Xalapa Museum of Anthropology

The Museo de Antropología de Xalapa (English: Xalapa Museum of Anthropology) is an anthropological museum in the city of Xalapa, capital of the state of Veracruz in eastern Mexico. The Museo de Antropología de Xalapa has among its objectives to provide the public with a broader knowledge of the history of the cultures that housed the State of Veracruz, through which guided tours are offered. From Tuesday to Sunday, you can book a free visit at 11:30 am in the morning, if you wish, you can hire a guide in both English and Spanish. In addition, the Museum offers the service of audio guides in Spanish and English.

In the pre-Columbian period, the modern-day state of Veracruz was inhabited primarily by four indigenous cultures. The Huastecs and Otomis occupied the north, while the Totonacs resided in the north-center. The Olmecs, one of the oldest cultures in the Americas, became dominant in the southern part of Veracruz.

The first major civilization in the territory of the current state was that of the Olmecs. The Olmecs lived in the Coatzacoalcos River region and it became the center of Olmec culture. The main ceremonial center here was San Lorenzo Tenochtitlán. Other major centers in the state include Tres Zapotes in the city of Veracruz and La Venta in Tabasco. The culture reached its height about 2600 years ago, with its best-known artistic expression being the colossal stone heads. These ceremonial sites were the most complex of that early time period. For this reason, many anthropologists consider the Olmec civilization to be the mother culture of the many Mesoamerican cultures that followed it. By 300 BCE, this culture was eclipsed by other emerging civilizations in Mesoamerica.

Walking towards the museum building. The building was designed by the architect Paul Balev at EDSA, 4 E 70th St, New York, N.Y. and opened in 1986.

Entering through the main entrance.

Blandine Gautier introducing the museum visit. The introduction takes place in the museum hall facing Colossal Head 8.

Colossal Head 8. San Lorenzo Colossal Head 8 (also known as Monument 61). This is the only head of San Lorenzo that rose from a large corner of basalt whose natural irregularities are observed on the back. The headdress is composed of a short cap, a fringe and a horizontal band. On the band there are four hook-shaped elements with incised bifurcated lines, which could represent the claws or nails of an animal. He has a frown. The eyes are slanted downwards and have a bilateral convergent strabismus. The nose is wide and flat and the mouth is ajar with fleshy lips. The teeth, very aligned, suggest dental mutilation through cuts and abrasions. The face of the ruler shows signs of mature age, as indicated by hunched eyes, lines of expression between the nose and mouth, full and flaccid muscles, and high cheekbones.

Blandine Gautier introduces us to Colossal Head 5. San Lorenzo Colossal Head 5 is also known as San Lorenzo Monument 5. The monument stands 1.86 metres (6.1 ft) high and measures 1.47 metres (4.8 ft) wide by 1.15 metres (3.8 ft) deep. It weighs 11.6 tons. The head was discovered by Matthew Stirling in 1946, face down in a gully to the south of the principal mound. The head is particularly well executed and is likely to have been found close to its original location. Ceramics recovered during its excavation became mixed with those from the excavation of Head 4. The mixed ceramics have been dated to the San Lorenzo and Villa Alta phases (approximately 1400–1000 BC and 800–1000 AD respectively).

Colossal Head 5. Colossal Head 5 is particularly well preserved, although the back of the headdress band was damaged when the head was moved from the archaeological site. The band of the headdress is set at an angle and has a notch above the bridge of the nose. The headdress is decorated with jaguar paws; this general identification of the decoration is contested by Beatriz de la Fuente since the "paws" have three claws each; she identifies them as the claws of a bird of prey. At the back of the head, ten interlaced strips form a net decorated with disc motifs. Two short straps descend from the headdress in front of the ears. The ears are adorned with disc-shaped earspools with pegs. The face is that of an ageing man with wrinkles under the eyes and across the bridge of the nose, and a forehead that is creased in a frown. The lips are slightly parted.

The "twins" of El Azuzul. El Azuzul is best known for two pairs of monumental sculptures, now on exhibit at the Museo de Antropologia, Xalapa, Mexico. These statues were found on the south side of the large pyramid/hill on the site, intact and apparently undisturbed since they were placed there in Pre-Classic times. The first pair of statues, described as "some of the greatest masterpieces of Olmec art", are nearly identical seated human figures. When discovered the two statues were facing east, one behind the other. Some researchers have suggested that these "twins" are forerunners of the Maya Hero Twins from the Popul Vuh, although their headdresses have led others to describe them as priests. The twin's headdresses have been mutilated, probably to erase identifying insignia.

The "twins" of El Azuzul. Each twin, like the figure in San Martín Pajapan Monument 1, is grasping a ceremonial bar with his right hand under the bar and his left over, caught in the act of raising what has been described as an axis mundi or Mesoamerican world tree.

The "twins" of El Azuzul. The humans are similar to other Olmec sculpture, in particular San Martin Pajapan Monument 1, where a young lord also attempts to lift a ceremonial bar. Despite its "tantalizing hints of [a] lost mythic cycle", it is not known with any clarity what this four statue tableau illustrates.

