Pre-Columbian, West Mexico, Nayarit, Protoclassic Period, ca. 100 BCE to 250 CE. A remarkable pottery figure of a seated female shown bare-chested with legs crossed as she holds a ceremonial olla in her right hand. Indicative of drug intoxication, her huge, almond-shaped eyes gaze hypnotically forward from beneath raised brows as her elongated mouth gapes open exposing 2 rows of delineated teeth. A giant nose dominates her face, boasting several septum ornaments, as sizeable ears with numerous adornments sit to either side. Her flattened body displays broad shoulders above voluptuous breasts and slender arms with 1 extending outward to rest her hand on her knee and the other folding at the elbow to hold the olla to her right shoulder. Though enveloped in red slip, beige and orange painted details embellish her head and body, as well as adding geometric designs to her knee-length skirt, undulating striation to her braided tiara, and vertical stripes to the olla. Size: 9" W x 14.2" H (22.9 cm x 36.1 cm)
West Mexican shaft tomb figures like this one derive their names from the central architectural feature that we know of from this culture. These people would build generally rectangular vertical shafts down from the ground level down to narrow horizontal tunnels that led to one or more vaulted or rounded burial chambers. The geomorphology in the area means that these chambers are dug out of tepetate, a type of volcanic tuff material, which give the chambers a rough-edged look. Although the dimensions of the chambers vary considerably - some only large enough to hold a single burial and its offerings, others seem designed to hold entire lineages - the placement of burial goods like this hollow figure was very similar. Grouped with other hollow figures, and alongside clay bowls, and boxes, they were positioned around the body (or bodies), near the skull. Unfortunately, we lack the information we would need to understand what these figures were made for - do they represent everyday people, even individuals? Are they religious? Were they created to mediate between the living and the dead? Whatever their purpose, today they are beautiful artwork and reminders of the mysterious past.
Provenance: ex-Marc Amiguet Schmitt estate, Amiguet's Ancient Art, Evansville, Indiana, USA, acquired prior to January 1, 2010
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#173382
Condition
Professionally repaired with some restoration and repainting over break lines. Surface wear as shown, commensurate with age. Otherwise, excellent presentation with great remaining pigments and nice manganese blooms throughout. Old collection number inscribed on base.