, La Venta, Tres Zapotes, Laguna de los Cerros,
and La Mojarra. However, the consolidation of their city-states led to
notable cultural influence far beyond their heartland, and throughout
the Mesoamerican region. This was confirmed in 2005 with the use of
NAA (Neutron Activation Analysis) and petrography to demonstrate
the spread of Olmec ceramic vessels. It would appear that the Olmec
style became synonymous with elite status in other (predominantly
highland) groups, with evidence for exchange of artefacts in both
directions. A non-literate group, the Olmecs nevertheless paved the
way for the development of writing systems in the loosely defined
Epi- Olmec period (c. 500 BC). Further innovations include arguably
the first use of the zero, so instrumental in the Maya long count
vigesimal calendrical system. They also appear to have been the
originators of the famous Mesoamerican ballgame so prevalent
among later cultures in the region, and either retained or invented
several 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. The art forms for
which the Olmecs are best known, the monumental stone heads
weighing up to forty tons, are generally assumed to pertain to some
form of kingly leader or possibly an ancestor. The smaller jade figures
and celts of which this is one are believed to be domestically or
institutionally based totems or divinities. The quality of production is
astonishing, particularly if one considers the technology available for
production, 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
interpretation of some facial features (notably down-turned mouths
and slit eyes) that can be clearly seen on the current amulet.
Like some primal nature spirit, this jade deity
appears to be emerging from the depths of the
stone itself. He rises organically from its core,
making us forget the skilled hand of the artist.
The jade is a soothing green color, as cool and
quiet as a pool in the heart of the jungle; it
invites the touch even as it delights the eyes.
Centuries ago, some person of rank wore this
pendant to protect against evil. Its magic seems
very old, benevolent and mysterious, as potent
today as it was long ago.
- (PF.1844)
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