Feline-like statue of El Azuzul. Facing these two humans was a feline-like statue, generally identified as a jaguar. Slightly larger than the humans it faced, the feline is roughly 1.2 meters high. A 1.6 meter version of this feline was found a few meters away, to the northeast. The jaguars show evidence of having been recarved from earlier monuments. See more at El Azuzul - Wikipedia.

PATIO 1

Colossal Head 1. San Lorenzo Colossal Head 1 (also known as San Lorenzo Monument 1) was lying facing upwards when excavated. The erosion of a path passing on top of the monument uncovered its eye and led to the discovery of the Olmec site. Colossal Head 1 is 2.84 metres (9.3 ft) high; it measures 2.11 metres (6.9 ft) wide and it weighs 25.3 tons. The monument was discovered partially buried at the edge of a gully by Matthew Stirling in 1945. When discovered, it was lying on its back, looking upwards. It was associated with a large number of broken ceramic vessels and figurines. The majority of these ceramic remains have been dated to between 800 and 400 BC; some pieces have been dated to the Villa Alta phase (Late Classic period, 800–1000 AD).

Colossal Head 1. The headdress possesses a plain band that is tied at the back of the head. The upper portion of the headdress is decorated with a U-shaped motif. This element descends across the front of the headdress, terminating on the forehead. On the front portion it is decorated with five semicircular motifs. The scalp piece does not meet the horizontal band, leaving a space between the two pieces. On each side of the face a strap descends from the headdress and passes in front of the ear. The forehead is wrinkled in a frown. The lips are slightly parted without revealing the teeth. The cheeks are pronounced and the ears are particularly well executed. The face is slightly asymmetric, which may be due to error on the part of the sculptors or may accurately reflect the physical features of the portrait's subject.

Olmec Throne. This monument discovered by Stirling in 1946 was built in volcanic rock, and means, together with the colossal heads, the most powerful emblem of office for the Olmecs. Represents the throne over which, the Olmec hierarch sustained his power.

Blandine Gautier draws our attention to details of the Olmec Throne. There we can observe a persona inside a niche, perhaps a cave. The personaje holds with his hands of the ropes that unite him to other of the tall personages en relieve on the sides of the throne.

Stele of El Viejón. A scene was set on this stele where characters appear carrying out a possible agricultural rite evidenced by the presence of the maize spike, a plant considered sacred throughout Mesoamerica. It is worth mentioning that this monument was discovered by archaeologist Alfonso Medellín from the Universidad Veracruzana very far north of the Olmec region, in the central coastal zone of Veracruz. This type of bas-relief erection of stelae and columns was carried out by the Olmecs during their Intermediate or Middle Preclassic development.

GALLERY 1

Olmec feline. Found by chance by the locals, this piece represents a monumental feline holding a rope between its jaws. The representation of ropes in Olmec sculpture has been associated with power, such as on the thrones of San Lorenzo Tenochtitlán and La Venta, Tabasco.

The Prince. This Olmec sculpture achieved great realism, due to the balance and perfect symmetry that give a feeling of immobility and showing the strength of the character. This piece was found in Cruz del Milagro, Sayula de Alemán Veracruz.

Character with cane. Near a top of the San Martín hill, the Olmecs built a rectangular platform on which they placed this piece. It is very likely that we are facing one of the earliest examples of the cult of the hills, which persists today. The work represents a character who stands up, carries a cane in his hands, bracelets, bands below his knees and above his waist. His headdress, rich in symbolism, presents feline faces in the central part, as in other points of the complex attire. The headdress falls at the back of the sculpture, becoming a kind of veil that joins the long ear flaps.

Were-jaguar statue from Cuauhtotolapan. The were-jaguar was both an Olmec motif and a supernatural entity, perhaps a deity. The were-jaguar motif is characterized by almond-shaped eyes, a downturned open mouth, and a cleft head. It appears widely in the Olmec archaeological record, and in many cases, under the principle of pars pro toto, the were-jaguar motif represents the were-jaguar supernatural. Originally, many scholars believed that the were-jaguar was tied to a myth concerning a copulation between a jaguar and a woman. Although this hypothesis is still recognized as viable by many researchers, other explanations for the were-jaguar motif have since been put forward, several questioning whether the motif actually represents a jaguar at all. The term is derived from Old English were, meaning "man", and jaguar, a large member of the cat family in the Olmec heartland, on analogy with werewolf.

Were-jaguar statue from Cuauhtotolapan. The basic were-jaguar motif combines a cleft head, slanting almond-shaped eyes with round irises, and a downturned open mouth with a flared upper lip and toothless gums. Some researchers have refined the were-jaguar supernatural, specifically equating it with the Olmec rain deity. The Olmec rain supernatural (or deity) not only displays the characteristic almond-shaped eyes, cleft head, and downturned mouth—that is, the were-jaguar motif—but has several other defining attributes, including a headband and a headdress, the latter usually cleft. The headband is often divided horizontally and decorated with regularly spaced ornaments. In addition to, or often as an extension of, the headdress, the supernatural also sports earbars (often pleated) running down the sides of its face, and a "crossed-bars" icon on the chest and/or navel.

