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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.
With the distorted, snarling human features so
prevalant in Olmec iconography, this splendid
jade amulet also carries phallic overtones. The
polished brilliance and high quality of the piece
tell us that it was devoted to serious magic, to
something vital and life renewing.
- (PF.0802)
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