Anthropomorphic vessel

Tlatilco stands out for its pottery production, the different periods of work carried out on the site have uncovered, above all, ceramic pieces and human figures. The Tlatilcan vessels had certain recurring themes: animals, anthropomorphic figures and fantastic beings that seem to combine characteristics, that is, anthropozoomorphic figures. It is difficult to discern if these pieces corresponded to a naturalistic vision of the world and the imagination of the master potters or if they emanated from a specific religious cosmogony. There are no clear indications, however, that any of these pieces is the representation of a deity.  

This particular vessel is very attractive because of the black engobe which, in combination with the smooth finish, gives a pleasant homogeneous effect to the surface of the object. The general shape of the vessel is very similar to that of other similar pieces found in Tlatilco, as it is made up of two spherical segments. This roundness was perhaps intended to indicate that the body depicted was obese, although it contrasts sharply with the thinness of the figure's arms.  On the other hand, the figure seems to have breasts that, although small, are well marked; This indicates that the gender is female.  

The head and face embodied in this vessel are very distinctive: on the sides it has what appear to be earrings composed of multiple perforations, although they could also be part of a headdress interrupted by the mouth of the vessel. Likewise, the face of this figure is very expressive: it keeps its eyes wide open, the gaze almost lost and directed upwards; its mouth also remains slightly open.  

The face, with its eternal expression of astonishment, could be allusive to some state of ecstasy or ritual trance. Altered states of consciousness could be achieved by ingesting and applying enemas of substances made from plants with hallucinogenic properties, but these states could also be achieved by executing complex body postures or by intense and rhythmic repetition of prayers.  

The woman represented has two large crossed lines, like X's, on both cheeks; These geometric motifs were very recurrent in all artistic expressions of the Preclassic period and lasted, or were taken up again, during the Classic and Post-Classic periods. Crossed bands were very common among those known as the Olmecs, and it is believed that they could represent the four parts of the world, but there is no absolute certainty about this. In this specific case, the geometric motifs could be an indication that the figure had scarified cheeks, a form of ornamentation that, together with body painting, must have been more or less common among individuals belonging to the high social strata.  

It is possible that the woman of the vessel was some kind of priestess or that, at least, she was practicing a ritual act, perhaps belonging to the agricultural cycles or seeking an experience of rapprochement with the divine.