Were-jaguar statue from Cuauhtotolapan. In the surviving Olmec archaeological record, jaguars are rarely portrayed naturalistically, but rather with a combination of feline and human characteristics. These feline anthropomorphic figures may range from a human figure with slight jaguar characteristics to depictions of figures in the so-called transformative pose, kneeling with hands on knees, to figures that are nearly completely feline. There are many theories and associations that swirl around the were-jaguar motif, and they need not be not mutually exclusive. It is possible that were-jaguars meant different things at different times during the Olmec period or to the many different people who created the images. See more at Werejaguar - Wikipedia and Jaguars in Mesoamerican cultures - Wikipedia.

Colossal Head 9 (left), Colossal Head 3 (center) and Colossal Head 4 (right).

Colossal Head 4. San Lorenzo Colossal Head 4 (also known as San Lorenzo Monument 4) weighs 6 tons. Colossal Head 4 is 1.78 metres (5.8 ft) high, 1.17 metres (3.8 ft) wide and 0.95 metres (3.1 ft) deep. The head was discovered by Matthew Stirling in 1946, 550 metres (600 yd) northwest of the principal mound, at the edge of a gully. When excavated, it was found to be lying on its right-hand side and in a very good state of preservation. Ceramic materials excavated with the head became mixed with ceramics associated with Head 5, making ceramic dating of the monument difficult. The headdress is decorated with a horizontal band formed of four sculpted cords, similar to those of Head 3. On the right-hand side, three tassels descend from the upper portion of the headdress; they terminate in a total of eight strips that hang down across the horizontal band. These tassels are judged to represent hair rather than cords. Also on the right hand side, two cords descend across the ear and continue to the base of the monument. On the left-hand side, three vertical cords descend across the ear. The earflare is only visible on the right hand side; it is formed of a plain disc and peg. The face is that of an ageing man with a creased forehead, low cheekbones and a prominent chin. The lips are thick and slightly parted.

Colossal Head 3. San Lorenzo Colossal Head 3 is also known as San Lorenzo Monument 3. The head measures 1.78 metres (5.8 ft) high by 1.63 metres (5.3 ft) wide by 0.95 metres (3.1 ft) deep and weighs 9.4 tons. The head was discovered in a deep gully by Matthew Stirling in 1946; it was found lying face down and its excavation was difficult due to the wet conditions in the gully. The monument was found 0.8 kilometres (0.50 mi) southwest of the main mound at San Lorenzo, however, its original location is unknown; erosion of the gully may have resulted in significant movement of the sculpture.

Colossal Head 3. The headdress is complex, with the horizontal basal band being formed by four horizontal cords, with diagonal folds above each eye. A small skullcap tops the headdress. A large flap formed of four cords drops down both sides of the head, completely covering the ears. The face has a typically frowning brow and, unusually, has clearly defined eyelids. The lips are thick and slightly parted; the front of the lower lip has broken away completely. The lower front of the headdress is pitted with 27 irregularly spaced artificial depressions.

Colossal Head 9. San Lorenzo Colossal Head 9 is also known as San Lorenzo Monument 66. It measures 1.65 metres (5.4 ft) high by 1.36 metres (4.5 ft) wide by 1.17 metres (3.8 ft) deep. The head was exposed in 1982 by erosion of the gullies at San Lorenzo; it was found leaning slightly on its right hand side and facing upwards, half covered by the collapsed side of a gully and washed by a stream. Although it was documented by archaeologists, it remained for some time in its place of discovery before being moved to the Museo de Antropología de Xalapa.

Colossal Head 9. The headdress is of a single piece without a distinct headband. The sides display features that are possibly intended to represent long hair trailing to the bottom of the monument. The earflares are rectangular plates with an additional trapezoid element at the front. The head is also depicted wearing a nose-ring. The face is smiling and has wrinkles under the eyes and at the edge of the mouth. It has sagging cheeks and wide eyes. The mouth is closed and the upper lip is badly damaged. The sculpture suffered some mutilation in antiquity, with nine pits hollowed into the face and headdress.

Human-feline sculpture with mittens. The character with feline features carries instruments called mittens. It is carved in basalt and measures 115x78 cm.

Human-feline sculpture with mittens. It presents a headdress with a central slit, which in some Olmec sculptures appears related to the earth or to the furrow where corn sprouts. In his hands he has curious instruments that have been considered as protectors or "mitts" for the ball game, but that could also be tools to carry out some ritual or shamanic activity.

Standing headless human sculpture. It is the only standing human figure sculpted by the Olmecs. It lacks a head, but we can see that the arms were crossed over the chest.

Standing headless human sculpture. His great cape is tied with straps on the chest and carries a rich decoration that we can appreciate towards the sides of the character, in the form of heads of the "Olmec Dragon" sculpted in relief. The clothing had an identity value, at the same time that it served to differentiate hierarchies and the different degrees of Olmec power. Therefore, this character was undoubtedly of important rank.

Werejaguar. A stone Olmec werejaguar, showing common were-jaguar characteristics including a downturned mouth, almond-shaped eyes, pleated ear bars, a headdress with headband, and a crossed-bars icon on the chest. The term is derived from Old English were, meaning "man", and jaguar, a large member of the cat family in the Olmec heartland, on analogy with werewolf.

Werejaguar face.

