Professional Documents
Culture Documents
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174
Susanna M.
Ekholm
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Maya his-
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In general, the mafor Lagartero ffgurine complex lIigs. 10-2-10-4) fits
it is on the side of the figurine rather than a third footlike extension at the back.
is present
The heads are mold-made in two pieces, front and back. Decoration,
such as turbanlike rolls of cloth, conical hats, earspools, and plumes,
are usually added afte molding. Heavy appendages were stuck part
way between the two halves of the head before they were ioined to
give extra support.
The largest group of heads {Fig. l0-2a-c), about fffty, have stepped
hairdos and turban headdresses. More than half have a row of raised
dots down the forehead; these correspond to dots down the forehead
and nose of painted flgures on the polychrome pottery. Others have
a pinch of ciay on the nose and another on the forehead. Three have
nose plugs; one has filed teeth.
-$., A small group (Fig. 10-29) of about ten examples have a smile showlng teeth and center-parted hair.
The second-largest group of heads ifig. 10-2d-f, i), about thirty examples, have appliqu strips of hair framing the faces. This group includes moe expressions, especially grimaces. Teatment of the forehead is similar to that of the other group.
A fourth and large group (about thirty) look much like the first $oup
except that the turbans and the earspools are included in the mold,
as are hairdos on the backs {Iig. 10-2j). Only the tassels on the earspools were added later.
Iifteen heads wear open-mouthed monster mask headdresses (Fig.
10-2h) that were common throughout the Maya area in Tepeu times.
The headdresses vary from compietely mold-made to completely
modeied and there are combinations of the two.
Small varieties of mold-made heads include those with closed eyes,
sunl<en features, and many others.
Most impressive of the figurine bodies are the seated cross-legged
female figurines with their powerful, commanding appearance {Iig.
10-3). The varieties into which I have tentatively divided them are
based on costume and gesture.
The variety of seated women that is most common (at least forty
examples and at least twelve are from the same mold) shows them
with their hands on their knees {Iig. 10-3a}. They wear longhuipils,
probably of cotton gauze, indicated by the many smali punctuations.
{It should be noted that we found quite a few garze fabric impressions in the clay they occur in both plain and basket weave.) On
the front and back is the same decoration: a long-nose monster mask
with a Chuen-like glyph in its headdress. Across the ffgure's chest
and extending to each shoulder is a water lily. Outstanding is the
band of fuIl-face glyphs around the neck of the huipil. The ffgures
also wear heavy necklaces with efrgy face pendants.
175
The Lagartero
Figurines
177
The Lagarterc
Figuines
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179
The Lago.rtero
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184
Susanna M.
181
The Lagarterc
Ekholm
Figwines
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182
Susanna
Ekholm
183
The Lagartero
Figuines
of the two.
The thid variety of women with their hands on their knees wear
short jackets or shawls just covering both breasts (IiS. 10-3d). The
two examples, quite small figures, were probably both whistles.
Seated women are often shown gesturing elegantly. About twentyfour raise their right hands, the fingers curved {Fig. 10-3e). Nineteen
of these wear elaborately decorated shawls like rubozos. Thee othrs
wear their shawls closed with the comers hanging in points and the
.hu"rpil showing below. One, raising her le{t hand has a band of gl1phs
around the neck of her short huipil that is decorated front and back
with a monster mask with half-closed eyes. Several wear unusual garments that cover only one breast.
Seated women are also shown gesturing with the left hand palm
outward and fingers extended (Fig. 10-3f). Four of tese wear a shawl
over a p14n, longhuipil or shawl decorated with circles; these latter
ae distinctive, however, in that the heads ae molded with the bodies
-even the earspools and hairdos are molded (Fig. 10-2i).
Other positions cannot yet be described. Thee women with iacketlike garments seem to hoid both hands at the waist. Iour fragments
with glyph bands at the neck wear unusual pendants with almost
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glyphlike faces.
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seated male figurines (Fig. 10-4a-e) are of the same type. They
are recognizable by their distinctive garments and their less shapely
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bodies. They sit in a slightly difierent position with their feet protruding in front.
