Describe Three Elements or Principles of Art Found in the Elmec Babyface Figurines

A pick of tiny naturalistic Olmec ceramic figurines from the Metropolitan Museum of Art. The hunchback at eye is less than 3 inches (seven.6 cm) alpine.

An archetypical infant-face figurine from Las Bocas.

Olmec figurines are archetypical figurines produced by the Formative Period inhabitants of Mesoamerica. While not all of these figurines were produced in the Olmec heartland, they bear the hallmarks and motifs of Olmec culture. While the extent of Olmec control over the areas beyond their heartland is not nevertheless known, Determinative Period figurines with Olmec motifs were widespread in the centuries from 1000 to 500 BC, showing a consistency of fashion and subject throughout nearly all of Mesoamerica.

These figurines are usually found in household refuse, ancient structure fill, and, outside the Olmec heartland, graves.^{[one] [2]} Even so, many Olmec-style figurines, especially those labelled equally Las Bocas- or Xochipala-mode, were recovered by looters and are therefore without provenance.

The vast majority of figurines are uncomplicated in design, often nude or with a minimum of clothing, and fabricated of local terracotta. Nearly of these recoveries are mere fragments: a head, arm, trunk, or a leg.^[3] It is thought, based on wooden busts recovered from the h2o-logged El Manati site, that figurines were also carved from wood, but, if so, none take survived.

More durable and amend known past the general public are those figurines carved, usually with a degree of skill, from jade, serpentine, greenstone, basalt, and other minerals and stones.

Infant-face figurines [edit]

The "baby-face" figurine is a unique marker of Olmec civilization, consistently found in sites that evidence Olmec influence,^[4] although they seem to exist confined to the early on Olmec period and are largely absent, for example, in La Venta.^[5]

These ceramic figurines are easily recognized past the chubby body, the baby-similar jowly face, downturned mouth, and the puffy slit-similar optics. The head is slightly pear-shaped, likely due to bogus cranial deformation.^[six] They often wear a tight-fitting helmet not dissimilar to those worn by the Olmec colossal heads.^[7] Infant-confront figurines are usually naked, but without genitalia.^[viii] Their bodies are rarely rendered with the item shown on their faces.

Also called "hollow babies", these figurines are more often than not from 25–35 cm (ix.8–13.8 in) high^[9] and feature a highly glassy white- or cream-skid. They are only rarely found in archaeological context.^[x]

Archaeologist Jeffrey Blomster divides baby-face figurines into two groups based on several features. Among the many distinguishing factors, Group 1 figurines more closely mirror the characteristics of Gulf Declension Olmec artifacts. Group 2 figurines are besides slimmer than those of Group ane, lacking the jowly face or fleshy body, and their bodies are larger in proportion to their heads.^[eleven]

Given the sheer numbers of baby-face figurines unearthed, they undoubtedly fulfilled some special role in the Olmec civilisation. What they represented, however, is not known. Michael Coe, says "Ane of the great enigmas in Olmec iconography is the nature and meaning of the big, hollow, whiteware babies".^[12]

An "elongated human being" figurine, night green serpentine. Inlays, since lost, once animated the eyes, ears, nose, and rima oris.^[13]

Elongated human [edit]

Another mutual figurine style features continuing figurines in a stiff artificial pose and characterized by their thin limbs, elongated, bald, flat-topped heads, almond-shaped optics, and downturned mouths. The figurines' legs are commonly separated, ofttimes straight, sometimes bent. Toes and fingers, if shown at all, are frequently represented by lines.

Information technology has been theorized that the elongated, flat-topped heads are reflective of the practise of artificial cranial deformation, as found in the Tlatilco burials of the same period or among the Maya of a later era.^[fourteen] No directly prove of this do has been found in the Olmec heartland, nonetheless.

The ears oft take small holes for ear flares or other ornaments. These figurines may have therefore one time worn earrings and even dress made of perishable materials. It has been proposed that these figurines had multiple outfits for different ritual occasions – every bit Richard Diehl puts information technology, "a pre-Columbian version of Barbie'southward Ken".^[xv]

These figurines are usually carved from jade and well under one ft (thirty cm) in height. For some other example, encounter this Commons photo.

Offering 4 at La Venta [edit]

At the La Venta archaeological site, archaeologists constitute what they subsequently named "Offer 4". These figurines had been ritually cached in a deep, narrow hole, and covered over with three layers of colored dirt. At some indicate later on the original burying, someone dug a small hole down just to the level of their heads and then refilled it.^[16]

Offering 4 consists of sixteen male person figurines positioned in a semicircle in front of 6 jade celts, perhaps representing stelae or basalt columns. 2 of the figurines were made from jade, thirteen from serpentine, and one of reddish granite. This granite figurine one was positioned with its back to the celts, facing the others. All of the figurines had like classic Olmec features including bald elongated heads. They had modest holes for earrings, their legs were slightly bent, and they were undecorated – unusual if the figurines were gods or deities – but instead covered with cinnabar.^[17]

Interpretations abound. Perhaps this detail formation represents a council of some sort—the fifteen other figurines seem to be listening to the scarlet granite i, with the celts forming a backdrop. One of the nearly hit offerings found at La Venta, the celts in Offering Number 4, describe a person with a ceremonial headdress "flight" and likewise the maize deity. In that location appears to exist a definite symbolic link hither, merely it is unclear whether it is tied to the Olmec rudimentary writing system.^[18] To the crimson granite figurine'south correct, in that location seems exist a line of 3 figurines filing by him. Another researcher has suggested that the granite figure is an initiate.

