The Olmecs are generally considered to be the ultimate ancestor of all subsequent Mesoamerican civilizations. Thriving between about 1200 and 400 BC, their base was the tropical lowlands of south central Mexico, an area characterized by swamps punctuated by low hill ridges and volcanoes. Here the Olmecs practiced advanced farming techniques and constructed many permanent settlements. Their influence, both cultural and political, extended far beyond their boundaries; the exotic nature of Olmec designs became synonymous with elite status in other (predominantly highland) groups, with evidence for exchange of artefacts in both directions. Other than their art (see below), they are credited with the foundations of writing systems (the loosely defined Epi-Olmec period, c. 500 BC), the first use of the zero – so instrumental in the Maya long count vigesimal calendrical system – and they also appear to have been the originators of the famous Mesoamerican ballgame so prevalent among later cultures in the region.

The art form for which the Olmecs are best known, the monumental stone heads weighing up to forty tons, are generally believed to depict kingly leaders or possibly ancestors. Other symbols abound in their stylistic repertoire, including several presumably religious symbols such as the feathered serpent and the rain spirit, which persisted in subsequent and related cultures until the middle ages. Comparatively little is known of their magico-religious world, although the clues that we have are tantalising. Technically, these include all non-secular items, of which there is a fascinating array. The best- known forms are jade and ceramic figures and celts that depict men, animals and fantastical beasts with both anthropomorphic and zoomorphic characteristics. Their size and general appearance suggests that they were domestically- or institutionally-based totems or divinities. The quality of production is astonishing, particularly if one considers the technology available, the early date of the pieces, and the dearth of earlier works upon which the Olmec sculptors could draw. Some pieces are highly stylised, while others demonstrate striking naturalism with deliberate expressionist interpretation of some facial features (notably up-turned mouths and slit eyes) that can be clearly seen in the current figure.

Depicting an open-mouthed male with narrow slit eyes and stylised features, masks such as this were probably never worn, and were instead used as votive objects, serving a ritual purpose within the society, and perhaps also an apotropaic or funerary role. The proportions are angular, with a straight superior border, a rounded jawline and almost vertical sides to the face. The forehead and the nose constitute a T-bar shape that stands clear of the cheeks, which are rounded and demarcated from the mouth/nose by light incised lines (perhaps denoting age). A line tracing the straight superior edge of the mask has been gently incised along the top of the forehead. The eyes are shaped like beans, the nose has a strong bridge and carved nostrils, and the mouth is arranged in the classical manner with the upper lip deflected backwards – exposing the upper teeth – in what is usually known as a “baby-faced” configuration. Holes have been drilled into the corners of the mouth. This may be a therianthropic device; Olmec were-jaguars are a fuller expression of the same notion. The mask has angular ears with elevated rims and pierced lobes. The care to detail is impressive, but the manner in which the disparate naturalistic and expressionistic elements have been combined with bold lines and flawless finish makes this a truly remarkable piece of ancient art.