The standard of the Comala style in ceramic art predominantly was to make the entire outer surface of the pieces of a single color; they were especially covered or engobed with hematite or iron oxide to produce a distinctive vermilion red.
Often, monochrome is only apparent, as engobes were applied in two or three tones within the same range, such as orange, brown or dark red. To a lesser extent, some sections were painted in black or white with the intention of punctually highlighting certain elements; the piece which we have here belongs to that modality. It has black spots in the area of the eyes, ears, and neck down covering almost all the body, except on the tips of the legs and tail.
The black paint on the red engobe fulfills, in my opinion, a definite purpose: to appear that the represented dog has coat of colors; one of them could be black or another dark color, whereas the red does not necessarily correspond to the natural one of the animal because stylistic standards are imposed for the purpose of realism; this also happened with the coat, which is not seen in more detail, instead the surface is smooth.
This artistic school of the valley of Colima is characterized by synthesis, hence a monochromatic appearance, polished and shiny fine surfaces, and the "simplification" of forms prevail. Another characteristic unique to the style is that the sculptural volumes are hollow and usually have a spout, and as such, serve as recipients. On the backside of our piece is a tubular spout cut diagonally.
It is possible to deduce that the sculpture has the shape of a hairy dog. From the biological studies, it has been concluded that four breeds of dogs existed in ancient Mexico; except for one of the two varieties of the renowned Xoloitzcuintle, which is hairless, the rest had hair. Likewise, ethnohistorical testimonies have contributed to this knowledge: in the famous Florentine Codex Brother Bernardino de Sahagun and his wise Nahuatl collaborators from central Mexico mentioned and illustrated various races, one of which is the Tlalchichi; it is very likely that the dog we see here is of this type.
The term can be translated as "earth dog" and refers to a small dog or short-legged animal. The analysis of ancient skeletons confirms its existence and in addition it is possible that it was the one that the sculptors of the shaft tomb people sculpted the most, especially the Comala style workshops.
Usually it looks robust and appears only in red, but also there are some with black spots, like this one. Isabel Kelly excavated a similar one in a shaft tomb and camera of the site in Colima called El Manchon, which gives way to the burial origin of these works: they were offered to the dead and they convey a religious, sacred character. Among the symbolism of the dog there is to be companion and guide of the deceased in the underworld.
Perhaps the tlalchichi has become extinct, but according to biologist Raul Valadez it may have been the ancestor of the present Chihuahua dog. Of the sculpture we see, it is important to mention that it exemplifies the richness of the representations of dogs in this art, the impressive range of their representation as living beings.
His posture and attitude are peculiar, let's say it was not shaped in the easiest possible way. It is seen lying and coiled, with its front legs crossed, the rear legs are suggested to be under the body, while the other is flexed; the head is turned sideways, it exhibits all its straight teeth and with large eyes looking upwards expressively.
