El Arenal Brown Style Jalisco Terracotta Sculpture of a Standing Man - PF.3368, Origin: Jalisco, Mexico, Circa: 300 BC to 300 AD, Dimensions: 15.75" (40.0cm) high x 8.25"  More »

El Arenal Brown Style Jalisco Terracotta Sculpture of a Standing Man - PF.3368, Origin: Jalisco, Mexico, Circa: 300 BC to 300 AD, Dimensions: 15.75" (40.0cm) high x 8.25" (21.0cm) wide, Collection: Pre-Columbian, Style: El Arenal Brown, Medium: Terracotta.   « Less

Mayan Effigy Vessel - PF.3423, Origin: Guatemala, Circa: 500 AD to 800 AD, Dimensions: 5.5" (14.0cm) high x 6" (15.2cm) wide, Catalogue: V20, Collection: Pre-Columbian,  More »

Mayan Effigy Vessel - PF.3423, Origin: Guatemala, Circa: 500 AD to 800 AD, Dimensions: 5.5" (14.0cm) high x 6" (15.2cm) wide, Catalogue: V20, Collection: Pre-Columbian, Style: Mayan, Medium: Terracotta. The summit of the classical age in Ancient Meso- America was reached by the Maya in their great temple cities. In those temple cities, great artistic expressions such as murals and sculptures flourished. It is during this classical period in which artists refined their skills to represent the human form. Mayan figures very well depict the distinct Mayan physical characteristics such as the high cheekbones, fleshy and hooked nose, heavy lidded eyes, and drooping lower lips. This remarkably sculpted Mayan face displays such attributes. The effigy vessel is a depiction of an old man's face, possibly a representation of a deity. The high cheekbones and hollowness of the sunken cheeks are emphasized to show age and wisdom. Moreover, the fleshy nose and the protruding lower lip add dramatic feelings to the face. As to symbolize years of experience and acquired wisdom, stylized wrinkles give sculptural form to the otherwise flat skin. Wearing a pair of earspools, this elder man appears to hold wisdom and knowledge that only time and experience can bring. Whether he is a deity or a respected dignitary in the Mayan society, his dignity and honorable essence comes through strongly. Looking at this sculpted image is like looking into the face of an Ancient Mayan who perhaps participated in rituals and ceremonies in great temple cities.   « Less

Basalt Metate in the Form of a Bird - PF.3442, Origin: Costa Rica, Circa: 500 AD to 1000 AD, Dimensions: 22" (55.9cm) high, Catalogue: V18, Collection: Pre-Columbian, Medium:  More »

Basalt Metate in the Form of a Bird - PF.3442, Origin: Costa Rica, Circa: 500 AD to 1000 AD, Dimensions: 22" (55.9cm) high, Catalogue: V18, Collection: Pre-Columbian, Medium: Basalt.   « Less

Fertility Basalt Standing Female Figure - PF.3444, Origin: Costa Rica, Circa: 500 AD to 100 AD, Dimensions: 36" (91.4cm) high, Catalogue: V18, Collection: Pre-Columbian,  More »

Fertility Basalt Standing Female Figure - PF.3444, Origin: Costa Rica, Circa: 500 AD to 100 AD, Dimensions: 36" (91.4cm) high, Catalogue: V18, Collection: Pre-Columbian, Medium: Basalt. This fertility Goddess is an extremely important acquisition, in that it shows a culture's ideals throughout the Pre-Columbian era. This culture revered the jaguar, an animal of power and prestige, which is reflected onto the statue of this fertility Goddess. Her physical features, and her headdress display the high regard this culture felt for women, thus producing a stone sculpture to worship the womanly goddess. The headdress she wears displays the love of jaguars, and symbolic ideals of the quality of power and prominence jaguars and women both hold. The headdress reflects an Old-World Egyptian headdress that gods and pharaohs wore; thus Pre-Columbian culture took the ancient ideal of power and lead us thousands of years later to make connections between power in Egypt and power in Central America. The figure keeps her eyes closed as a nondiscriminatory way of letting all women take part in worshipping her. The artist's choice to keep the figure's eyes closed is a remarkable decision that suggests symbolic thinking, because it implies that she does not need to see those that worship her, rather the importance lies in all that look upon her. Her figure is sculpted from carefully formed geometric shapes, which reflect the ideals in this society that the circle is a cycle of life and death that is eternal. The completeness of form shows a perfect ness in the woman, which is a perfect artistic choice in depicting fertility. The curvilinear woman shows society has a flow and rhythm to the nature surrounding it. The culture's ideals are reflected in this breathtaking statue. The headdress reflects past cultures and continues into the future to show symbolic power. The sculpted geometric forms show unity and a complete life. The power of this statue lies in the symmetrical composition the form, and in the everlasting ideals of this culture.   « Less

Olmec Stone Sculpture of a Feline - PF.3447, Origin: Mexico, Circa: 900 BC to 500 BC, Dimensions: 1.5" (3.8cm) high, Collection: Pre-Columbian, Style: Olmec, Medium: Stone.  More »

