Olmec Jade Sculpture of a Standing Were-Jaguar, 900 BCE - 600 BCE
Jade
3.125 x 8.25
X.0682
Further images
The Olmecs are generally considered to be the ultimat ancestor of all subsequent Mesoamerican civilisations. Thriving between about 1200 and 400 BC, their base wa the tropical lowlands of south...
The Olmecs are generally considered to be the ultimat ancestor of all subsequent Mesoamerican civilisations.
Thriving between about 1200 and 400 BC, their base wa the tropical lowlands of south central Mexico, an are characterized by swamps punctuated by low hill ridge and volcanoes. Here the Olmecs practiced advance farming techniques and constructed permanen settlements, including San Lorenzo Tenochtitlán, L Venta, Tres Zapotes, Laguna de los Cerros, and L Mojarra. However, the consolidation of thei city-states led to notable cultural influence fa beyond their heartland, and throughout th Mesoamerican region. This was confirmed in 2005 wit the use of NAA (Neutron Activation Analysis) an petrography to demonstrate the spread of Olmec cerami vessels. It would appear that the Olmec style becam synonymous with elite status in other (predominantl highland) groups, although there is evidence fo exchange of artefacts in both directions. A non-literate group, the Olmecs nevertheless pave the way for the development of writing systems in th loosely defined Epi-Olmec period (c. 500 BC). Further innovations include arguably the first us of the zero, so instrumental in the Maya long coun vigesimal calendrical system. They also appear to hav been the originators of the famous Mesoamerica ballgame so prevalent among later cultures in th region, and either retained or invented severa religious symbols such as the feathered serpent an the rain spirit, which persisted in subsequent an related cultures until the middle ages. Comparativel little is known of their magico-religious world,
although the clues that we have are tantalising. Th art forms for which the Olmecs are best known, th monumental stone heads weighing up to forty tons, ar generally assumed to pertain to some form of kingl leader or possibly an ancestor, although this is o course difficult to prove conclusively. It has als been suggested that they are representations o successful ball-players, or perhaps symbols o specific Olmec groups. The smaller jade figures o which this is one are believed to be domestically o institutionally based totems or divinities. Th quality of production is astonishing, particularly i one considers the technology available for production,
the early date of the pieces, and the dearth o earlier works upon which the Olmec sculptors coul draw. Some pieces are highly stylised, while other demonstrate striking naturalism with interpretation o some facial features (notably down-turned mouths an slit eyes) that can be clearly seen in the curren figure. The wide noses and thick lips of th were-jaguars have been used to claim an Africa ancestry for the Olmec. However, this belief has no been demonstrated in any way, and there is absolutel no anatomical, osteological, dental, mtDNA o Y-chromosome DNA evidence to support such a belief.
These all point at an East Asian origin for all recen Native American groups. Academics have also pointe out that the epicanthic folds on the colossal ston heads is an East Asian trait, and the continuou recurrence of the half-man-half-jaguar figure i Mesoamerican magico-religious artwork is a interpretation of a belief rather than a litera recording of a specific persons facial features. I therefore appears that the Olmec truly were maste agriculturists, settlers and sculptors, carving a ne identity from the swampy jungles of the Mexica heartland, and giving us a startlingly beautifu artistic heritage of which this is such an excellen example. This figure is typical of the were-jaguar style, wit large lips, small eyes and a highly paedomorphi facial shape. The figures have been so named becaus they are believed by scholars to represent a shaman transition between anthropomorphic and zoomorphi form. The owner of the piece is also likely to hav been involved in the magico-religious world. The dar stone is highly polished, with a light tracery o veins running through it. The figure has no sexua organs or much detail on the limbs or torso, possibl indicating that the figure was once clothed. Despit the small size of the sculpture, it has a ver powerful presence that presages much of what was t come in Mesoamerican culture. This is a stunningl beautiful piece of ancient art, which would be th pride of any collection.
Thriving between about 1200 and 400 BC, their base wa the tropical lowlands of south central Mexico, an are characterized by swamps punctuated by low hill ridge and volcanoes. Here the Olmecs practiced advance farming techniques and constructed permanen settlements, including San Lorenzo Tenochtitlán, L Venta, Tres Zapotes, Laguna de los Cerros, and L Mojarra. However, the consolidation of thei city-states led to notable cultural influence fa beyond their heartland, and throughout th Mesoamerican region. This was confirmed in 2005 wit the use of NAA (Neutron Activation Analysis) an petrography to demonstrate the spread of Olmec cerami vessels. It would appear that the Olmec style becam synonymous with elite status in other (predominantl highland) groups, although there is evidence fo exchange of artefacts in both directions. A non-literate group, the Olmecs nevertheless pave the way for the development of writing systems in th loosely defined Epi-Olmec period (c. 500 BC). Further innovations include arguably the first us of the zero, so instrumental in the Maya long coun vigesimal calendrical system. They also appear to hav been the originators of the famous Mesoamerica ballgame so prevalent among later cultures in th region, and either retained or invented severa religious symbols such as the feathered serpent an the rain spirit, which persisted in subsequent an related cultures until the middle ages. Comparativel little is known of their magico-religious world,
although the clues that we have are tantalising. Th art forms for which the Olmecs are best known, th monumental stone heads weighing up to forty tons, ar generally assumed to pertain to some form of kingl leader or possibly an ancestor, although this is o course difficult to prove conclusively. It has als been suggested that they are representations o successful ball-players, or perhaps symbols o specific Olmec groups. The smaller jade figures o which this is one are believed to be domestically o institutionally based totems or divinities. Th quality of production is astonishing, particularly i one considers the technology available for production,
the early date of the pieces, and the dearth o earlier works upon which the Olmec sculptors coul draw. Some pieces are highly stylised, while other demonstrate striking naturalism with interpretation o some facial features (notably down-turned mouths an slit eyes) that can be clearly seen in the curren figure. The wide noses and thick lips of th were-jaguars have been used to claim an Africa ancestry for the Olmec. However, this belief has no been demonstrated in any way, and there is absolutel no anatomical, osteological, dental, mtDNA o Y-chromosome DNA evidence to support such a belief.
These all point at an East Asian origin for all recen Native American groups. Academics have also pointe out that the epicanthic folds on the colossal ston heads is an East Asian trait, and the continuou recurrence of the half-man-half-jaguar figure i Mesoamerican magico-religious artwork is a interpretation of a belief rather than a litera recording of a specific persons facial features. I therefore appears that the Olmec truly were maste agriculturists, settlers and sculptors, carving a ne identity from the swampy jungles of the Mexica heartland, and giving us a startlingly beautifu artistic heritage of which this is such an excellen example. This figure is typical of the were-jaguar style, wit large lips, small eyes and a highly paedomorphi facial shape. The figures have been so named becaus they are believed by scholars to represent a shaman transition between anthropomorphic and zoomorphi form. The owner of the piece is also likely to hav been involved in the magico-religious world. The dar stone is highly polished, with a light tracery o veins running through it. The figure has no sexua organs or much detail on the limbs or torso, possibl indicating that the figure was once clothed. Despit the small size of the sculpture, it has a ver powerful presence that presages much of what was t come in Mesoamerican culture. This is a stunningl beautiful piece of ancient art, which would be th pride of any collection.