In the context of Pre-Columbian art and
archaeology, jade is a generic term that refers to
any variety of hard, dense stones that were
worked with great skill by native artists. Although
jade is generally thought to be green, it can
actually be a range of colors. Jade carving
flourished in ancient Costa Rica for over a
thousand years, roughly from 500 B.C. to 900
A.D., although the period of greatest artistic
accomplishment lasted from 300 to 700 A.D. It is
believed that jade working began during an
extended period of agricultural abundance that
allowed the ancient society to dedicate part of its
energies toward the cultivation of artistic
pursuits.
Jade was considered to be a sacred material by
the ancient populations of Costa Rica, held in
even higher esteem than gold. Generally, it was
thought to symbolize that vital life force that
sustains us all. The color green is naturally
associated with verdant plant life. Specifically,
jade was thought to symbolize the sprouting
maize plant, that staple of the Pre-Columbian
diet. It has also been suggested that jade
represents water. Either way, we can be certain
that jade represented the very essence of life
itself.
To date, no native sources of jade have been
discovered in Costa Rica, suggesting an extended
trade network existed that imported this precious
resource from Mesoamerica into Costa Rica
where it was carved by local artists. Such trade
also would have brought great wealth and likely
reinforced the social stratification of the peoples.
Jade may have served as a status marker to
distinguish the elite from the masses and solidify
their hold on power. We can picture an ancient
ruler or shaman presiding over a sacred
ceremonial adorned in brilliant green jade
pendants and jewelry. The ancient Costa Ricans
believe that the system of social hierarchy also
extended into the afterlife. Therefore, jade
objects were buried with the elite so that their
power could be maintained throughout eternity.
The pale green of this pendant's stone is as
lovely as the graceful carving. Worn by someone
of high rank as a symbol of office, the artist who
carved it was given the challenge of creating a
figure of power on a small scale. With refined
simplicity he accomplished this objective by
giving such expression to the face using circular
holes for the features. The shape of the head and
nose are similar to that of a monkey, though
there is something quite human in the figure's
"presence", particularly in the way the hands curl
up uniformly on either side of the chest, as if in a
ritual posture. The "blade" portion could function
as a sort of skirt or sarong worn perhaps by
shamans in ceremony. This recalls certain gold
objects from Costa Rica depicting shamans
wearing animal masks as part of their ritual
costume. It is a testimony to the lapidary skills of
a talented artist, and the culture within which
this pendant was made; that something held in
the palm of one's hand could be so monumental.
