Abstract

The general consensus amongst scholars is that anthropomorphic and zoomorphic Formative art, usually associated with the Olmecs but extending to post-Columbian civilisations, are depictions of humans and/or jaguars known as were-jaguars (De La Fuente 2000: 258). More recently, there has been discussion concerning what is actually being depicted through this Mesoamerican art form. In this paper, I will argue that the art form is much more complex than first anticipated with motifs of different deities amalgamated into one depiction, thereby extolling ceremonial influence to other animals worshipped in a religion based on animism, whilst also looking critically at some anthropomorphic images of the jaguar.

Highlights

  • Upon entering the Mexico gallery at the British Museum, it occurred to me that the Museum was endorsing a particular view of Olmec art history; a view that is quite contentious since the issue surrounding the genre of the type of art in question has not yet been settled

  • It should be noted that the motifs and characteristics of Mesoamerican art are stylised and interpretations are often derived culturally through artistic traditions

  • The assemblage of jaguar symbolism is not really known, since it is possible that those pieces previously identified as jaguar may be something else (e.g. Maize imagery, see Taube 2000, or Saurian/ crocodilian imagery, see Joralemon 1976)

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Summary

Introduction

Upon entering the Mexico gallery at the British Museum, it occurred to me that the Museum was endorsing a particular view of Olmec art history; a view that is quite contentious since the issue surrounding the genre of the type of art in question has not yet been settled. It should be noted that the motifs and characteristics of Mesoamerican art are stylised and interpretations are often derived culturally through artistic traditions.

Results
Conclusion

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