(New York City) ; height: 16.5 cm; Metropolitan Museum of Art The Olmec culture was first defined as an art style, and this continues to be the hallmark of the culture. Wrought in a large number of media – jade, clay, basalt, and greenstone among others – much Olmec art, such as
The Wrestler, is naturalistic. Other art expresses fantastic
anthropomorphic creatures, often highly stylized, using an iconography reflective of a religious meaning. Common
motifs include downturned mouths and a cleft head, both of which are seen in representations of
werejaguars. These monuments can be divided into four classes: • Colossal heads (which can be up to tall); • Rectangular "altars" (more likely thrones) such as Altar 5 shown below; • Free-standing in-the-round sculpture, such as the twins from
El Azuzul or
San Martín Pajapan Monument 1; and •
Stele, such as
La Venta Monument 19 above. The stelae form was generally introduced later than the colossal heads, altars, or free-standing sculptures. Over time, the stele changed from simple representation of figures, such as Monument 19 or
La Venta Stela 1, toward representations of historical events, particularly acts legitimizing rulers. This trend would culminate in post-Olmec monuments such as
La Mojarra Stela 1, which combines images of rulers with
script and
calendar dates.
Colossal heads The most recognized aspect of the Olmec civilization are the enormous helmeted heads. As no known pre-Columbian text explains them, these impressive monuments have been the subject of much speculation. Once theorized to be ballplayers, it is now generally accepted that these heads are portraits of rulers, perhaps dressed as ballplayers. Infused with individuality, no two heads are alike and the helmet-like headdresses are adorned with distinctive elements, suggesting personal or group symbols. Some have also speculated that Mesoamerican people believed that the soul, along with all of one's experiences and emotions, was contained inside the head. Seventeen colossal heads have been unearthed to date. The heads range in size from the Rancho La Cobata head, at high, to the pair at Tres Zapotes, at . Scholars calculate that the largest heads weigh between . The heads were carved from single blocks or boulders of volcanic
basalt, found in the Sierra de los Tuxtlas. The Tres Zapotes heads, for example, were sculpted from basalt found at the summit of Cerro el Vigía, at the western end of the Tuxtlas. The San Lorenzo and La Venta heads, on the other hand, were probably carved from the basalt of Cerro Cintepec, on the southeastern side, perhaps at the nearby
Llano del Jicaro workshop, and dragged or floated to their final destination dozens of miles away. It has been estimated that moving a colossal head required the efforts of 1,500 people for three to four months. The flat-faced, thick-lipped heads have caused some debate due to their resemblance to some African facial characteristics. Based on this comparison, some writers have said that the Olmecs were Africans who had emigrated to the New World. But the vast majority of archaeologists and other Mesoamerican scholars reject claims of pre-Columbian contacts with Africa. Explanations for the facial features of the colossal heads include the possibility that the heads were carved in this manner due to the shallow space allowed on the basalt boulders. Others note that in addition to the broad noses and thick lips, the eyes of the heads often show the
epicanthic fold, and that all these characteristics can still be found in modern Mesoamerican Indians. For instance, in the 1940s, the artist/art historian
Miguel Covarrubias published a series of photos of Olmec artwork and of the faces of modern
Mexican Indians with very similar facial characteristics. The African origin hypothesis assumes that Olmec carving was intended to be a representation of the inhabitants, an assumption that is hard to justify given the full corpus of representation in Olmec carving.
Ivan Van Sertima claimed that the seven braids on the Tres Zapotes head was an Ethiopian hair style, but he offered no evidence it was a contemporary style. The
Egyptologist Frank J. Yurco has said that the Olmec braids do not resemble contemporary Egyptian or Nubian braids.
Richard Diehl wrote "There can be no doubt that the heads depict the American Indian physical type still seen on the streets of Soteapan, Acayucan, and other towns in the region."
Jade face masks Another type of artifact is much smaller;
hardstone carvings in
jade of a face in a mask form. Jade is a particularly precious material, and it was used as a mark of rank by the ruling classes. By 1500 BC early Olmec sculptors mastered the human form. This can be determined by wooden Olmec sculptures discovered in the swampy bogs of El Manati. The 'Olmec-style' refers to the combination of deep-set eyes, nostrils, and strong, slightly asymmetrical mouth. Olmec arts are strongly tied to the Olmec religion, which prominently featured jaguars. British Museum Mesoamerica 052.jpg|1200–400 BC; polished green quartz (
aventurine); height: 29 cm, width: 13.5 cm;
British Museum (London) Spirit axe, Gulf Coast Olmec culture, Tabasco state, Middle Formative period, c. 900-500 BC, stone - Dallas Museum of Art - DSC04581.jpg|900–500 BC; stone;
Dallas Museum of Art (Texas, US) Mexico, Olmec, 1200-300 BC - Celt with Deity - 1954.856 - Cleveland Museum of Art.tif|12th–3rd century BC; stone; height: 32.2 cm, width: 14 cm, depth: 11.5 cm;
Cleveland Museum of Art (Ohio, US) Anthropomorphic plaque, possibly the Fire Sepent, possibly a forgery, Olmec, Formative period, 800-400 BC, serpentine, cinnabar - Dallas Museum of Art - DSC04579.jpg|800–400 BC;
serpentine,
cinnabar; Dallas Museum of Art ==Beyond the heartland==