The Romans were quite fond of portraiture busts
of emperors, elites and their beautiful wives and
children. The kings of Africa are carved in wood
and the nobles of Europe are sculpted in marble.
There appears to be a universal desire in
humanity to have portraits set in marble, wood,
stone or other available material to ensure their
immortality and to legitimize their leadership and
importance during their lifetime. It is no wonder
that we find portraiture in the Pre-Columbian
cultures, as well. In Costa Rica, the available
material for portraiture busts was volcanic rock
(basalt) and its primary symbolic value was the
expression of elite authority over labor and land
which is not that different from the ancient
Roman, African, European or Near Eastern
cultures. There is evidence in Costa Rica that
stone sculpture, such as this portraiture bust,
was intended for public ritual and was installed
in at least a semi-architectural context. To carry
out such projects including the sculpture and
architecture must have been a demonstration of
economic and political authority, once again, not
that different from the Roman Emperors and
their sculptural and architectural achievements.
The dignity and solemnity of expression on this
nobility suggests that he was highly revered and
respected by the community. His headdress
overtly displays the tremendous strength and
fortitude of the man. The jaguar, the most
important and feared symbol of the
Mesoamerican cultures, comprises the absolute
authority of political, military, agricultural and
religious rights. As the elephant became the
authoritative symbol to African cultures and the
lion to Near Eastern cultures, the jaguar became
the authoritative symbol to the Pre-Columbian
cultures. Whether it is elephant, lion or jaguar
and whether it be marble, wood or stone the
cultures across this world appear to be united in
a single thread of similar Universal desires and
fears.
- (PF.3039)
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