The history of Mesoamerica has often been told and retold in a variety of mediums and forums concerned primarily with the development of the region from its sprawling civilizations, to the assemblage of nations that characterizes it today. Its rich culture, manifested through its structures, calendrical records, and sports, may be seen as concrete proof of a civilization thriving in the lush tropical landscape of Central America. Mesoamerican art, in this regard, serves a twofold function in the pursuit of preserving its cultural heritage. Firstly, it manages to record the beliefs, value systems, and concerns of the Mesoamerican people at the time. Secondly, it showcases the aesthetic sensibilities of the Mesoamerican people, especially during the pre-Classical era. In this regard, formalist analysis may shed light on the nuances of Mesoamerican sculpture and ceramic art in that the aesthetic sensibilities of the Mesoamerican people may also be analyzed. Doing so permits the contemporary scholar to delve into the deeper meanings of their beliefs and real-world observations, as manifested in their humanistic representations of gods and goddesses.
The first piece to be examined is a sculpture of Cocijo, the ancient god and deity of water, rain, and lighting, also he is also very closely associated with the “god” of maize, and wears a similar mask and, at times, the headdress of this “god”. The piece is primarily made of ceramic, and is cylindrical in shape, although highly detailed to the point of depicting the god’s fingernails, eyebrows, and teeth. The eyebrows, in fact, are crenelated; the lower lids are indented and squared off, while volutes extend downwards and encircle the mouth. The nose is pug-like, and resembles that of an upturned pig’s snout, giving off a comical if not generally humorous particularization of the mask. The teeth appear as human-like buckteeth, rather than threatening fangs or animalistic incisors. Characteristic of other representations of Cocijo, the tongue is bifurcated, and extends downward from the open jaws. The ears of the figure are also notable, as they may be seen as circular plugs with circular insets that adorn the ears. At first glance, the figure of and expression of Cocijo does not strike one as intimidating or “god-like”. However, the posture and garb of the figure evokes a sense of power and of fearsome meditation. The headdress that adorns the figure is massive, and occupies almost a third of the figure itself. The garb that adorns Cocijo also exemplifies an air of simplicity, although in large part creates a sense of foreboding through the enormous amulet worn by the figure. Finally, the contemplative stance of the figure, strikes the observer as fearsome in its own right. These aspects of the Cocijo sculpture makes for an interesting study on the significance of figurative body language in during the pre-Classical era of Mesoamerica.
The second piece to be examined from a formalistic standpoint are two selections of the many clay figurines found in the coastal region of Guerrero. Made by hand and devoid of molds and other instruments, the figurines are generally believed to be related to other figurines in other parts of Mesoamerica. At first examination, the figurines are, indeed, distinctive of the Mesoamerican representation of the human form.
Made out of clay, the artists that created these two figurines relied on their bare hands to craft the intricate human forms that appear on the pieces. It is important, however, that the figurines do not lack in detail despite the lack of molds to create them. The woman figurine, for example, is dotted with anatomically-correct locations for navels, ear piercings, nipples, eyes, and the mouth. Moreover, the headdress that she wears is intricately carved even to the ridges on the side of her head. The lines and grooves that permeate the neck and thighs are also notable in that they signify an attention to physical detail that most probably indicates social structure and class. To be sure, the figures depicted in clay here are more stylized than naturalistic, in that their features do not closely and accurately resemble real world representation, but nonetheless reflect their social and economic status and gender differences. This concern with detail that mostly involves the status of a particular individual signifies the particular concern of the Mesoamerican people in social stratification and gender roles.
Works Cited
David Webster and Susan Toby Evans, Mesoamerican Civilization. Pennsylvania: PSU Press, 2010. P. 605.
Caso, Alfonso and Bernal, Ignacio. Urnas de Oaxaca. (Mexico: Mexico Instituto Nacional de Antropologia e Historia, 1952), 18-19.