As the name implies, Offering 4 is one of many ritual offerings uncovered at La Venta, including the four Massive Offerings and iv mosaics. Why such works would be buried continues to generate much speculation.

A pocket-sized jade were-jaguar figurine. Stand up-alone were-jaguar figurines are rare - most were-jaguar figurines show a were-jaguar babe accompanied past a human adult. Height: eight.half-dozen cm (iii.four in).

"Were-jaguar" motif [edit]

The so-called were-jaguar motif runs through much of Olmec fine art, from the smallest jade to some of the largest basalt statues. The motif is found inscribed on celts, votive axes, masks, and on "elongated human being" figurines.

Also termed, somewhat more neutrally, the "composite anthropomorph"^[xix] or the "rain baby",^[xx] the were-jaguar's body, if shown, is infant- or childlike. Its eyes are almond-shaped – or occasionally slit-like.^[21] Its nose is man. Its downturned mouth is open, equally if in mid-squall. The upper lip is everted and toothless gums are often visible. Olmec motifs associated with the were-jaguar include a scissure on the head or headdress, a headband, and cross-confined.^[22]

Well-nigh were-jaguar figurines show an inert were-jaguar baby being held by an adult.

Olmec hawkeye transformation figure, tenth–6th century BC Jade (albite), with cinnabar. Height: 4.5 inches (11 cm).

Transformation figures [edit]

Many other Olmec figurines combined human and animal features, including this were-eagle (left). Although figurines showing such combinations of features are generally termed "transformation figures", some researchers argue that they correspond humans in creature masks or animal suits, while others land that they likely stand for shamans.^[23]

This transformation effigy^{[ clarification needed ]} displays bat-similar features. Most common, withal, is the jaguar transformation figurine (encounter Commons photograph), which testify a broad variety of styles, ranging from homo-like figurines to those that are almost completely jaguar, and several where the field of study appears to exist in a stage of transformation.^[24]

Naturalistic figurines [edit]

Despite the many stylised figurines, Olmec-menstruum artisans and artist also portrayed humans naturalistically with "a almost extraordinary realistic technique".^[25] The lead photo for this commodity shows a number of tiny naturalistic figurines.

A jade fetal-style figurine from Guerrero, United mexican states. Pinnacle: iii.8 inches (9.7 cm).

Dwarf or fetal-style figurines [edit]

Another pervasive Olmec figurine type features crouching figurines with sparse bodies and over-large oval heads with modest noses and receding chins.^[26] Some researchers such as Miguel Covarrubias generally characterise these figurines as "dwarfs".^[27] many others, also including Covarrubias, see prove of "what looks similar pre-natal posture".^[28] In a 1999 article, Carolyn Tate and Gordon Bendersky analysed head-to-torso ratios and concluded that these figurines are naturalistic sculptures of fetuses, and hash out the possibility of infanticide and infant cede.^[29]

Gallery [edit]

• 

  This rather unlively figurine belongs to Blomster's Group 2.

• 

  A baby-confront figurine from the Museo Nacional del Jade, San Jose, Costa Rica.

Come across besides [edit]

• Olmec influences on Mesoamerican cultures - a discussion of Olmec influence outside the Olmec heartland

Notes [edit]

1. ^ Pool, Christopher A. (Apr 2017). Insoll, Timothy (ed.). "Mesoamerica—Olmec Figurines". The Oxford Handbook of Prehistoric Figurines. doi:10.1093/oxfordhb/9780199675616.013.012.
2. ^ Cheetham, David (2009). "Early Olmec Figurines from Two Regions: Mode equally Cultural Imperative" (PDF). Academy Printing of Florida.
3. ^ Castro-Leal, p. 143 .
4. ^ Scott, p. 268.
5. ^ Coe (1989), p. 77.
6. ^ Pohorilenko, p. 121.
7. ^ Pohorilenko, p. 121 .
8. ^ Blomster (1998), p. 311, says "Sex or gender do not announced to exist indicated on any of these objects.".
9. ^ Blomster (2002), p. 173.
10. ^ Blomster (1998).
11. ^ Blomster (2002).
12. ^ Coe (1989), p. 77.
13. ^ Bradley (2005) p. 25.
14. ^ Diehl, p. 122.
15. ^ Diehl, p. 122.
16. ^ Pool, p. 164, who refers to Drucker, Heizer, and Squier (1959) Excavations at La Venta, Tabasco, Smithsonian.
17. ^ Pool, p. 164.
18. ^ Xu 1998
19. ^ Porhilenko.
20. ^ Miller & Taube. Joralemon (1996) similarly refers to this combination of features every bit the "tempest god".
21. ^ Miller & Taube, p. 126.
22. ^ Miller & Taube, p. 126.
23. ^ Diehl, p. 106.
24. ^ Miller & Taube state that the jaguar is the primary subject of transformation figures, p. 103.
25. ^ Kubler, p. 12.
26. ^ Pohorilenko, p. 122.
27. ^ Covarrubias, p. 64. Pohorilenko, p. 122, also describes these crouching figurines equally dwarfs.
28. ^ Covarrubias, p. 57.
29. ^ Tate & Bendersky.