Olmec Stone Sculpture of a Feline - PF.3447, Origin: Mexico, Circa: 900 BC to 500 BC, Dimensions: 1.5" (3.8cm) high, Collection: Pre-Columbian, Style: Olmec, Medium: Stone. The Olmec civilization is the most Ancient Mexican civilization, often considered as the "Mother Civilization" of the new world. The Olmecs were carvers of stone, from gigantic colossal heads, stelae, altars, jade Celts figurines, to pendants. Many of Olmec sculptures, such as this jaguar figure, had special meanings. Believing in the legend of were-jaguar baby, they carved numerous images of jaguar babies and infant images. This image of a jaguar is carved of a light green stone and it is polished to achieve a smooth surface texture. The feline is in a sitting or a kneeling position, with very minimal indication of the limbs. Perhaps the artist of this marvelous sculpture carved the animal to preserve the shape of the natural stone. The face is carved with soft, almost lyrical quality--the curving eyebrow lines swiftly move up to the head and the intricate mouth is lightly open to reveal the teeth. The small nose is realistic, with even the nostrils indicated. Its body is elongated in a narrow shape, and the top of the body has an oval indentation, which suggests that this sculpture had a special function. Could it have been an amulet? Or did it support or hold a magical substance in rituals? Although we may not know the exact function of this sculpture, we know that it was kept and treated as a precious item. The jaguar was one of the most revered animals and was worshipped as a God in Ancient Meso-America. As jaguars roamed and ruled the wild jungle, Meso-Americans recognized such power and prowess of jaguars and worshiped them. As we look into the stone sculpture, we can almost feel the gentle hands of the artist who so lovingly carved the beautiful, intricate jaguar.   « Less

Guanacaste-Nicoya Blackware Trophy Head - PF.3542, Origin: Guanacaste, Nicoya, Costa Rica, Circa: 300 AD to 500 AD, Dimensions: 9" (22.9cm) high, Catalogue: V18, Collection:  More »

Guanacaste-Nicoya Blackware Trophy Head - PF.3542, Origin: Guanacaste, Nicoya, Costa Rica, Circa: 300 AD to 500 AD, Dimensions: 9" (22.9cm) high, Catalogue: V18, Collection: Pre-Columbian, Style: Guanacaste-Nicoya, Medium: Terracotta. This pedestal effigy vessel dramatically depicts a human head. The sculptural rendition of the face is stunning, with meticulously incised patterns and marks accentuating the facial features. The facial expression generates a sense of power and aggression, like that of a warrior or a warrior- priest. The large bulging eyes are open wide and the protruding mouth reveals clenched teeth as if the person is intimidating someone. The nose is small but intricately sculpted to show details and the incised patterns representing facial scarification decorate the forehead, chin, and cheeks. The cheeks are enhanced with shapes that resemble sections of a stylized sun, further aiding in establishing the high status of the individual. Wearing an elaborate headdress and earspools, this sculpture most likely represent a person of high social status. Perhaps the vessel is a funerary sculpture representing the deceased. Or perhaps it was created to honor a warrior in a ritual. Because of the esoteric tribal culture of Ancient Costa Rican people, most of such details are unknown. We as modern viewers, however, can still appreciate the great artistic craftsmanship and dedicatory beliefs this vessel represents.   « Less

Atlantic Watershed Basalt Metate - PF.3550, Origin: Eastern Coast of Costa Rica, Circa: 100 AD to 500 AD, Dimensions: 13.5" (34.3cm) high x 24.5" (62.2cm) wide, Collection:  More »

Atlantic Watershed Basalt Metate - PF.3550, Origin: Eastern Coast of Costa Rica, Circa: 100 AD to 500 AD, Dimensions: 13.5" (34.3cm) high x 24.5" (62.2cm) wide, Collection: Pre-Columbian, Style: Atlantic Watershed, Medium: Basalt. The flying-panel metates of late period IV, are among the finest examples of stone carving in the central highlands of the Atlantic watershed zone. A raised-rim metate plate, usually in the shape of a square or a rectangle, is perched upon a veritable panoply of zoomorphic deity images. The delicate openwork on these large sculptures was accomplished with only stone and organic tools plus abrasive. These metates were probably used to process special foodstuffs and /or drugs in ritual contexts, and many may have been made as mortuary furniture. This flying- panel metate is sculpted with flat top slate with tripod supports that are decorated with complex imagery. On each support, a bird (possibly a harpy eagle) with a large beak sits on a small, crouching human figure. This image possibly represents the sacrificial victims required by the bird. Beneath the slate stands a man wearing a jaguar mask and a decorated waistband, further establishing reference to sacrificial rituals. And to complete the elaborate enhancement, stylized notches line the exterior rim of the metate plate. Skillfully carved with complex symbolic imageries, the flying-panel metate is as precious and beautiful as it was more than a thousand years ago.   « Less

Galo Polychrome Male Shaman Figure - PF.3573, Origin: Costa Rica, Circa: 500 AD to 1000 AD, Dimensions: 8" (20.3cm) high, Collection: Pre-Columbian, Style: Galo Polychrome,  More »

