Throughout the world there are cultures that surprise us with their originality. Many of them emerge isolated, without a clear link to their neighbors, which generates an enigmatic material culture. In addition, some of these cultures settled in territories that are currently difficult to access, either because of their topography or because of the sociopolitical conditions prevailing in the area.
All of these characteristics are found in the art of the Mezcala tradition. There are still many unknowns about their ethnic identity, their links with other groups, or more precise aspects of their worldview. We know that it was mostly developed in the current state of Guerrero, which, due to the social circumstances of the last decades in this state, have prevented a deeper and more meticulous work on this tradition. One thing we know that helps us to identify its pieces: the great mastery in the work of stone and the abstraction of it works.
In the case of piece 954 of the Amparo Museum collection, it corresponds to a tripod cup. It has three quadrangular s. The walls of the cup are straight, it has a straight basal flange that is only found in the area of the s and a straight flange can be distinguished. The mouth of the piece is circular and has a flat edge. The bottom of the piece is concave, while the base is straight.
The lid is the most striking section of the piece. Despite its simple circular base, it has a solid horizontal handle with incisions on the outside, creating the sensation of a serrated or scalloped finish. In the central part is a standing figure with legs apart, arms extended horizontally to the sides, and forearms flexed 90 degrees upward, while the head is quadrangular, although it is worn to acquire a spherical shape. The anthropomorphic figure makes with the handle at three points: at the top of the head, and at the ends of the forearms. Meanwhile, the soles of the pieces merge with the base of the lid.
The head has schematically marked features. A pronounced line simulates the eyes. A horizontal line worn further down generates the nose, while a few millimeters further down a new horizontal line is worn to create the mouth.
The body is distinguished by a striking geometric abstraction. The torso and legs create a triangle. The arms are straight, creating 90-degree angles at the ends. A horizontal line delineates the abdomen from the legs and is worn flat, thighs and forelegs. If we look at this figure, the identity of the animal is immediately revealed. It has a profuse belly and its chin and forehead stand out, while its nose is smaller than expected. In case doubts prevail, the back of the piece projects a long tail that starts from the lower back and with a slight curve reaches the left end of the lid.
In pre-Hispanic cultures, monkeys were linked to the first creations. Among the Nahua it was thought that in the sun of nahui ehecatl (4 wind) humanity had been destroyed by a strong wind and some few people had saved themselves by fleeing to the trees and had become monkeys. It was also common to associate this animal with artists and artisans. It is most commonly found in Mayan vessels. The presence of this animal in the tradition of the cultures of Guerrero is striking, especially if we the arid territory that is usually associated with the region. However, we know that the spider monkey currently has a small presence in the center of the State, a population that must have been even more important in the past. Despite this, the lack of data prevents us from affirming what meaning the monkeys acquired in these cultures and even less the obvious links they had with other regions. However, the vessel becomes a reminder of how fruitful it will be to seek these answers and of the great surprises we can find.
Throughout the world there are cultures that surprise us with their originality. Many of them emerge isolated, without a clear link to their neighbors, which generates an enigmatic material culture. In addition, some of these cultures settled in territories that are currently difficult to access, either because of their topography or because of the sociopolitical conditions prevailing in the area.
All of these characteristics are found in the art of the Mezcala tradition. There are still many unknowns about their ethnic identity, their links with other groups, or more precise aspects of their worldview. We know that it was mostly developed in the current state of Guerrero, which, due to the social circumstances of the last decades in this state, have prevented a deeper and more meticulous work on this tradition. One thing we know that helps us to identify its pieces: the great mastery in the work of stone and the abstraction of it works.
In the case of piece 954 of the Amparo Museum collection, it corresponds to a tripod cup. It has three quadrangular s. The walls of the cup are straight, it has a straight basal flange that is only found in the area of the s and a straight flange can be distinguished. The mouth of the piece is circular and has a flat edge. The bottom of the piece is concave, while the base is straight.
The lid is the most striking section of the piece. Despite its simple circular base, it has a solid horizontal handle with incisions on the outside, creating the sensation of a serrated or scalloped finish. In the central part is a standing figure with legs apart, arms extended horizontally to the sides, and forearms flexed 90 degrees upward, while the head is quadrangular, although it is worn to acquire a spherical shape. The anthropomorphic figure makes with the handle at three points: at the top of the head, and at the ends of the forearms. Meanwhile, the soles of the pieces merge with the base of the lid.
The head has schematically marked features. A pronounced line simulates the eyes. A horizontal line worn further down generates the nose, while a few millimeters further down a new horizontal line is worn to create the mouth.
The body is distinguished by a striking geometric abstraction. The torso and legs create a triangle. The arms are straight, creating 90-degree angles at the ends. A horizontal line delineates the abdomen from the legs and is worn flat, thighs and forelegs. If we look at this figure, the identity of the animal is immediately revealed. It has a profuse belly and its chin and forehead stand out, while its nose is smaller than expected. In case doubts prevail, the back of the piece projects a long tail that starts from the lower back and with a slight curve reaches the left end of the lid.
In pre-Hispanic cultures, monkeys were linked to the first creations. Among the Nahua it was thought that in the sun of nahui ehecatl (4 wind) humanity had been destroyed by a strong wind and some few people had saved themselves by fleeing to the trees and had become monkeys. It was also common to associate this animal with artists and artisans. It is most commonly found in Mayan vessels. The presence of this animal in the tradition of the cultures of Guerrero is striking, especially if we the arid territory that is usually associated with the region. However, we know that the spider monkey currently has a small presence in the center of the State, a population that must have been even more important in the past. Despite this, the lack of data prevents us from affirming what meaning the monkeys acquired in these cultures and even less the obvious links they had with other regions. However, the vessel becomes a reminder of how fruitful it will be to seek these answers and of the great surprises we can find.