Olmec figurines. Olmec figurines are archetypical figurines produced by the Formative Period inhabitants of Mesoamerica. While not all of these figurines were produced in the Olmec heartland, they bear the hallmarks and motifs of Olmec culture. While the extent of Olmec control over the areas beyond their heartland is not yet known, Formative Period figurines with Olmec motifs were widespread in the centuries from 1000 to 500 BC, showing a consistency of style and subject throughout nearly all of Mesoamerica. These figurines are usually found in household refuse, ancient construction fill, and, outside the Olmec heartland, graves. However, many Olmec-style figurines, particularly those labelled as Las Bocas- or Xochipala-style, were recovered by looters and are therefore without provenance. The vast majority of figurines are simple in design, often nude or with a minimum of clothing, and made of local terracotta. Most of these recoveries are mere fragments: a head, arm, torso, or a leg. It is thought, based on wooden busts recovered from the water-logged El Manati site, that figurines were also carved from wood, but, if so, none have survived. More durable and better known by the general public are those figurines carved, usually with a degree of skill, from jade, serpentine, greenstone, basalt, and other minerals and stones. See more at Olmec figurine - Wikipedia.

Baby-face figurine. The "baby-face" figurine is a unique marker of Olmec culture, consistently found in sites that show Olmec influence, although they seem to be confined to the early Olmec period and are largely absent, for example, in La Venta. These ceramic figurines are easily recognized by the chubby body, the baby-like jowly face, downturned mouth, and the puffy slit-like eyes. The head is slightly pear-shaped, likely due to artificial cranial deformation. They often wear a tight-fitting helmet not dissimilar to those worn by the Olmec colossal heads. Baby-face figurines are usually naked, but without genitalia. Their bodies are rarely rendered with the detail shown on their faces.

Baby-face figurine. Also called "hollow babies", these figurines are generally from 25–35 cm (9.8–13.8 in) high and feature a highly burnished white- or cream-slip. They are only rarely found in archaeological context. Given the sheer numbers of baby-face figurines unearthed, they undoubtedly fulfilled some special role in the Olmec culture. What they represented, however, is not known. Michael Coe, says "One of the great enigmas in Olmec iconography is the nature and meaning of the large, hollow, whiteware babies".

GALLERY 2

The Olmec heartland. The Olmecs were the earliest known major Mesoamerican civilization. Following a progressive development in Soconusco, they occupied the tropical lowlands of the modern-day Mexican states of Veracruz and Tabasco. It has been speculated that the Olmecs derived in part from the neighboring Mokaya or Mixe–Zoque cultures. The Olmecs flourished during Mesoamerica's formative period, dating roughly from as early as 1500 BCE to about 400 BCE. Pre-Olmec cultures had flourished since about 2500 BCE, but by 1600–1500 BCE, early Olmec culture had emerged, centered on the San Lorenzo Tenochtitlán site near the coast in southeast Veracruz. They were the first Mesoamerican civilization, and laid many of the foundations for the civilizations that followed. See more at Olmecs - Wikipedia.

Jade Olmec Mask. The Olmecs, in the preclassic, made masks of various sizes. The largest ones could have been used to fix the face of dancers or priests or even to decorate mortuary bundles, the smallest ones were probably used as part of the clothing hung from the neck or attached to the clothing of high-ranking persons or dignitaries.

Olmec mask engraved. This jade mask presents engraved with symbolic elements, the cheeks are four images that remind us petaloids axes, which could represent the fourfold division of the universe. Around the mouth is a reason zoomorfo graffito as a lizard, snake or frog, animals in mythological scenes Olmecs were related to the Earth, the origin of man and farm fertility. Also shown is the element of "cross-bands" or "Cruz de San Andrés" typical of Olmec iconography.

Lord of Las Limas. Las Limas Monument 1, also known as the Las Limas figure or the Señor de las Limas, is a 55 centimetres (22 in) greenstone figure of a youth holding a limp were-jaguar baby. Found in the State of Veracruz, Mexico, in the Olmec heartland, the statue is famous for its incised representations of Olmec supernaturals. It is the largest known greenstone sculpture. The statue was discovered in near Jesús Carranza, Veracruz, by two local children, Rosa and Severiano Paschal Manuel. Dug out and taken to their nearby home, it was declared "La Virgen de las Limas" and set up on its own altar.

Lord of Las Limas. Sculptures of headdressed figures holding inert were-jaguar babies appear often in the Olmec archaeological record, from the smallest of figurines to the huge table-top thrones such as La Venta Altar 5. What these sculptures symbolised to the Olmecs is not clear. Some researchers, focusing on the symbolic cave surrounding the figure on Altar 5 believe that these sculptures relate to myths of spiritual journeys or human origins. Others find that the limp depiction of the were-jaguar baby denotes child sacrifice.

Lord of Las Limas. The two figures, one of them possibly a priest, sitting with legs crossed, holding in her arms an infant flaccid, as though he were dead or asleep. Both have important symbolic motifs incised: the priest on the face, shoulders and knees, and the infant has a pectoral cross on the chest and the head has the symbol V characteristic cleft among the Olmecs. The figure from right shoulder, generally identified as the Banded-eye God. The narrow band running through the nose and down the face of this supernatural is nearly identical to the incised bands running down the youth's face. The figure from the right leg is generally identified as the Olmec Dragon. The X-like symbol here covering the eye is also seen on the were-jaguar baby's chest. It is a common Olmec motif. The figure from the left shoulder is generally identified as the Bird Monster. The "flame eyebrows" seen on this image are a common Olmec motif. The figure from the left shoulder is generally identified as the Bird Monster. The "flame eyebrows" seen on this image are a common Olmec motif. The figure from the left leg is generally identified as the Fish or Shark Monster. See more at Las Limas Monument 1 - Wikipedia.

