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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.
This beautiful pectoral shows the amazing
craftsmanship that was available at the time. Its
flawlessness is exemplified by the brilliant color
of the stone, a hard material, which has been
carefully carved. In the center is a small,
expressive face with deep penetrating eyes, and
a grimacing mouth that seems to open wider as
we approach it. The frown complements the
turned down mouth, creating a sense of
symmetry. On either side of the face is a
geometric twist pattern that has been delicately
carved. The entire piece has also been polished
to accentuate the perfect color and making it
smooth to the touch. This type of artwork
immortalizes the past as well as the artist giving
us a richer sense of the past.
- (PF.4152)
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