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.
This magnificent, statuesque woman holds her
powerful, ritually sacred arms out to each side
like a pair of wings. The movement of this
sculpture is extraordinary; she looks as if she
could fly at any second. The nose is long and
thin, the mouth is closed, as if to keep a secret.
The eyes are open, but the paint on the pupils
have worn off, making this statue look as if it is
blind; blind to discriminate the gift of fertility.
The smoothness of the skin, and the perfectly
geometric breasts suggest this figure represents
a fertility Goddess. Recognizing this sculpture
suggests the cherished concept of fertility and
birth, it probably took part in fertility rituals.
Her nakedness suggests that she is a member of
the elite in her community, because the peasants
were the only people who were clothed. The
orange necklace, the nose ring, and the
decorative headdress she wears suggest her
majesty. The language and energy of this large
figure comes across with such force that it
summons our undevoted attention.