Colossal Head 7. San Lorenzo Colossal Head 7 (also known as San Lorenzo Monument 53) measures 2.7 metres (8.9 ft) high by 1.85 metres (6.1 ft) wide by 1.35 metres (4.4 ft) deep and weighs 18 tons. San Lorenzo Colossal Head 7 was reworked from a monumental throne. It was buried at a depth of less than 1 metre (3.3 ft) and was lying facing upwards, leaning slightly northwards on its right hand side. The head is poorly preserved and has suffered both from erosion and deliberate damage. The headdress is decorated with a pair of human hands; a feathered ornament is carved at the back of the headband and two discs adorn the front. A short strap descends from the headband and hangs in front of the right ear. The head sports large earflares that completely cover the earlobes, although severe erosion makes their exact form difficult to distinguish. The face has wrinkles between the nose and cheeks, sagging cheeks and deep-set eyes; the lips are badly damaged and the mouth is open, displaying the teeth.

Jade olmec axes. The use of jade in Mesoamerica for symbolic and ideological ritual was highly influenced by its rarity and value among pre-Columbian Mesoamerican cultures, such as the Olmec, the Maya, and the various groups in the Valley of Mexico. Although jade artifacts have been created and prized by many Mesoamerican peoples, the Motagua River valley in Guatemala was previously thought to be the sole source of jadeite in the region. This extreme durability makes fine grained or fibrous jadeite and nephrite highly useful for Mesoamerican technology. It was often worked or carved as ornamental stones, a medium upon which glyphs were inscribed, or shaped into figurines, weapons, and other objects. Many jade artifacts crafted by later Mesoamerican civilizations appear cut from simple jade axes, implying that the earliest jadeite trade was based in utilitarian function.

Jade olmec axes. Jade was shaped into a variety of objects including, but not limited to, figurines, celts, ear spools (circular earrings with a large hole in the center), and teeth inlays (small decorative pieces inserted into the incisors). Mosaic pieces of various sizes were used to decorate belts and pectoral coverings. The value of jade went beyond its material worth. Perhaps because of its color, mirroring that of water and vegetation, it was symbolically associated with life and death and therefore possessed high religious and spiritual importance. Next to emery, jade was the hardest mineral known to ancient Mesoamerica. In the absence of metal tools, ancient craftsmen used tools themselves made of jade, leather strops, string saws to cut and carve jade, and reeds or other hard materials to drill holes. Working the raw stone into a finished piece was a very labor-intensive process, often requiring repeated physical movement to shape the jade. It would take many hours of work to create even a single jade bead.

Character with mouth mask. Also known as Monument 4, this head made of basalt weights over 2 tons and represents a character with scarification under the eyes, that remind us of the tears. Carries a mouth mask, an element related to the gods of wind. It's related to Quetzalcoatl, fact confirmed by the adornment of the headdress, which indicates the calendar sign 1 Acatl (1 reed), representative of the god. In the back has a number of figures in relief, which could be made after the original monolith, in them there's a tree and a couple.

Stele 5. The stele is associated with Quetzalcoatl, because the most important part of the headdress of the character includes a feathered serpent, symbol of this deity. Wears a complicated dress fashioned from feathers, cotton, fur, wood frame or cane. The column, though eroded, has a date that has been read by Justeon and Kaufman 9.4.14.1.4 - 7 iguana, which corresponds to the year 529 AD.

Stele 6. One of the best preserved stelae, Stele 6 presents a richly dressed, related to Quetzalcoatl. We find in him the virgula of the word while he looks, as if he were reading, towards a column of glyphs to his right. In these we clearly read a date of the Olmec-Maya long count that consists of 5 digits: 9.1.12.14.10 – Oc, which corresponds to the year 467 AD.

Anthropomorphic figurine. Olmec figurine in jadeite from Veracruz de Ignacio de la Llave.

Anthropomorphic figurine.

Anthropomorphic figurine.

Anthropomorphic figurine.

Anthropomorphic figurine. Olmec figurine in stone from Veracruz de Ignacio de la Llave.

Huehueteotl. Possibly we have in this small cream ceramic sculpture, the earliest representation of an ancient god related to fire that will be widely venerated for almost two millennia of pre-Hispanic history. In central Mexico it was called "Old God" or "of fire". Huehueteotl is an aged Mesoamerican deity figuring in the pantheons of pre-Columbian cultures, particularly in Aztec mythology and others of the Central Mexico region. Huehueteotl is frequently considered to overlap with, or be another aspect of, a central Mexican/Aztec deity associated with fire, Xiuhtecuhtli. However, Huehueteotl is characteristically depicted as an aged or even decrepit being, often with a beard, whereas Xiutecuhtli's appearance is much more youthful and vigorous, in line with his marked association with rulership and (youthful) warriors.

