With her feet firmly placed on the ground, the character proudly portrays her femininity. The model curiously combines realism for the large breasts and nipples, and schematics for the pelvic triangle underlined with deep incisions. The nearly straight legs give heaviness to the figure; a crease marks the knees and the large feet offer a firm seat for the figurine. The toes and nails were carefully detailed in contrast with short and amorphous arms, which are finished off with three incisions to suggest the fingers.
On the backside, which is almost flat, the very thick arms accent the impression of force. The face is marked by the split hair with a parting that partially covers the large doubled over ear-flaps. The eyes and mouth are the "button" type, an elongated ball of clay with two deep incisions on both sides of the pupil and the tongue. Intense burnishing of the cream coating makes the piece extremely shiny.
In the middle basin of the Lerma and the lakes of Michoacan and Guanajuato, the long Chupicuaro tradition and its terminal Mixtlan-Morales phase evolved into an expression that reached its peak in the Early Classic Period, and is known as the Loma Alta-Querendaro tradition. As can be seen in this figurine, both the mark of antient heritage as well as great creativity and originality can be seen.
With her feet firmly placed on the ground, the character proudly portrays her femininity. The model curiously combines realism for the large breasts and nipples, and schematics for the pelvic triangle underlined with deep incisions. The nearly straight legs give heaviness to the figure; a crease marks the knees and the large feet offer a firm seat for the figurine. The toes and nails were carefully detailed in contrast with short and amorphous arms, which are finished off with three incisions to suggest the fingers.
