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The Olmecs are generally considered to be the
ultimate ancestor of all subsequent
Mesoamerican civilizations. Thriving between
about 1200 and 400 BC, their base was the
tropical lowlands of south central Mexico, an
area characterized by swamps punctuated by low
hill ridges and volcanoes. Here the Olmecs
practiced advanced farming techniques and
constructed permanent settlements, including
San Lorenzo Tenochtitlán, La Venta, Tres
Zapotes, Laguna de los Cerros, and La Mojarra.
However, the consolidation of their city-states
led to notable cultural influence far beyond their
heartland, and throughout the Mesoamerican
region. This was confirmed in 2005 with the use
of NAA (Neutron Activation Analysis) and
petrography to demonstrate the spread of Olmec
ceramic vessels. It would appear that the Olmec
style became synonymous with elite status in
other (predominantly highland) groups, with
evidence for exchange of artifacts in both
directions. A non-literate group, the Olmecs
nevertheless paved the way for the development
of writing systems in the loosely defined Epi-
Olmec period (c. 500 BC). Further innovations
include arguably the first use of the zero, so
instrumental in the Maya long count vigesimal
calendrical system. They also appear to have
been the originators of the famous
Mesoamerican ballgame so prevalent among later
cultures in the region, and either retained or
invented several religious symbols such as the
feathered serpent and the rain spirit, which
persisted in subsequent and related cultures
until the middle ages.
Comparatively little is known of their magico-
religious world, although the clues that we have
are tantalizing. The art forms for which the
Olmecs are best known, the monumental stone
heads weighing up to forty tons, are generally
assumed to pertain to some form of kingly leader
or possibly an ancestor. The smaller jade figures
and celts are believed to be domestically or
institutionally based totems or divinities. The
quality of production is astonishing, particularly
if one considers the technology available for
production, the early date of the pieces, and the
dearth of earlier works upon which the Olmec
sculptors could draw. Some pieces are highly
stylized, while others demonstrate striking
naturalism with interpretation of some facial
features (notably down-turned mouths and slit
eyes).
This highly stylized sculpture depicts a duck with
its head turned backwards. The elongate bill
extends over the length of the body and rests
upon the back rump.
- (CK.0124)
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