Olmec Seated Figure, c.1500-400 BCE
Jade
height 14 cm
height 5 1/2 in
height 5 1/2 in
EL.0038
The Olmec civilisation was one of the earliest civilisations in Mesoamerica, lasting from around 1600 to 400 BCE. It was based in the modern-day Mexican states of Veracruz and Tabasco,...
The Olmec civilisation was one of the earliest civilisations in Mesoamerica, lasting from around 1600 to 400 BCE. It was based in the modern-day Mexican states of Veracruz and Tabasco, on the coast of the Gulf of Mexico. The Olmecs are thought to have invented several Mesoamerican traditions such as bloodletting and the Mesoamerican ballgame, as well as possibly the Mesoamerican calendar, zero, and popcorn. Their first important centre was in San Lorenzo Tenochtitlán, and after that it appears to have changed to La Venta. The region provided many advantages for a burgeoning civilisation, such as alluvial soil which can be highly fertile, and access to the Coatzacoalcos River basin, which offered opportunities for transportation. The dense population which formed in this area is thought to have led to the rise of an elite, creating demand for luxury items made of high-value materials which came to characterise Olmec culture.
This sculpture is made of jade, a material that was highly prized for its colour and beauty. The fact that the only source of jade in ancient Mesoamerica was the Motagua River valley in eastern Guatemala, and therefore it would have been necessary to transport it a considerable distance in order to use it for Olmec objects, would have added to the prestige of artworks made from this material. It represents a male figure sitting cross-legged with his hands resting on his thighs and a ferocious expression on his face. His brow is furrowed above his oval eyes, and his mouth, which has large fleshy lips, is downturned in a grimace. These facial characteristics appear often in Olmec art, and have gained an association with a theorised supernatural entity known as a ‘were-jaguar’. As one of the primary predators in Mesoamerica, the jaguar would have been respected as well as feared in Olmec culture. In the mid-20th century, a theory arose that the were-jaguar motif originated from a mythical story of copulation between a jaguar and a human woman; this theory was based on some fragmentary monuments which could be interpreted as representations of this event. However, it is not universally agreed that this is what the monuments depict, and some scholars think that we ought to question whether the motif is even actually related to the jaguar; other explanations have been put forth for the combination of facial features, such as genetic abnormalities or a connection with a native species of toad.
Whatever the significance of the were-jaguar motif may have been, this sculpture is a beautiful example of the importance that was assigned to it in Olmec art. The form of the body is simple, with a drilled hole representing the space between the figure’s crossed legs, incised lines marking the fingers, and smaller holes showing the belly button and nipples, as well as the nostrils. There are also holes at the top and bottom of each ear. The fearsome expression, raised forehead, and pose of the figure, with elbows flared outwards as if he is about to rise from his seated position, all convey a sense of power and strength.
This sculpture is made of jade, a material that was highly prized for its colour and beauty. The fact that the only source of jade in ancient Mesoamerica was the Motagua River valley in eastern Guatemala, and therefore it would have been necessary to transport it a considerable distance in order to use it for Olmec objects, would have added to the prestige of artworks made from this material. It represents a male figure sitting cross-legged with his hands resting on his thighs and a ferocious expression on his face. His brow is furrowed above his oval eyes, and his mouth, which has large fleshy lips, is downturned in a grimace. These facial characteristics appear often in Olmec art, and have gained an association with a theorised supernatural entity known as a ‘were-jaguar’. As one of the primary predators in Mesoamerica, the jaguar would have been respected as well as feared in Olmec culture. In the mid-20th century, a theory arose that the were-jaguar motif originated from a mythical story of copulation between a jaguar and a human woman; this theory was based on some fragmentary monuments which could be interpreted as representations of this event. However, it is not universally agreed that this is what the monuments depict, and some scholars think that we ought to question whether the motif is even actually related to the jaguar; other explanations have been put forth for the combination of facial features, such as genetic abnormalities or a connection with a native species of toad.
Whatever the significance of the were-jaguar motif may have been, this sculpture is a beautiful example of the importance that was assigned to it in Olmec art. The form of the body is simple, with a drilled hole representing the space between the figure’s crossed legs, incised lines marking the fingers, and smaller holes showing the belly button and nipples, as well as the nostrils. There are also holes at the top and bottom of each ear. The fearsome expression, raised forehead, and pose of the figure, with elbows flared outwards as if he is about to rise from his seated position, all convey a sense of power and strength.