Nayarit Sculpture of Mother Carrying a Child - PF.2930, Origin: Western Mexico, Circa: 300 BC to 300 AD, Dimensions: 12.5" (31.8cm) high, Catalogue: V15, Collection:  More »

Nayarit Sculpture of Mother Carrying a Child - PF.2930, Origin: Western Mexico, Circa: 300 BC to 300 AD, Dimensions: 12.5" (31.8cm) high, Catalogue: V15, Collection: Pre-Columbian, Style: Nayarit, Medium: Terracotta. The clay sculpture of a mother carrying her child on her back depicts an activity of a daily village life. Many of pre-classic art from west Mexico reflect scenes from the everyday village life. However, this unique piece is much more special because it informs us of the Nayarit culture's method of transporting babies. Unlike numerous other mother child figures that show child on mother's lap, for example, this work shows how the mother used a cloth carriage to hold and to transport her child on her back. The innocent child clings to the mother's back with the fragile limbs and hands. The expression on the baby’s face shows sweet naiveté, delight, and satisfaction of being close to the mother and the warm, symbiotic bond between the mother and the child is evidently displayed. Contrast to the small and fragile baby, the stout mother stands proudly with her head slightly raised. Showing her large bosom, she has her hands placed on both sides of her belly, which enforces the idea of childbearing and fertility. Standing firmly with her two large feet on the ground and wearing a simple headdress and a skirt, she generates the undeniable characteristic of the earthy motherhood.   « Less

Ameca-Ezatlán Style Jalisco Terracotta Sculpture of a Seated Woman - PF.2938, Origin: Jalisco, Mexico, Circa: 300 BC to 300 AD, Dimensions: 18.5" (47.0cm) high x 12"  More »

Ameca-Ezatlán Style Jalisco Terracotta Sculpture of a Seated Woman - PF.2938, Origin: Jalisco, Mexico, Circa: 300 BC to 300 AD, Dimensions: 18.5" (47.0cm) high x 12" (30.5cm) wide, Collection: Pre-Columbian, Style: Ameca-Ezatlán, Medium: Terracotta.   « Less

Jalisco Zoomorphic Sculpture - PF.2939 (LSO), Origin: Western Mexico, Circa: 300 BC to 300 AD, Dimensions: 11" (27.9cm) high, Catalogue: V15, Collection: Pre-Columbian,  More »

Jalisco Zoomorphic Sculpture - PF.2939 (LSO), Origin: Western Mexico, Circa: 300 BC to 300 AD, Dimensions: 11" (27.9cm) high, Catalogue: V15, Collection: Pre-Columbian, Style: Jalisco, Medium: Terracotta. This Jalisco zoomorphic sculpture dates to just before or after the start of the first millennium AD, and seems to represent a (mythical?) animal and its young. It pertains to a group of archaeological cultures – known almost purely from their artworks – referred to as the Western Mexico Shaft Tomb tradition. All of the cultures encompassed under this nomenclature were in the habit of burying their dead in socially- stratified burial chambers at the base of deep shafts, which were in turn often topped by buildings. Originally believed to be influenced by the Tarascan people, who were contemporaries of the Aztecs, thermoluminescence has pushed back the dates of these groups over 1000 years. Although the apogee of this tradition was reached in the last centuries of the 1st millennium BC, it has its origins over 1000 years earlier at sites such as Huitzilapa and Teuchitlan, in the Jalisco region. Little is known of the cultures themselves, although preliminary data seems to suggest that they were sedentary agriculturists with social systems not dissimilar to chiefdoms. These cultures are especially interesting to students of Mesoamerican history as they seem to have been to a large extent outside the ebb and flow of more aggressive cultures – such as the Toltecs, Olmecs and Maya – in the same vicinity. Thus insulated from the perils of urbanisation, it behoves us to learn what we can from what they have left behind, and of these remains, it is perhaps the art that is the most informative.   « Less

Atlantic Watershed Stone Trophy Head - PF.3035, Origin: Eastern Costa Rica, Circa: 500 AD to 1000 AD, Dimensions: 10.5" (26.7cm) high x 8" (20.3cm) wide x 8.25" (21.0cm)  More »

Atlantic Watershed Stone Trophy Head - PF.3035, Origin: Eastern Costa Rica, Circa: 500 AD to 1000 AD, Dimensions: 10.5" (26.7cm) high x 8" (20.3cm) wide x 8.25" (21.0cm) depth, Collection: Pre-Columbian, Style: Atlantic Watershed, Medium: Stone. The human consciousness is puzzling. How did it evolve? In our consciousness the same as forebears who lived thousands of years ago? Many psychologists believe that human beings are quite primitive concerning the evolution of consciousness. Human beings continue to have the instantaneous "fleet or fight" reaction in their daily discourse with situations and people today as they did in the ancient past. The expression set in this stone head is authoritarian and imposing. He is a charismatic leader who has surpassed the reaction of 'fleet or flight' of the masses. This portraiture was carved at the height of the tradition of stone sculpture in Costa Rica, which begn shortly after the time of Christ. The eye lids are softly closed although it still appears as though he can see our every move. The mouth is tranquil and motionless revealing a solemn stately composure which compliments his well-defined nose and ears. The carving techniques revealed by his headdress and facial features have developed to the point of virtuosity in Costa Rica stone sculpture. This portraiture head of a nobility may remind us of the expression on th emeditative Buddha figures of the Orient or of the blissful states of enlightenment depicted on Italian Renaissance saints. Whether it be in the Orient of the Mediterranean or depicted here in Meso- America, humans appear to revere the lofty states of higher consciousness that are peaceful and serene.   « Less

