Parrot

It is feasible to think that the two sculptures depict parrots and not macaws, given that these have a much longer tail, although the first could be a macaw since the curved incised lines around the eyes imply exposed skin, and the sinuous appearance of the area around the bird's eye. The brilliant and multicolored plumage of this type of bird was highly valued by the Mesoamericans; nevertheless, in this pair of works it is significant that the artists did not capture the feathers nor the coloration, unless it was red, although the plumage would not be entirely this color in nature.

In this fashion, the artists indicated other features such as the hooked shape of the beak, the feet with two toes in front and two behind, and short round wings. The Comala style's principal characteristics prevail in the physiognomic details: round forms and the red monochrome surface which is also smooth, polished and burnished. On the right side of the sculpture there is a slight variation in the beak's coloring, which appears to be a little lighter with a slight orange tone that does not contrast with the generally monochrome appearance.

Parrots stand out in the shaft tombs' iconographic repertoire; they are found as medium format sculptures, sculptural vessels, water jug holders and in the form of kneelers (in pews for example). They are also seen standing, usually in groups in trees that have a circular platform as a base, whether these trees have been modeled alone or as part of ritual scenes involving humans, or developed in spaces with buildings. Such trees symbolize an "axis mundi", the axis connecting the three basic levels of the cosmos in a vertical schema: celestial, terrestrial and the underworld. Parrots are very clearly associated with the highest level, since they are positioned in the high branches and at the summit.

It is also seen in cases of sculptural ritual scenes that take place in the guachimontones- the circular and concentric complexes constituting an original creation of the shaft tomb culture- or in other types of religious buildings, or perhaps also residencies. The link with the overworld is notable because in these buildings parrots are always located on the roofs, which are very high; the type known as a “hip roof.” These images make it possible to deduce that parrots are d with the cosmos' celestial sphere; they were simultaneously an insignia of high status as they would perch on certain buildings and gave shape to the kneelers used by dignitaries.

It is very possible that parrot and macaw plumage was used for feather headdresses- modeled as extended elements- that are worn by the principal figures in religious ceremonies, such as the “volador” (flier) that ascends and descends by means of a pole –the axis mundi– and those taking place in the guachimontones. In the Mesoamerican context, the parrot's relationship with the celestial sphere is particularly connected to the Sun and Venus; their habits offer a guide to understanding this connection.

The ornithologist Lourdes Navarijo mentions that flocks of parrots have two distinct peaks of activity, one in the morning just before sunrise when they fly from their resting places to their feeding grounds, and one at dusk when the birds return to the resting place for the night. Thus, parrots precede the sun both in its daily age and when it sets for its nocturnal journey; therefore, the parrot is equated with the planet Venus. It is very likely that they were recognized as beings that connected the terrestrial and celestial levels in which they traveled, and as well as messengers between the celestial gods and the humans because of their recognized abilities of voice and song.