The ceramic pieces on display in museums were designed for specific purposes. Many of them fulfilled everyday functions such as feeding or helping in the development of an trade, among other activities. Despite the age of time and the temporal distance that separates us from ancient cultures, even today we continue to perform similar practices and use similar objects. A clear example is the utensils we use to eat, which continue to be a fundamental part of our daily routines.
On many occasions, objects that we consider works of art had a very different function in their original context. Their appreciation and contemplation was limited, they were not accessible to everyone, and were used in specific rituals as a way to establish with supernatural forces. The decoration of these pieces was not simply a superficial adornment, but played a fundamental role in the process of establishing such a connection. Most of these pieces, considered channels of communication with the divine, could not be kept in everyday life. Therefore, after being used in the ritual, it was necessary to destroy them, otherwise the energy or power they emanated could unbalance life as we know it.
Furthermore, on numerous occasions, when there was a change of government or beliefs, the artistic pieces were destroyed because they represented that which was intended to be changed. The demolition of these works was not only an attack against the divine manifestation they embodied, but also against previous ideologies, rulers and the established power. As a result, we often only find fragments of what were once impressive works.
This is a fragment that was originally part of a striking piece, but today only a small vestige of it remains. It is the representation of a zoomorphic being, molded in clay. The fragment shows an elongated snout, with a rounded shape at the distal end. A line runs along the base to outline the lower jaw. The eyes are barely distinguishable, almond-shaped and convex. There is a bulging strip around the eyes that outlines them, simulating an eyelid.
The figurine was attached to the wall of a ceramic piece, although due to the small dimensions of the wall, it is not possible to determine precisely the type of vessel to which it belonged.
Unfortunately, the piece is very eroded and the features can hardly be clearly distinguished. However, due to the elongated shape of the snout, it is most likely a representation of a dog or a coyote. In any case, it is important to note that the figures incorporated into these pieces not only gave them certain connotations, but also played a role in specific rituals.
Dogs were associated with death in the beliefs of central Mexican groups. This animal was thought to play a crucial role in helping humans overcome one of the trials of the underworld. Therefore, the dog was considered a loyal companion and its presence was of great importance in these societies. In contrast, coyotes were associated with aspects such as drought and solar influence, with different connotations to those of dogs.
The lack of the complete piece and the difficulty in determining its specific form, whether it is a vase, censer or other variant, limits our knowledge of the ritual to which it may have belonged. However, what we can emphasize is the importance of decoration and the role of animals in highlighting the forces of nature. Through their representation, these cultures sought to exalt and symbolize the diverse energies and powers present in the natural world.