The most common man's garment is a short toga or shawllike cloth
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tied on the left shoulder {about forty) or the right shoulder (about
eleven) and passing below the other arm. The designs on these togas
and the shape of their edges vary.Ten have a glyph band at the top
edge (although these "glyphs" are'much more cursive than the ones
on the women's gamcents) and a monster mask on the front and back
the men wear a breechclout that is seen passing between their legs
on the molded bases; their right arms are raised across thefu chests
(Fig. 10-4a). A similar toga but with a'squared edge and no glyphs is
worn by thirty men who raise their left hands across their chests (Fig,
10-4b). Eleven have togas with monster masks in cartouches; they
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FIGURE
clout that leaves the buttocks naked. In all cases the men sit with
both arms encased by the garment. Although the position looks uncomfortablg the figures, with such elaborately decorated clothes, do
not seem to be bound prisoners. There appear to be examples of "front
capes" (Mahler ).965:590-591) and seem to refute Mahler's suggestion
that the representations of thee on pottery and in the codices may
be side views of a rounded front cloak. Fifteen have monster mask
designs on their belts and fringed skirts below. Ten wear triangular
garments/ some with circle designs, others with monsters.
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184
Susanna
El,Jtolm
Three seateti men wear fringed jackets, like the Aztec xicolli,
with
10-4eJ.
Seven seated males are shown gesturing (Iig. l0-4c). They wear what
is probably a deerskin tied behind so that it hangs ofi the shoulders
and covers the figure,s front, with the white tail flipped ove to make
quexquemitls.
There ae no comparable standing mold-made male figurines. All
standing males are possibly shamanlike and may be shown in an act
of ritual transformation into an animal. About ten plain ones wear
only a breechcloug but they have tails. Others, about fifteen, wear
skins or nets and are often grotesquely fat-bellied {Fig. 1O-ag).
Much of the originai paint-blue, red and white-remains on the
ffgurines.
By the nature of the baswero, with its lacl< of stratigraphy and its
homogenous contents, I feel that the refuse in it was deposited within
a fairly short time, perhaps even within a single season. Whether it
refers to ceemonies that took place on the platforms or was brought
in fom another part of the ceremonial center we do not know. All of
the figurines (and other artifactsJ were probably being used at the same
185
The Lagarterc
Figuilnes
time.
It also seems. likely that the figurines wee manufact\red at LaE r'
tero. The pastes are all generally similar. Included in the refuse were
about twenty figurine molds. There are many pairs and groups of figurines made in the same mold.
One of the extraordinary facts about the polychrome pottery from
the basurero is that only about 5 percent of the vesseis do not bear
giyphs. O{ those that do, 90 percent bear only a Chuen-like glyph
with various affixes. That is the same glyph as the one shown on the
huipils o the main group of seated female figurines, and the glyph
may be associatd especially with Lagartero or its ceremonies.
. The elaborate cosumes on the Lagartero ffgurines will merit special
attention. Apparently shown are cotton garments with various types
of decoration (embroidery, brocadg appliqu, and paint), and the garments are of many types. They incate a $eat textile uaft specializa'
tion and will be stued to identify gatments and make comparisons
with ethnographic costume and costume shown on Maya stelae and
other figurines (Walter F. Morris, fr., work in preparation). Apparently
the Lagartero figurine sculptors took the license of not showing drapery as that wouid distort the essentiai thing the designs on the
.
fabics.
186
Susanna M.
Ekholm
Hamburg, that was purch ased in 1926 and comes from Aguacatan, near
Huehuetenango it could be frona the same mold as oui male figures
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The preponderance of female figurines is intrigng. This ffgurine
complex is intimately associated with the polychrome pottery complex with its extensive fi.gure painting. But only males seem to be
more im-
portant role.
We have the tantalizing suggestion tat this collection of figurines
with such a narow range of activities shown may represent a small
numbe of individual roles pertaining to a parricular ritual or group
of rituals such as an end-of-cycie ceremony. The few por.r *d g.rtures may also refer to slight variation of class or social status. We
left with the hope of being able to reconstruct in some wy some
,are
highly f ormali zed. rrt:ual.
Ethnohistoric Approaches