Huehueteotl. In this case, he lies seated in front of a typical ceremonial brazier and draws a smile on his face, while he joins his hands over the brazier, as if he were heating it. It is curious that he wears only one ear and a round headdress with an asymmetrical ornament. He wears bracelets, a necklace and some kind of breastplate.

GALLERY 3

Xipe-Totec. The image in volcanic stone that we see here represents a seated character, who carries on his own skin that of a sacrifice. This is why he appears to have four feet and four arms. It is a representation of the pre-Hispanic ritual celebrated in honor of Xipe Totec, deity of vegetation, on dates close to the spring equinox. The relationship of this deity with fertility is clearly seen in the representation of the erect phallus of the character wearing the skin.

Xipe-Totec Sculpture. This sculpture tells us about death related to flaying, that is, the detachment of the skin of a sacrificed captive, in order to place it on the living skin of a warrior, perhaps his captor. The orange and red-painted ceramic sculpture shows us the effects of a ceremony that took place in honor of Xipe Totec, also known as Our Lord the Skinned. Only the face, hands, calves and feet have the skin of the character, the rest of the body has a kind of scales. It is possible that it is the same sacrifice that has already been stripped of its skin and that now assumes the proper role of the god. This ritual was related to fertility and the change of landscape that occurred after the drought, with the arrival of the first rains.

Mural painting fragments. From Las Higueras in the Municipality of Vega de Alatorre in the State of Veracruz. The most damaged part of the shrine of building 1 of Las Higueras, corresponded to the southeast, however, clear evidence of superimposition of structures was found in them, it is a townhouse that covered the first building and that corresponds to the third construction stage. In this townhouse, a fragment was found where three characters with their bodies painted black can be seen tied at the waist and holding the rope with one hand, which makes us think that they were captives. In the later and earlier body, two fragments have been placed which, even when they correspond to this second construction stage, are not exhibited according to their location in the original shrine.

Fragment of antropomorphic figure (head). From the site of Zapotal in the municipality of Ignacio de la Llave in the state of Veracruz.

Antropomorphic figure. From the site of Nopiloa in the Tierra Blanca municipality of the state of Veracruz.

Anthropomorphic figure (whistle). Female figure in clay that is held upright by means of a support. Wears quechquémitl and skirt decorated with geometric motifs. Her headdress is elaborate, and the figure of a bird is observed in it.

Anthropomorphic whistle. From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Anthropomorphic figure. Figure representing a standing man with open arms. He wears a quechquémitl, máxtlatl, necklace, and an elaborate headdress. It is supported thanks to a third element attached behind.

Zoomorphic whistle. Figurine representing a character with the head of a bird, bipedal and supported by a tripod.

Anthropomorphic figure (whistle). From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Female face. This fragment of ceramic sculpture presents the head of a young person, possibly female, who surprises us with its expressiveness and naturalness. Her simple headdress consists of a ribbon that holds her hair carefully parted in the middle, as some native girls wear today. It is one of the masterpieces of pre-Hispanic art and shows us how to use the technique of portraiture in sculpture.

Fragment of sculpture. From the site of Zapotal in the municipality of Ignacio de la Llave in the state of Veracruz.

Anthropomorphic figure. From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Human figure with zoomorphic headdress. From the site of Dicha Tuerta of the Municipality of Tierra Blanca in the State of Veracruz.

Anthropomorphic figure with seat. From the site of Piedras Negras in the municipality of Tlalixcoyan in the state of Veracruz.

Male figurine. From the site of Piedras Negras in the municipality of Tlalixcoyan in the state of Veracruz.

Swing Figurines. Two infants are shown in a scene from everyday life. This sculpture is proof of the playful aspects of the life of pre-Hispanic man in the central zone of Veracruz. The sculpture presents a whistle on its back, reinforcing the relationship of music, dance and play. The children, sitting on a swing, hold in their hands the rope that would hold them from the branch of a tree. It is decorated with black paint from crude oil.

Anthropomorphic figurine (whistle). Of unknown site and municipality in the state of Veracruz.

Anthropomorphic Figurine. Of unknown site and municipality in the state of Veracruz.

Anthropomorphic figurine. Of unknown site and municipality in the state of Veracruz.

Rattle anthropomorphic. From the site of Nopiloa in the municipality of Tierra Blanca in the state of Veracruz.

Articulated figurine. Ceramic techniques were shared between the inhabitants of central Veracruz and those of the Mayan lands of the Yucatan peninsula, especially those of the island of Jaina. In this case we have a figurine of the so-called "rattles" since, being hollow, they present the sound of seeds or pebbles inside. The piece, with its huipil richly decorated in red and white to highlight the complex geometric designs, also presents the peculiarity of having articulated arms.

Articulated smiling figurine. Articulated sculptures have a long tradition in Mesoamerica, in Veracruz we have them since the Postclassic and in Teotihuacán they abound in the Classic period. This one was decorated with mineral pigments in red and black tones, forming designs on the face and body that may correspond to tattoos or decorations that some children had on their skin. The red painted headdress has a very common fretwork for the center of Veracruz and which is known by the Nahuatl name "xicalcoliuhqui". The articulated arms allowed to play with their movement.

Smiling little face. From the site of Los Cerros in the municipality of Tierra Blanca in the state of Veracruz.

