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.
Seated upon the ground, supporting himself with
his striped staff, this figure dramatically gestures
into the air with his right hand. His shoulders
are covered with bumps that may actually
represent keloid scarification and are
characteristic of the Jalisco style. His head,
elongated in the Jalisco tradition, is covered in a
crown featuring a small arching crest. It is
popularly believed by modern scholars that the
ancient nobility of the Jalisco culture would bind
their children’s heads with wooden boards in
order to stretch their skull. This cranial
deformation is thought to be inspired by the
maize god who features a high, prominent brow.
As well, this unique trait would have
differentiated the royalty from the commoners.
Perhaps the most attractive feature of this
sculpture is the charming smile that stretches
upon his joyous face. Also of note, his large ears
have real holes in them, as if he could actually
hear. Might it be possible that this sculpture
represents an ancient Jalisco bard, regaling his
audience with stories of legendary heroes?
Surely he appears as if caught in the middle of
telling a story, his hand gesturing outwards, a
smile creeping over his face. Could this statue
memorialize a Mesoamerican Homer who
captivated his people with an ancient mythology
that has been lost to history? While his tales may
no longer be with us, this sculpture continues to
bring you to our hearts with its beauty and
inspire us with its past.