Basalt Funerary Mask - PF.3078, Origin: Costa Rica, Circa: 100 AD to 500 AD, Dimensions: 17" (43.2cm) high, Catalogue: V15, Collection: Pre-Columbian, Medium: Basalt. In this  More »

Basalt Funerary Mask - PF.3078, Origin: Costa Rica, Circa: 100 AD to 500 AD, Dimensions: 17" (43.2cm) high, Catalogue: V15, Collection: Pre-Columbian, Medium: Basalt. In this oval-shaped mask with slit -open eyes strikes the viewers with its strong impression. The unique basalt mask shows beautifully sculpted long, straight nose and large ears. And the center of the head is divided by a small jaguar figure crawling down the forehead of the mask. The marvelous mask is sculpted in an ideally stylized manner, with incision lines defining the combed hair of the mask. Not only is the stone mask impressionable but the small jaguar on the forehead of the mask is also remarkable--its piercing round eyes seem to penetrate through the viewers' eyes looking at the mask. Moreover, the artist of this beautiful work emphasized the small jaguar's tail so that it looks like a crown or a headdress on the mask. Such marvelous mask with jaguar figure most likely had a very important function in ancient Costa Rica--perhaps it was sculpted for chieftains or shamans for ceremonial purposes. The jaguar being one of the most powerful gods in Ancient Meso-America, this mask probably symbolized the highest power, rank, and spiritual energy. Looking at the mask, one could imagine rituals and ceremonies in which a person wearing the unique mask performed magical deeds.   « Less

Jaguar Man Head - PF.3091, Origin: Costa Rica, Circa: 100 AD to 500 AD, Dimensions: 17.5" (44.5cm) high, Catalogue: V20, Collection: Pre-Columbian, Medium: Basalt.

Jaguar Man Head - PF.3091, Origin: Costa Rica, Circa: 100 AD to 500 AD, Dimensions: 17.5" (44.5cm) high, Catalogue: V20, Collection: Pre-Columbian, Medium: Basalt.   « Less

Mayan Cylindrical Vessel - PF.3100, Origin: El Salvador, Circa: 500 AD to 900 AD, Dimensions: 9.5" (24.1cm) high, Catalogue: V15, Collection: Pre-Columbian, Style: Mayan,  More »

Mayan Cylindrical Vessel - PF.3100, Origin: El Salvador, Circa: 500 AD to 900 AD, Dimensions: 9.5" (24.1cm) high, Catalogue: V15, Collection: Pre-Columbian, Style: Mayan, Medium: Terracotta. This masterpiece consists of one of the more complicated compositions depicted in Mayan art. The more complicated compositions include three or more actors (here we have seven!) plus paraphernalia pertinent to the event. The artist has utilized the accompanying hieroglyphic text not only for recording the depicted scene, but also as a compositional device to segment the pictorial field. The ritualized food function of vessels in the past has now been superseded by the artistic, social and political use. Whimsical and dramatic, there are seven actors richly dressed in ceremonial garments. The hand positions have definite characteristics and their elbows are reaching upward, forward, high and low. These motions are carefully and intentionally depicted by the artist. We can assume it is a ritual dance. The artist has transcended the use of two-dimensional painting. There is a feeling of flesh and movement. Due to one's perception, the ritual dance may seem to "come alive" through the movements of the characters. One character has a bird mask on and the opposite has a jaguar mask on. The animals are symbolic of the cosmological beliefs that underlie the Mayan civilization. In mythology, animals can be sentient beings who possess speech, thought and supernatural powers. Through the use of the mask, the shaman or leader not only becomes the animal, he is the animal and thus possesses supernatural powers. This ritual most probably took place in the palace for the nobility to participate and the commoners to look on from a distance. We are drawn again and again to this magical composition, compelled to further enrich "the dance" of our own lives.   « Less

Mayan Royal Whistle - PF.3101, Origin: Mexico (Jaina), Circa: 600 AD to 900 AD, Dimensions: 5.5" (14.0cm) high x 5.25" (13.3cm) wide, Catalogue: V15, Collection:  More »