Smiling figure. From the site of Zapotal in the municipality of Ignacio de la Llave in the state of Veracruz.

Smiley face. From the site of Los Cerros in the Municipality of Tierra Blanca in the State of Veracruz.

Smiling figure. Found in the vicinity of the Blanco and Papaloapan rivers, a series of figurines were modeled and molded which, due to the expression on their faces, have been called "smiling". They are very characteristic for their expressiveness. They have been found near Tierra Blanca, Veracruz, in places like Nopila, Dicha Tuerta and El Zapotal. On some occasions they have been associated with secondary burials, so it can be thought that these happy faces were paradoxically associated with death. It seems that the tradition of representing laughter in sculpture dates from the early Classic to the Postclassic, but only in this central region of Veracruz.

Smiling figure. From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Model of El Tajin. Model of the El Tajin site seen from south (bottom) to north (top).

Model of El Tajin. Model of the El Tajin site seen from the west (bottom) to the east (top).

GALLERY 4

Aparicio Tombstone. On this tombstone we can see a magnificently preserved relief. The sculpture presents us with a decapitated ball player. The character, despite being dead, is shown sitting on the building in the game and with his body upright. Instead of streams of blood, seven snakes sprout from his neck, perhaps an allusion to Chicomecoatl "seven snake", the deity of ripe corn, ready for harvest and from which the ear will come off, which is like the head of man. The character wears a yoke and a palm at his waist, and in his hand he carries a kind of ritual ax or mitten, also used in the sacred game. All these instruments identify him as a ball player.

Anthropomorphic sculpture (Ehecatl). In the reliefs of the Tajín ball game there were scenes showing a deity wearing a mouth mask, a god of great importance to the participants in this ritual game. The terracotta sculpture exhibited here is a representation of the god of the wind, known among the Nahuatl-speaking peoples as Ehecatl Quetzalcoatl, who, according to myths, was in charge of driving the stars through the firmament, hence his mask and shell pectoral, instruments used to whistle and reproduce the sounds of the wind. Let us remember that the ball of the game, in constant movement, represented the stars of the firmament.

Anthropomorphic sculpture (Quetzalcóatl). In the reliefs of the Tajín ball game there were scenes where a deity wearing a mouth mask appears, a god of great importance for the participants of this ritual game. The terracotta sculpture exhibited here is a representation of the god of the wind, known among the Nahuatl-speaking peoples as Ehecatl Quetzalcoatl, who, according to myths, was in charge of driving the stars through the firmament, hence his mask and shell pectoral, instruments used to whistle and reproduce the sounds of the wind. Let us remember that the ball of the game, in constant movement, represented the stars of the firmament.

Palm. From the site of Rancho El Paraíso in the municipality of Banderilla in the state of Veracruz.

Zoomorphic ax. From the site of Acayucan in the municipality of Acayucan in the state of Veracruz.

Palm. Of unknown site and municipality in the state of Veracruz.

Palm. Of unknown site and municipality in the state of Veracruz.

Palm. Of unknown site and municipality in the state of Veracruz.

Zoomorphic yoke. From the site of Zapotal in the municipality of Ignacio de la Llave in the state of Veracruz.

Zoomorphic yoke. From the Plan del Río site in the municipality of Emiliano Zapata in the state of Veracruz.

GALLERY 5

Mictlantecuhtli. The deities of death were of great importance to pre-Hispanic peoples. In this case we are facing one of the most extraordinary sculptures ever produced representing a deity of death or lord of the underworld, known as Mictlantecuhtli in the postclassic. The emaciated character wears a kind of miter and sits placidly with his elbows on his knees, as if he were laughing while he waits. The pre-Hispanic concept of death, as an animated and supernatural entity, is embodied in this sculpture found in a ceremonial dump.

Character with blinders. The blinders that the character presents were used extensively during the Late Classic on the coast of the Gulf of Mexico and in the Mayan area, and have been related to warrior activities and manifestations of dynastic power. In Veracruz we do not have proof of this, however we have a wide presence of these additions. The artist knew how to give it an appearance of great naturalness and intense expression. His mastery of the molding and modeling technique is seen in his face, hands and feet. Also striking is the headdress, attached to a double chin, the ornaments or protectors that he wears on his arms and calves, as well as a kind of rope protector that he wears above the waist and that could remind us of ball players.

Twins. The characters modeled here in clay were possibly twins, it is the couple that performs important mythical scenes in pre-Hispanic stories and legends. In the Postclassic the twins were related to Quetzalcoatl, the quintessential divine twin. In this case, the characters carry a box that could be a ceremonial brazier or perhaps the container for sacred relics. The attire of the two characters is very brief, limited to an elegant headdress where we can see a shell, an attribute typical of the feathered serpent. They also wear simple loincloths painted black and a kind of bow around their necks. When observing the sandals that adorn their insteps, we suggest observing the foot of one stepping on the other, perhaps to indicate their supremacy.

Captive. Possibly it represents a prisoner held by a thick cord and a kind of trunk around the neck, which forces him to a forced position of the head. He shows highly expressive features that denote a certain hardness. The sculpture, in orange ceramic and life-size, has holes that allowed the heat to escape, thus avoiding its rupture. The attire is simple, and among them the loincloth and a necklace under the rope stand out. There is a hole in the chest, perhaps to embed some accessory or simply to allow the material to be fired. The sculpture was made in sections that fit at the waist, perhaps the arms were also made separately as well as the cylinders on the ears.

