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The Classic Veracruz cultures were small, tightly-packed city states, all
governed by hereditary rulers, who sat at the top of highly stratified social
structures. Economically, it was based upon slash and burn agricultural
techniques, supplemented by exploitation of marine resources, as well as
hunting. The culture was fuelled by long- distance trade networks that ran
throughout Mesoamerica, as evidenced by the spread of luxury items and
exotic goods. In this they strongly resemble the Olmecs, who preceded
them and to whom they owed a considerable cultural and artistic debt.
Religion was based upon the Olmec “earth monster”, as well as a death god
who has been likened to Mictlantecuhtli, a deity worshipped by their
cultural neighbour, the Aztecs. Like the Aztecs, they were obsessed with
death, sacrifice and the Mesoamerican ballgame, another cultural bequest
from the Olmecs. There are accounts stating that the losing team was
sacrificed as an offering to the gods; other chroniclers suggest that it might
have been used as a substitute for warfare. As a result their iconography is
somewhat sanguineous – with decapitations, blood-letting and bound
prisoners common themes – surrounded by extensive and convoluted
banded scrolls that can be seen both on monumental architecture and on
mobile art. A defining characteristic of the Classic Veracruz culture is the
presence of stone ballgame gear: yokes, hachas, and palmas. Yokes are U-
shaped stones worn about the waist of a ballplayer, while the hachas and
palmas sit upon the yoke. These were probably worn ceremonially by the
victors; the actual pieces were probably made of wood and leather.
Interestingly, while hachas and yokes are found throughout the range, the
palmas seem peculiar to what is today northern Veracruz.
This work of art, an ancient sculptor’s mold,
grants us a unique insight into the creative
process of Pre-Columbian artists. Such a mold would
have been used in the fabrication of small
terracotta sculptures. Pressed into the wet clay,
the intricately carved pattern of the mold would
be replicated. The highly detailed pattern of the
interior belies the soft curves of the abstract
exterior. This particular mold replicates a
human face, perhaps that of a king or shaman.
The large nose is the most prominent feature, in
addition to the slightly open, frowning mouth
and eyes with their clearly defined pupils. Who is
this person? We can only guess. From the
carefully groomed hairline, we can at least
extrapolate that he was someone of high rank
within the Veracruz social hierarchy. This face
would have presumably been attached to a larger
body while still wet. It is possible that a generic
body was used for several different faces; it is
also possible that a specific body was intended
to be joined with this face only. This little mold,
as functional as it is, was once used to create
images of gods. That sacred idols worthy of
worship could be created from this mold implies
that the mold itself has some inherent power.
Clearly, in the hands of a master sculptor, this
mold has the power to embody the gods. Today,
this mold is a relic of ancient artistry,
transplanted from an ancient Veracruz workshop
into our hands, linking us directly with the
creative process of long forgotten sculptors.
- (PF.6104 (DB.044)))
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