Pre-Columbian, Caribbean, Taino, ca. 1100 to 1558 CE. Among the only artifacts specifically referenced by Spanish chroniclers of the 15th century, a quintessential example of a three pointer stone Zemi figure - a human effigy face carved from a single piece of mottled black stone with meticulously pecked and incised skeletal features including a pair of deep-socketed round eyes, a wide open mouth, and a prominent protruding nose, as well as a decorative headband, adding to the impressive aesthetic and spiritual presence of this piece. The This piece is among the various cult objects associated with the worship of "zemis" - deities, ancestors, or earth spirits revered by the Taino culture. Size: 7.375" L x 4.875" H (18.7 cm x 12.4 cm)
The Zemi (or Cemi) stone, with its characteristic three cardinal points, is a fundamental symbol in the Taino religion. Tainos traditionally name the three points "Yocahu Bagua Maorocoti" - another word for the Creator, Yaya. Zemis like this example are believed to be inhabited by powerful spirits. The uppermost point represents the top of this sacred mountain peak, in the turey (sky) of the four directions, where Yaya - the Creator, whose name means that which has neither beginning nor end and which has no male ancestor or creator - resides. The 'chin' point represents Coabey, the underworld or place of the dead. Here Hupia, the spirit of the dead, resides, and the face of Guayaba, the Chief of Coabey, is represented. Finally, the opposite point represents the land of the living where Goiz, the spirit of living people, resides. A similar three-pointer example is shown in fig. 29a, p. 117 in "The Tainos: Rise and Decline of the People Who Greeted Columbus", (Irving Rouse, 1992).
A copy of Stoetzer examination report #092518.1 is available for this piece. This document is quite extensive and concludes, "We note many features on the surface of this item overall including signs of production, specific tooling signatures and degradation of the surface of the stone which are consistent with antiquity and the effects of subsequent natural weathering conditions. It is important to note that we find no signs we interpret as being a product of any modern manufacturing, tooling, working of the material or indications of artificial weathering overall." (November 2, 2018)
Provenance: private Los Angeles County, California, USA collection, acquired in the Dominican Republic over 20 years ago; a copy of an authenticating examination report #092518.1 (November 2, 2018) from Stoetzer, Inc. Fine Art Services, Miami, Florida, USA is available for this piece
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#127596
Condition
Normal surface weathering, chips to peripheries, minute nicks here and there, and earthen deposits. All is commensurate with age and the piece is generally excellent.