Cihuateotl. From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Cihuateotl. Dead woman in childbirth, with her mouth open and her eyes closed, a symbol of death that deified her and destined her as a companion to the sun. She presents a naked torso, belt and earmuffs, hanging from her neck a necklace of snails. She wears a white entanglement with a red circle, perhaps representing the sun, and parallel stripes that are supported by a bundle of snails, on top of which a blue rope can be seen knotted in front of her, her headdress is a double-headed serpent in blue. She wears earmuffs and shell bracelets. These life-size female sculptures are a typical feature of central Veracruz. It should be noted that we can still see its original color.

Male sculture. From the site of Piedras Negras in the municipality of Tlalixcoyan in the state of Veracruz.

Tlazolteotl. The open arms, as if hoping to embrace someone, as if they were holding loom combs, identify Tlasolteotl, the deity of carnal love, weavers and the moon. Perhaps her outfit, a multi-banded huipil, is associated with spinning and weaving. These types of sculptures generally have their mouths painted black, another element that associates them with this goddess. Her headdress is a kind of cap from which two cloth bands come off.

Tlazolteotl.

Cihuateotl. From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Tlazoltéotl. Unlike the majestic representations of Cihuateo, which are usually represented standing up, the sculpture of Tlazoltéotl is seated with her legs crossed in front, since she is the one who awaits the brave women who died in the battle for life (childbirth) and who also receives the sun at sunset. Her face has her eyes open, which also contrasts with the numerous representations of women dead in childbirth, she also bears the bloody glow of the evening sun that peeks behind the horizon, before being consumed by the earth at dusk. In her headdress, a head stands out, which could be a bat. The open mouth of the “sin eater” does not have the grimace of pain of dead women in labor. The girdle or señidor of the sculpture is clearly formed by a two-headed serpent (maquizcoatl) that represents duality and the transition of life-death, whose threshold could be crossed by the gods.

Cihuateotl. From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Sitting character. Although representations of seated characters are frequent in pre-Hispanic art, there are few examples of benches like the one shown in this composition. The individual's clothing suggests a middle social rank, despite his cranial deformation, a recurring cultural practice among the noble classes.

Anthropomorphic sculpture. It represents the figure of a male character with crossed legs and arms. He wears a headdress that encircles his head and ends at the back with a forelock. He wears a necklace with a pendant in the shape of a bird's head, he wears a thick belt from which the maxtlatl (loincloth) comes out. In this character, the decoration of pastillage circles on his chest and arms stands out.

Anthropomorphic sculpture. Holding a feline on his back with a sort of shawl, in the same way as the current indigenous carry their babies, this character is presented with a serene face, somewhat absent. From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Anthropomorphic sculpture. The cat is alive, we know not only because it brings the head up, but because he has the claws out, as if he were to hold something.

Anthropomorphic sculpture The scene may be connected with a character who carries behind his double or nagual, the protector animal throughout life.

Anthropomorphic figure (whistle). From the site of Zapotal in the municipality of Ignacio de la Llave in the state of Veracruz.

Zoomorphic figure. One of the sculptures that shows mastery of a refined ceramic technique is the one we see here. In it, by means of pinching fingers, it is possible to shape the hirsute skin of a seated and angry jaguar. This position is unusual in these animals, so it could be an allegory. The animal places its elbows on its knees, displaying its huge claws. The piece features black paint on the eyes and nose.

Anthropomorphic figure (whistle). From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Anthropomorphic figure (Whistle). From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Fantastic figure (whistle). From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Anthropomorphic figure (whistle). From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Covered box. From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Anthropomorphic esculture (whistle). From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Brazier. From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Covered brazier. From the site of Zapotal in the municipality of Ignacio de la Llave in the state of Veracruz.

Urn with lid. From the site of Zapotal in the municipality of Ignacio de la Llave in the state of Veracruz.

Architecture of the post-classical era. Model of architecture of the post-classical era.

Múltiple burial. From the site of Zapotal in the Ignacio de la Llave municipality of the state of Veracruz.

Corn stone. The relief of this sedimentary stone represents two earth deities in an agricultural scene, which is led by Tlaloc and Tlazolteotl. We recognize the first deity by her blinders and the second by her butterfly-shaped nose ring.

Corn stone (detail). Both hold a corn stalk in one of their hands. In the other hand, Tlaloc holds a scepter with paper decorations that ends in two flint knives. Tlazolteotl, on the other hand, wears a typical Tlaloc attire: the snake-stick, symbol of lightning.

Hunchback. Sculpture representing a hunchback. It shows part of his fleshless body in which the heart stands out in front and between his ribs. He rests on his heels, and presents sacrificial knives in both hands. His attire is made up of a maxtlatl or loincloth and a conical hat in which he wears a wide band in front that ends on the back.

Sources

• Museo de Antropología de Xalapa - Wikipedia
• Museo de Antropología de Xalapa - MAX
• Olmec colossal heads - Wikipedia
• Veracruz - Wikipedia

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