The central figure of Mezcala burial repertoire is the human figure: images of the deceased and probably of some accompanying kin that staged a meeting or a vital presence in the grave were probably to accompany the body whose soul was in the process of traveling to the world of the dead, or even to serve as provisional receptacles for the vital essence that did not end upon separation from that body. In addition to human figures, some animals and other objects formed a part of that burial repertoire.
Pieces 528, 970 and 987 have in common the fact that they fulfill a utilitarian function, in addition to the symbolic sense with which they may have been included in some tomb.
This piece seems to represent a lizard, although without legs. It is a very important character in the Mesoamerican religion: it is the origin of the world, the reptile from which the earth arose and life later sprung. It is the first symbol of the calendar and symbolically illustrates the idea of succession and of time. The Nahua called it "cipactli". This figure also has a serrated back, formed by means of grooves that were made with the friction of a kind of rope tail, a very common technique of the Mezcala tradition. The result is an artifact known as a scraper, which serves to mark the rhythm in some songs and dances. The Mesoamerican scraper may be hollow, like the güiro, but may also lack a sounding board, like this one.
The central figure of Mezcala burial repertoire is the human figure: images of the deceased and probably of some accompanying kin that staged a meeting or a vital presence in the grave were probably to accompany the body whose soul was in the process of traveling to the world of the dead, or even to serve as provisional receptacles for the vital essence that did not end upon separation from that body. In addition to human figures, some animals and other objects formed a part of that burial repertoire.
