The Huasteca was a territory marked by a high level of ethical integration, capable of developing a cultural style that contrasted with that of its neighbors in the Gulf of Mexico. Although contemporary compared to the identity given to artistic production in El Tajin, also with very different tastes in their visual art too, both share a cultural background that certainly did not come from the same language.
It is a civilization model that was built in the Late Formative Period (ca. 300 B.C.) and that spread from the south of Veracruz, following the coast to the Huasteca, and then crossing the Isthmus of Tehuantepec to make with the Pacific coast of Chiapas. Although expressions were acquired that separated them over time, the civilization's roots remained the same; an example of this is the identity of their worship and the importance attributed to the ball game and ritual decapitation.
A series of male and female clay figures which were produced from the beginning of the Classic period with highly stylized bodies that highlight their apparent nudity. Heirs to a pottery tradition which was far more ancient, they take special care in depicting a bulky belt over a skirt usually painted with tar that often identifies the attire of the ball players. Playing the ball game was something that marked the greatest importance in Ancient Mexico and was considered part of a very complex ceremony that was promoted by the highest classes of society, the rulers themselves.
Directly linked to ritual decapitation with blood sacrifices, it was practiced from very ancient times across the entire coast. The areas where the game was played were built with a ceremonial corridor that was practically absent in the cities in Central Mexico until the end of the Classic Period. Our piece is the depiction of one of these players adorned with earrings and a necklace, and an elaborate headdress. The face is unique, painted red which associates it directly with the pottery models from the Teotihuacan region. Although the features, particularly the eyes, come from the modeling of the Huastecan potters, the shape of the face and the proportions of the nose and mouth are completely different to the local pottery. The piece is recorded in an era where the elite from various parts of Mesoamerica opted for the cultural model of the great metropolis, and transform themselves to acquire its prestige.
The Huasteca was a territory marked by a high level of ethical integration, capable of developing a cultural style that contrasted with that of its neighbors in the Gulf of Mexico. Although contemporary compared to the identity given to artistic production in El Tajin, also with very different tastes in their visual art too, both share a cultural background that certainly did not come from the same language.
