There are many distinct groups within the agglomeration referred to as the
Western Mexico Shaft Tomb (WMST) tradition, foremost among them the
Jalisco, Nayarit, and Colima. Their relationships are almost totally obscure due
to the lack of contextual information. However, it is the artworks that are the
most informative. All of the cultures encompassed under the WMST umbrella
were in the habit of burying their dead in socially-stratified burial chambers at
the base of deep shafts, which were in turn often topped by buildings.
Originally believed to be influenced by the Tarascan people, who were
contemporaries of the Aztecs, thermoluminescence has pushed back the dates
of these groups over 1000 years.
Although the apogee of this tradition was reached in the last centuries of the
1st millennium BC, it has its origins over 1000 years earlier at sites such as
Huitzilapa and Teuchitlan, in the Jalisco region. Little is known of the cultures
themselves, although preliminary data seems to suggest that they were
sedentary agriculturists with social systems not dissimilar to chiefdoms. These
cultures are especially interesting to students of Mesoamerican history as they
seem to have been to a large extent outside the ebb and flow of more
aggressive cultures – such as the Toltecs, Olmecs and Maya – in the same
vicinity. Thus insulated from the perils of urbanization, they developed very
much in isolation, and it behooves us to learn what we can from what they
have left behind.
There are few cultures in the Americas or indeed elsewhere that can match the
Jalisco for exuberant skill in the production of figurative ceramics. These
wares were usually placed in graves, and do not seem to have performed any
practical function, although highly decorated utilitarian vessels are also
known. It is possible that they were designed to depict the deceased – they are
often very naturalistic – although it is more probable that they constituted,
when in groups, a retinue of companions, protectors and servants for the
hereafter. Many of the figures represent warriors, judging from their apparel
and martial stance. These were probably protectors of the deceased, symbolic
of actual people who were buried with the deceased as retainers in more
sanguineous Central and Southern American societies. Supernatural and more
enigmatic figures are also known, presumably representing aspects of Jalisco
cultural heritage (gods, spirits, ancestors, mythological figures etc) that
cannot be understood at the present time. However, perhaps the best-known
style is that of the maternity figure.
The current piece falls within the style known as the Ameca-Ezatlán group,
which is characterised by elongated faces, turban-like headwear, wide mouths,
large hands, defined nails and staring eyes with elevated rims. The current
piece is therefore a classic example of the tradition. Insofar as theme is
concerned, the subject matter is likewise traditional. Just as in other
sophisticated social systems around the world – such as the Egyptians or
Dynastic China – figures were made to represent the sorts of people and
resources that might be needed in the hereafter. They were in this sense
symbolic of actual people, who were buried with the deceased as retainers in
more sanguineous Central and Southern American societies. Seemingly
supernatural figures are also known, presumably representing aspects of
Jalisco cultural heritage (gods, spirits, ancestors, mythological figures etc) that
are currently beyond our understanding, while maternity figures are also fairly
well-known. Of all the groups, however, it is perhaps the warriors that are the
most dramatic.
The sculptural beauty of this male figure has its
origins mainly in the perfect balance of all the
elements coming together into a single,
satisfying whole. The different textures, shapes
and coloration are arranged to focus the viewer's
attention on the penetrating eyes of the figure.
In Classic Ameca-Ezatlán Style this fine male has a
highly elongated head, especially evident in the
forehead and chin. His face is a masterful
example of design, with the conical headdress
the same basic shape and color as the chin. The
rich orange-red shade covers the lower portion
of the cheeks and nose, while the upper part of
the face is a buff color. He is seated with his
knees raised. Upon each a hand rests, one
holding a bowl and the other a sceptre. He
seems to be making an offering to the spirits
with gentle humility and pious words. The
dramatic appliquéd shoulder pellets are
characteristic of male figures, as is his nudity,
which may indicate a fertility role. What is most
impressive is his bulging eyes which have an
intensity about them that is both very human and
otherworldly, as if he is seeing a vision beyond
the normal realm. With such power created by a
master sculptor, we as viewers can also share in
this wonderful vision.
