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 monkey was one of the most popular images
for jade pendants. It’s meaning is probably
ritualistic, and may represent a shaman wearing
a monkey mask. Unlike many pendants this
example is depicted full figure, with its legs
crossed in a very flexible manner. Its hands are
laid neatly over the stomach in a pose that is
somewhat reverential. The figure's face is very
intense, its mouth a straight line ending in
circular indentations at either end. The broad
nose is a triangle within a larger triangle where
the lines meet at the center of the brow and
separate at the chin. Another interesting feature
are the holes formed within the folds of the arms
and legs. This can be seen as an abstract face;
but may not have been intended as such by the
artist. For their size, few objects can match Costa
Rican pendants for their sheer volume on a small
scale; attesting to the artists' skills and the rich
culture in which the art was created.
