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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.
Olmec masks with human features are among the
most beautiful sculptures of jade and serpentine
produced by Olmec lapidaries. It is difficult to
determine how these works of art functioned in
Olmec life, but it is more than likely that this
beautiful jade mask was used in funerary rituals,
either placed over the face of the deceased lord
before burial or interred with his ashes after
cremation. In either case, this sculpture portrayed
the features of the dead lord in the most
precious material known to Olmec artists. Even
today, with state of the art equipment, a sculptor
would be considered a master to have produced
a work of art such as this mask. Through this
artist's brilliance the inherent beauty and warmth
of the jade has been enriched, refined into
something more than material- a palpable,
almost flesh like feeling which radiates its own
natural light and the inner power of the person it
represents. This gorgeous mask seems to hover
between the physical and non-physical, of life
and death, as if we can see through its glow into
another sphere of existence.
- (PF.4516a)
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