Galo Polychrome Male Shaman Figure - PF.3573, Origin: Costa Rica, Circa: 500 AD to 1000 AD, Dimensions: 8" (20.3cm) high, Collection: Pre-Columbian, Style: Galo Polychrome, Medium: Terracotta. This male shaman figure comes from the Guanacaste-Nicoya polychrome tradition, the Galo polychrome style. Its mirror-bright burnished surfaces are technically unsurpassed by any Pre-Columbian pottery, and yellows, reds, oranges, creams, maroons, and blacks of the polychrome decorations are impressively vivid. Among such sculptures are the full human figures with elaborate representations of tattoos or body paint. Such brilliant polychrome tradition represent an important social dimension; when the northern trade network that brought jade, slate-backed pyrite mirrors, foreign ceramics, and other luxury goods, the Nicoyans responded by producing their own special purpose pottery. Inspired by northern models, it also incorporated local and southern elements, forming a dazzling hybrid style that was traded around Central America and southern Meso-America in the centuries to come. This unique male figure is a portrayal of a person born with a physical disorder that restricts the use of his legs. His strong arms and hands that support his upper body help him to travel, and extremely small legs are depicted to indicate the physical limitation. This figure, however, is elaborately decorated with complex patterns and colors. Wearing a headdress and earspools, his shoulders and cheeks are enhanced with sun disk like shapes and his eyes are painted black. The mouth is open to reveal teeth in detail. In Ancient Meso-America, people born with physical disorder, such as hunchbacks, were considered to possess special powers and were chosen as shamans. They played a crucial role in rituals and ceremonies, executing magical performances. A fine example of Galo polychrome figures, the figure provides a wealth of ethnographic detail.   « Less

Guanacaste-Nicoya Blackware Sculpture of a Jaguar with a Bowl on its Back - PF.3582, Origin: Guanacaste, Nicoya, Costa Rica, Circa: 500 AD to 1000 AD, Dimensions: 11"  More »

Guanacaste-Nicoya Blackware Sculpture of a Jaguar with a Bowl on its Back - PF.3582, Origin: Guanacaste, Nicoya, Costa Rica, Circa: 500 AD to 1000 AD, Dimensions: 11" (27.9cm) high, Catalogue: V16, Collection: Pre-Columbian, Style: Guanacaste-Nicoya, Medium: Terracotta. This realistic depiction of a jaguar is stunning and impressionable, with its symbolic reference and artistic quality. Sculpted in a dark color, its body and face are rendered with expressionistic, bold fashion. The large incision marks are fluid and bold, depicting the facial features, the hair, and the details on the tail. The feet of the jaguar are exceptionally large, supporting the body on which a vessel is placed. The open mouth showing large, lethal fangs and the wide-open eyes suggest aggressive power and force. As we look into the face of the jaguar, we are taken by the dramatic expression; the hollow mouth that leads into the dark interior creating a mysterious sense of the unknown. The vessel, on both inner and outer surface, is also enhanced with fine, decorative incision lines in various patterns. Jaguars were revered beings in Meso-America, often considered as one of the most powerful gods. Perhaps ancient people of Costa Rica realized the strength and agility of jaguars in nature, in which humans were often vulnerable. Because of such reasons, jaguars were worshiped and represented as deities. Such beautiful, skillfully sculpted effigy vessel was most likely used in rituals or ceremonies. This ancient sculpture still proves to be a magnificent, valuable artwork to the modern viewers.   « Less

Galo Polychrome Female Figure Giving Birth - PF.3594, Origin: Costa Rica, Circa: 500 AD to 1000 AD, Dimensions: 8.5" (21.6cm) high, Catalogue: V16, Collection: Pre-Columbian,  More »

Galo Polychrome Female Figure Giving Birth - PF.3594, Origin: Costa Rica, Circa: 500 AD to 1000 AD, Dimensions: 8.5" (21.6cm) high, Catalogue: V16, Collection: Pre-Columbian, Medium: Terracotta. This seated female figure in a birthing position comes from the Guanacaste-Nicoya polychrome tradition, the Galo polychrome style. Its mirror- bright burnished surfaces are technically unsurpassed by any Pre-Columbian pottery, and yellows, reds, oranges, creams, maroons, and blacks of the polychrome decorations are impressively vivid. Among such sculptures are the full human figures with elaborate representations of tattoos or body paint. Such brilliant polychrome tradition represent an important social dimension; when the northern trade network that brought jade, slate-backed pyrite mirrors, foreign ceramics, and other luxury goods, the Nicoyans responded by producing their own special purpose pottery. Inspired by northern models, it also incorporated local and southern elements, forming a dazzling hybrid style that was traded around Central America and southern Meso-America in the centuries to come. Elaborately decorated with colors and patterns, this sculpted female is a dramatic and honest depiction of fertility and life. Like a beautiful mother-goddess, she encompasses the cherished idea of birth, life, and fecundity. A fine example of Galo polychrome figures, she provides a wealth of ethnographic detail because of the realistic style. Her flat coiffure, earspools, and body painting or tattooing are all vividly shown. Moreover, the decorative painting around her bellybutton accentuates the sculptural quality and fertility. Her open eyes and mouth clearly shows pain of giving birth, the process that produces life. Seated in a birthing position, her maternal beauty is undeniable.   « Less