References [edit]

• Bailey, Douglass (2005). Prehistoric Figurines: Representation and Corporeality in the Neolithic. Routledge Publishers. ISBN0-415-33152-8.
• Blomster, Jeffrey (1998). "Context, Cult, and Early Formative Period Public Ritual in the Mixteca Alta, Analysis of a Hollow-baby Figurine from Etlatongo, Oaxaca". Ancient Mesoamerica. 9 (two): 309–326. doi:10.1017/S0956536100002017. (subscription required)
• Blomster, Jeffrey (2002). "What and Where is Olmec Style? Regional perspectives on Hollow Figurines in Early Determinative Mesoamerica". Ancient Mesoamerica. 13 (2): 171–195. doi:10.1017/S0956536102132196. (subscription required)
• Bradley, Douglas Due east; Joralemon, Peter David (1993). "The Lords of Life: The Iconography of Power and Fertility in Preclassic Mesoamerica". Snite Museum of Art, University of Notre Dame.
• Bradley, Douglas E.; et al. (2005). Celebrating Twenty-five Years in the Snite Museum of Art: 1980-2005. Snite Museum of Art, University of Notre Dame. ISBN978-0-9753984-1-8.
• Castro-Leal, Marcia (1996). "The Olmec Collections of the National Museum of Anthropology, Mexico Urban center". In Benson, EP; de la Fuente, B. (eds.). Olmec Fine art of Ancient Mexico. Washington D.C.: National Gallery of Art. pp. 139–143. ISBN0-89468-250-4.
• Coe, Michael D (1989). "The Olmec Heartland: Evolution of Ideology". In Sharer, Robert J.; Grove, David (eds.). Regional Perspectives on the Olmec. Cambridge University Press. ISBN978-0-521-36332-vii.
• Covarrubias, Miguel (1957). Indian Art of Mexico and Central America. New York: Alfred A. Knopf. OCLC 171974.
• Kubler, George (1990) [first pub. 1962]. The Art and Architecture of Ancient America (third ed.). Yale University Printing. ISBN0-300-05325-8 . Retrieved 2012-12-14 .
• Miller, Mary; Taube, Karl (1993). The Gods and Symbols of Ancient United mexican states and the Maya: An Illustrated Dictionary of Mesoamerican Religion . London: Thames & Hudson. ISBN0-500-05068-vi. OCLC 27667317.
• Pohorilenko, Anatole (1996). "Portable Carvings in the Olmec Style". In Benson, EP; de la Fuente, B. (eds.). Olmec Art of Ancient Mexico. Washington D.C.: National Gallery of Art. ISBN0-89468-250-iv.
• Pool, Christopher A (2007). Olmec Archaeology and Early Mesoamerica. Cambridge Earth Archeology. Cambridge and New York: Cambridge Academy Press. ISBN978-0-521-78882-3. OCLC 68965709.
• Scott, Sue (2000). "Figurines, Terracotta". In Evans, Susan (ed.). Archaeology of Aboriginal Mexico and Central America. Taylor & Francis. p. 266. ISBN9780815308874 . Retrieved 2012-12-xiv .
• Solis, Felipe (1994). "La Costa del Golfo: el arte del centro de Veracruz y del mundo huasteco". In García, María Luisa Sabau (ed.). México en el mundo de las colecciones de arte: Mesoamerica (in Spanish). Vol. 1. México, D.F.: Secretaría de Relaciones Exteriores, Instituto de Investigaciones Estéticas-UNAM, and Consejo Nacional para la Cultura y las Artes. pp. 183–241. ISBN968-6963-36-7. OCLC 33194574.
• Tate, Carolyn; Bendersky, Gordon (1999). "Olmec Sculptures of the Human Fetus". Perspectives in Biology and Medicine. 42 (Spring): 1–20. doi:10.1353/pbm.1999.0017. PMID 12966945. Retrieved 2012-12-xiv .
• Xu, Mike H. (1998). "La Venta Offering No.iv: A Revelation of Olmec Writing?". Pre-Columbiana. 1 (i–2): 131–143.

External links [edit]

• Comprehensive catalogue of Olmec figurines (and figurine fragments) — fine photos of artifacts recovered at the Olmec heartland site of San Andrés.
  — This collection details the unabridged range of figurines & figurine fragments — while other books and articles focus on the more than artistic and complete figurines.

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Source: https://en.wikipedia.org/wiki/Olmec_figurine

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