We consider that this piece should be examined and discussed by also considering pieces 52 22 MA FA 57PJ 824 and 52 22 MA FA 57 PJ 822. It is even possible that at least one of these women (52 22 MA FA 57PJ 823 or 52 22 MA FA 57PJ 824) would form a couple with the Standing Character, carrying another with a tumpline (52 22 MA FA 57PJ 822); in such a way that they would form a family.
The affinity of all these pieces with the solid Chupícuaro figurines is very notable, to the point that at first they seem to correspond to the same group. However, as soon as you look closely you notice significant differences: the design of the legs (much more open, with a greater distance between them, those of our Bajío figures); the shape of the head and face, and others. The solid Chupícuaro pieces are smaller than the three pieces in question. However, the general design, the way of adding ribbons and decorations, the colors and the addition of black are common elements.
The two female figures and the male figure discussed here come from the same area and probably from the same place, but we cannot specify with certainty which one it is. Queréndaro has been considered the same as Tepeji del Río. This last location seems too southern for the style. What we are certain of is that these are works of tradition developed in the Bajío region under the influence of what we know as the Chupícuaro culture.
As with the massive female figures from Chupícuaro, in this piece from Bajío the breasts are located, somewhat implausibly, between the shoulder and the armpit; possibly to leave room for the representation of ribbons and medallions. It has a notable bulge in the lower part of its belly, something that we also see in Chupícuaro. These are not, apparently, representations of pregnancy, but rather allusions to a body that has already given birth. In fact, the woman carries a child and breastfeeds it.
What is striking is the way in which the outstanding relief that the figure shows on the front part of it, achieved with pastillage and some incisions, for example in the eyes, disappears completely on the back, which is smooth. She is a single-faced figure, extremely thin when viewed from the side, and without any representation on her back.
It has the porous, rough appearance of clay; it does not seem to have received engobe, and thus we can appreciate the color of the clay in all those parts that did not have or have lost paint, and of course on the back. Red and white paint applications are used for the medallions, earrings, headbands and eyes. A black, tar-like substance was used to produce a body paint effect, and also to darken the faces.
