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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.
At first glance it is the color of the stone that is
so remarkable, as well as its density and its
weight. However, this mask was of extreme
importance during its height and unlike its
counterpart in Africa, it was not used to cover
the face during ritual acts. In fact, these were
either placed in the center of the breast, as a
type of breastplate, or it was placed on the arm
as a type of trophy to show strength and
courage. Nevertheless, no matter what their
function was, they are beautiful pieces in their
own right, with simple design and elegant
execution, and deserve to be seen in that
manner.
- (PF.3764)
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