This ceremonial sculpture was probably placed at the entrance of a temple, perhaps perched on a small pedestal. In the art of the Post-Classic, anthropomorphic and zoomorphic sculptures were frequently located in the entrance and at different levels on both sides of the steps of the temple. Thus, such sculptures played a role as guardians and hosts of the temples; we can say they were a sort of sentinel (as in the case of felines or coyotes ) or priests permanently dedicated to the cult of the temple in question. Sometimes these images had a hole between their hands to accommodate a wooden stick, converting them into standard-bearers.
This particular image has its arms crossed over its chest, which is a very characteristic posture of submission in the face of power, whether of the lords or the gods. In the latter case it becomes a gesture of worship. Therefore, the function of this sculpture, if, as we think, it was located at the entrance of a temple, was similar to that of the Toltec Chac mool : a priest in a permanent gesture of veneration.
The style of this work is interesting and complex, but we have elements for recognizing it when compared to several Post-Classic works. It is distinguished by a very expressive realism that achieves its goals without including a complete reproduction of natural attributes. This was very characteristic of the Toltec and Mexica art, but also of the Huasteca art.
Unlike other Huasteca sculptures, in this piece there is schematic treatment of the lower extremities; we can say that moderate naturalism in the design of the body affects the whole figure, as in Mexica art. The face, however, does not correspond with the Mexica style, it is slightly more expressive and individualized than the collection of Tenochca carvings. The pose, nevertheless, belongs more to the Mexica rather than Huasteca art.
This ambivalence was very characteristic of the sculpture of Castillo de Teayo, a Mexica enclave in the Huasteca Veracruzana, where models and types of Mexica sculpture were re-stylized in the hands of excellent Huasteca sculptors. The design of the fur cloak with a sharp line on the front was one of the remarkable features of this provincial style, to which we believe that this piece belongs.
This ceremonial sculpture was probably placed at the entrance of a temple, perhaps perched on a small pedestal. In the art of the Post-Classic, anthropomorphic and zoomorphic sculptures were frequently located in the entrance and at different levels on both sides of the steps of the temple. Thus, such sculptures played a role as guardians and hosts of the temples; we can say they were a sort of sentinel (as in the case of felines or coyotes ) or priests permanently dedicated to the cult of the temple in question. Sometimes these images had a hole between their hands to accommodate a wooden stick, converting them into standard-bearers.