Mayan Royal Whistle - PF.3101, Origin: Mexico (Jaina), Circa: 600 AD to 900 AD, Dimensions: 5.5" (14.0cm) high x 5.25" (13.3cm) wide, Catalogue: V15, Collection: Pre-Columbian, Medium: Terracotta. When the lush green jungle drifted to sleep as the sun slowly closed its eye, the Mayans communicated with sound. Left without sight in the thick of darkness, the song of the whistle guided their way during great distances of fleet or fight. The tropical birds that flew in the sky and built nests in the jungle must have been a great source of inspiration for the Maya to create the whistle. The birds' beauty and song were considered sacred to the ancient Maya and their feathers were reserved only for the elite. The ancient man depicted on this whistle is wearing a feather headdress, which reveals his divine status and nobility. His broad forehead, monumental nose, "jaguar fang" teeth and high cheekbones are exemplary characteristics of the Maya divinity. Because the Maya culture was governed by fiercely conservative traditions, the physical appearance of the divinities as represented in Maya art remains remarkably consistent over one thousand years. Did the ritual songs of the whistle remain consistent, as well? We can only imagine. The black hair of the Mayans was dressed to accommodate a variety of headdresses such as the one shown on the whistle. Men of noble rank, such as the one depicted here, cut their bangs and side locks in a stepped pattern with the lock at the center of the forehead worn longer and often pulled through a jade or wooden ornament. A large jade bead necklace is worn around his neck and double jade bracelets encircle each wrist. Jade was exclusively worn by the aristocracy and symbolized fertility, abundance and power. Instead of the traditional intense look of a powerful ruler, this ruler has a joyful expression on his face, which makes this whistle exceptional. Symmetry and balance emphasized by the two snakes which follow the curve of his shoulders and hiss at the unseen audience along with the beauty mentioned above culminate into a grandiose masterpiece of symbolism and sacredness which remains unsurpassed by its contemporaries.   « Less

Basalt Sculpture of a Prisoner - PF.3114, Origin: Costa Rica, Circa: 500 AD to 1000 AD, Dimensions: 27" (68.6cm) high, Catalogue: V15, Collection: Pre-Columbian, Style:  More »

Basalt Sculpture of a Prisoner - PF.3114, Origin: Costa Rica, Circa: 500 AD to 1000 AD, Dimensions: 27" (68.6cm) high, Catalogue: V15, Collection: Pre-Columbian, Style: Atlantic Watershed, Medium: Basalt. This extraordinary basalt sculpture depicts a standing bound prisoner. Facing the front like a brave warrior captured during a battle, his bold face looks straight ahead as if he is trying to uphold his dignity. His arms are raised and bound at his wrists, and he wears an incised waistband, which indicates that he indeed is a man of status and honor. The figure is sculpted in a simple geometric manner with large incision lines, which define facial features and physical structures. This simplicity attributes the stone figure qualities such as a sense of physical presence and weight that are appropriate for the captured but honorable man. This depiction of a prisoner gives us a clue about the Ancient Costa Rican cultural practice. During this period in Costa Rica, people took trophy heads in battles for human sacrifice to please the gods and to maintain agricultural fertility. Because of the strong belief in human sacrifice pleasing the gods, conquests and wars became the fight to obtain victims for human sacrifice. The sacrificial subjects were to be impeccable--a person of status, power, and importance. As a warrior himself, he perhaps fought many battles but now he is the victim of a sacrificial ritual. This unique sculpture gives us clues of both sides of an ancient cultural practice. Sculpted in a bold manner, the sculpture does not cease to fascinate us.   « Less

Atlantic Watershed Jade Mace Head in the Form of a Monkey - PF.3137, Origin: Eastern Costa Rica, Circa: 100 AD to 500 AD, Dimensions: 3.75" (9.5cm) high x 2.5" (6.4cm) wide,  More »

Atlantic Watershed Jade Mace Head in the Form of a Monkey - PF.3137, Origin: Eastern Costa Rica, Circa: 100 AD to 500 AD, Dimensions: 3.75" (9.5cm) high x 2.5" (6.4cm) wide, Catalogue: V15, Collection: Pre-Columbian, Style: Atlantic Watershed, Medium: Jade. In addition to being rare and beautiful, jade is the toughest and most durable of stones. Since weapons and cutting tools of jade greatly excel those of other stones, they became symbols of authority and ceremony. In elaborate burials and offerings, a high proportion of the surviving objects are made of jade, seemingly an indication that the material itself had assumed mystical qualities. In Mesoamerica, the stones selected by ancient people were predominantly green, although they may not have been jadeite or nephrite. Here, we have before us a rare and beautiful lapidary work of a ruler who has, through transformation, become a monkey. By adorning a monkey mask and tail and perhaps by taking hallucinogenic drugs, the ruler transforms himself into a monkey and becomes a channel for the supernatural world to speak and act through him. Through this transformational process, the ruler is seen as a god; thus, confirming his status as ruler and elevating his earthly powers over the people and land to supernatural powers, as well. This magnificent work of art was used as a mace head that is apparent by the circular indentation on the side. The top of the monkey’s head may have held a magical potion for transformational usages or held a crown which has deteriorated. The ruler may have kept this at his side at all times reaffirming his supernatural powers and instilling fear and awe in the people he ruled. The realistic features of a monkey’s face combined with the subtlety of the rounded shoulders and body reveal the artist’s exemplary skills at lapidary work. This is an unforgettable masterpiece that reveals an era of Renaissance during the Ancient Costa Rican past.   « Less