The theme of war is one of the most prominent in the iconographic repertoire of the sculptural art of shaft tombs culture. In its many stylistic modalities men are seen with various weapons, shields, helmets and armor; there are also combat scenes, individuals carrying severed heads, severed heads as free-standing works and images of captives, among whom it is strange to see female figures since as far as I know, only men are warriors.
In the Ameca-Etzatlan style, with which this sculpture is d, it was common for warriors to wear a large conical helmet with a triangular or semicircular appendage that covers much of the face; in this case there is no cylindrical armor that protects the torso and is often associated with this helmet. This warrior is wearing short pants and flaunts a strange diagonal band across the chest composed of elongated shapes that could be interpreted as a bundle of bones; he is holding an object, now incomplete, which probably represented a knife; the gesture is clear, he is about to sacrifice the individual who is eloquently represented as conquered.
The captive is a naked man with a pair of animal traits: the posture of being on all fours and a kind of short and wide tail; it is possible that it is part of a truss –the conqueror also holds a short extension in the rear of his pants. However, together with the posture, the intention of giving him zoomorphic qualities is highlighted and thus his humiliation would be emphasized.
The image of subjugation adheres to the Mesoamerican stereotype in that the conqueror holds the opponent by the hair. It is noteworthy that both are decorated with a hoop nose ring.
The Ameca-Etzatlan style is located in the central area of Jalisco. Its vast production and wide temporality allow us to identify it as one of the main styles in the art of the shaft tomb culture. Among its features gray plaster is found painted in red and black on cream. Apparently there are no remains of the black, while those in red are the most noticeable. It is almost certain that the sculpture comes from a shaft tomb; it is conceivable that it was offered up to an individual whom it would represent, in this case the warrior, perhaps as a way to perpetuate his condition in the sphere of his supernatural existence.
The theme of war is one of the most prominent in the iconographic repertoire of the sculptural art of shaft tombs culture. In its many stylistic modalities men are seen with various weapons, shields, helmets and armor; there are also combat scenes, individuals carrying severed heads, severed heads as free-standing works and images of captives, among whom it is strange to see female figures since as far as I know, only men are warriors.
