There are many distinct groups within the agglomeration referred
to as the Western Mexico Shaft Tomb (WMST) tradition, foremost
among them the Jalisco, Nayarit, and Colima. Their relationships
are almost totally obscure due to the lack of contextual
information. However, it is the artworks that are the most
informative. All of the cultures encompassed under the WMST
umbrella were in the habit of burying their dead in socially-
stratified burial chambers at the base of deep shafts, which were
in turn often topped by buildings. Originally believed to be
influenced by the Tarascan people, who were contemporaries of
the Aztecs, thermoluminescence has pushed back the dates of
these groups over 1000 years.
Although the apogee of this tradition was reached in the last
centuries of the 1st millennium BC, it has its origins over 1000
years earlier at sites such as Huitzilapa and Teuchitlan, in the
Jalisco region. Little is known of the cultures themselves, although
preliminary data seems to suggest that they were sedentary
agriculturists with social systems not dissimilar to chiefdoms.
These cultures are especially interesting to students of
Mesoamerican history as they seem to have been to a large extent
outside the ebb and flow of more aggressive cultures – such as the
Toltecs, Olmecs and Maya – in the same vicinity. Thus insulated
from the perils of urbanization, they developed very much in
isolation, and it behooves us to learn what we can from what they
have left behind.
There are few cultures in the Americas or indeed elsewhere that
can match the Jalisco for exuberant skill in the production of
figurative ceramics. These wares were usually placed in graves,
and do not seem to have performed any practical function,
although highly decorated utilitarian vessels are also known. It is
possible that they were designed to depict the deceased – they are
often very naturalistic – although it is more probable that they
constituted, when in groups, a retinue of companions, protectors
and servants for the hereafter. Many of the figures represent
warriors, judging from their apparel and martial stance. These
were probably protectors of the deceased, symbolic of actual
people who were buried with the deceased as retainers in more
sanguineous Central and Southern American societies.
Supernatural and more enigmatic figures are also known,
presumably representing aspects of Jalisco cultural heritage (gods,
spirits, ancestors, mythological figures etc) that cannot be
understood at the present time. However, perhaps the best-
known style is that of the maternity figure.
The current piece falls within the style known as the Ameca-
Ezatlán group, which is characterised by elongated faces, turban-
like headwear, wide mouths, large hands, defined nails and staring
eyes with elevated rims. The current piece is therefore a classic
example of the tradition. Insofar as theme is concerned, the
subject matter is likewise traditional. Just as in other sophisticated
social systems around the world – such as the Egyptians or
Dynastic China – figures were made to represent the sorts of
people and resources that might be needed in the hereafter. They
were in this sense symbolic of actual people, who were buried
with the deceased as retainers in more sanguineous Central and
Southern American societies. Seemingly supernatural figures are
also known, presumably representing aspects of Jalisco cultural
heritage (gods, spirits, ancestors, mythological figures etc) that
are currently beyond our understanding, while maternity figures
are also fairly well-known. Of all the groups, however, it is
perhaps the warriors that are the most dramatic.
With
details of features such as teeth and fingers
intricately defined, she is adorned with Jalisco
cultural traits, symbolism, and values. The
beautiful features and decorations on the figure
indicate that she is of wealthy and noble status.
Her elongated head suggests
cranial deformation, a sign of high class and
beauty. She wears a decorated headdress, ear
spools, arm bracelets, and a necklace. Each item
is accentuated by detailed artwork of painted
designs or painted beads. The face and the body
shows color designs of dark paint on already rich
orange base color of the fired clay surface. In
addition, the figure's femininity and fertility,
important aspects in pre-classic Meso-American
cultures, are emphasized. Her protruding breasts
are enhanced with dark painted patterns. She has
no legs but a large torso and thighs, which are
common signs of fertility. The seated figure,
thus, show how people of jalisco cherished life
and regeneration. Although the clay figure had
funerary ritual purposes, it also successfully
symbolizes the idea of fertility and life.