| 介绍（英） | Central Mexican artists in the first millennium B.C. created stone objects in the form of yuguitos (small yokes, in Spanish) that likely served as parts of ceremonial belt assemblages. One of the finest known examples, this yuguito contains a human portrait in relief on one side. The face would have looked out at the viewers as the u-shaped stone was mounted over a thick cloth or leather waist belt, leaving the plain side towards the body of the wearer.
The delicately contoured face has deeply carved eyes which, like the roughly-pecked coiffure in shallow relief, may have once held inlays of other material. The figure’s lips slightly part as if to speak. Ears frame the face and large drillholes may have once been used to affix ear ornaments to the visage. An undulating line demarcating the chin echoes the wavy hairline above. Lightly incised lines descend from the temples and converge on the figure’s upper lip, perhaps representing tattooing or scarification.
The features of this portrait are consistent with Olmec style, epitomized by the colossal heads from Gulf Coast sites like San Lorenzo, La Venta, and Tres Zapotes. These stoic individuals are interpreted as leaders or ancestors. The yuguito form has been associated with ballplayer regalia based on later depictions of players, indicating that the figure may have been representing the ancestor of the player using the stone in play.
Further reading
American Federation of Arts. Primitive Art Masterworks: an exhibition jointly organized by the Museum of Primitive Art and the American Federation of Arts, New York. New York: American Federation of Arts, 1974, no. 3.
Benson, Elizabeth P., and Beatriz de la Fuente, eds. Olmec Art of Ancient Mexico. Washington, D.C.: National Gallery of Art, 1996.
Berrin, Kathleen, and Virginia M. Fields, eds. Olmec: Colossal Masterworks of Ancient Mexico. San Francisco: Fine Arts Museums of San Francisco, 2010.
Cheetham, David, and Jeffrey P. Blomster, eds. The Early Olmec and Mesoamerica: The Material Record. Cambridge: Cambridge University Press, 2017.
Clark, John E., and Michael Blake El origen de la civilización en Mesoamérica: Los Olmecas y Mokaya del Soconusco de Chiapas, Mexico. In El Preclásico o Formativo: Avances y perspectivas, Martha Carmona Macias, ed. Museo Nacional de Antropología, México City, 1989, pp. 385–403.
Clark, John E., and Michael Blake The Power of Prestige: Competitive Generosity and the Emergence of Rank Societies in Lowland Mesoamerica. In Factional Competition and Political Development in the New World, Elizabeth M. Brumfiel and John W. Fox, eds., Cambridge: Cambridge University Press, 1994, pp: 17– 30.
Clark, John E., and Mary Pye, eds. 2000 Olmec Art and Archaeology: Social Complexity in the Formative Period. Washington, D.C.: National Gallery of Art.
Coe, Michael D. The Jaguar’s Children: Pre-Classic Central Mexico. New York: Museum of Primitive Art, 1965.
Coe, Michael D. The Olmec Style and Its Distributions. In Handbook of Middle American Indians, vol. 3 (Robert Wauchope, gen. ed.). Austin: University of Texas Press, 1965, pp. 739–775
Coe, Michael D. (ed.) The Olmec World: Ritual and Rulership. Princeton: The Art Museum, Princeton University, 1996, 138, p. 239.
Coe, Michael D., and Richard A. Diehl 1980 In the Land of the Olmec: The Archaeology of San Lorenzo Tenochtitlán, 2 vols. Austin: University of Texas Press.
Covarrubias, Miguel Origen y desarrollo del estilo artístico “Olmeca.” In Mayas y Olmecas: Segunda reunión de Mesa Redonda sobre problemas antropológicos de México y Centro América. Mexico City: Talleres, 1942, pp. 46-49.
Cyphers Guillén, Ann From Stone to Symbols: Olmec Art in Social Context at San Lorenzo Tenochtitlán. In Social Patterns in Pre-Classic Mesoamerica (David C. Grove and Rosemary A. Joyce, eds.), Washington, D.C.: Dumbarton Oaks, 1999, pp. 155–181.
Drucker, Philip La Venta, Tabasco: A Study of Olmec Ceramics and Art. Smithsonian Institution, Bureau of American Ethnology, Bulletin 153. Washington, D.C.: Government Printing Office, 1952.
Drucker, Philip, Robert F. Heizer, And Robert J. Squier 1959 Excavations at La Venta, Tabasco, 1955. Smithsonian Institution, Bureau of American Ethnology, Bulletin 170. Washington, D.C.: Government Printing Office, 1959.
Easby, Elizabeth Kennedy, and John F. Scott Before Cortés: Sculpture of Middle America. New York: Metropolitan Museum of Art, 1970, no. 48.
Feuchtwanger, Franz Ceramica olmeca. Mexico City: Editorial Patria, 1989.
Grove, David C. Olmec: What’s in a Name? In Regional Perspectives on the Olmec (Robert J. Sharer and David C. Grove, eds.): Cambridge: Cambridge University Press, 1989, pp. 8-14.
Jones, Julie, and Susan Mullin Vogel. Notable Acquisitions (Metropolitan Museum of Art) (1965–75), pp. 171–83.
Joralemon, Peter David A Study of Olmec Iconography. Studies in Pre-Columbian Art and Archaeology 7. Washington, D.C.: Dumbarton Oaks, 1971.
Magaloni Kerpel, Diana, and Laura Filloy Nadal La Ofrende 4 de La Venta: un tesoro olmeca reunido en el Museo Nacional de Antropología. Mexico City: Instituto Nacional de Antropología e Historia, 2013.
Michelet, Dominique, Cora Falero Ruiz, and Steve Bourget Les Olmèques et les cultures du golfe du Mexique. Paris: Skira, 2020.
Newton, Douglas. Masterpieces of Primitive Art: The Nelson A. Rockefeller Collection. New York: Alfred A. Knopf, 1978, p. 56.
Pool, Christopher A. Olmec Archaeology and Early Mesoamerica. New York: Cambridge University Press, 2007.
Reilly, Frank Kent, III The Shaman in Transformation Pose: A Study of the Theme of Rulership in Olmec Art. Record of the Art Museum, Princeton University vol. 48 no. 2, 1989, pp. 4–21.
Taube, Karl A. Olmec Art at Dumbarton Oaks. Washington, D.C.: Dumbarton Oaks, 2004.
The Metropolitan Museum of Art. Art of Oceania, Africa, and the Americas from the Museum of Primitive Art. New York: The Metropolitan Museum of Art, 1969, no. 561. |