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Baessler-Archiv Erlag Von Dietrich Reimer 180 Bruhns, Intermediate Area Sculpture ill Thematic Perspective Sonderdruck aus BAESSLER-ARCHIV BEITRAGE ZUR VOLKERKUNDE BAN D X X X, 1 982 f ig. 21. Si de view of same. ERLAG VON DIETRICH REIMER· BERLH Fig. 22 . R ear view of same. Baessler-Archiv, Neue Folge, Band XXX (1982) 147 A VIEW FROM THE BRIDGE: INTERMEDIATE AREA SCULPTURE IN THEMATIC PERSPECTIVE K ARE N 0 L SEN B R U H N S, San Francisco Stone sculptures which bear little resemblance to the monuments of the major Mesoamerican artistic traditions have long been noted in the Maya area. The greatest concentration of these is in sites which cluster along the Pacific piedmont and adjacent highlands of southern Mexico, Guatemala, and El Salvador (Figure 1). In 1940 Francis Richardson summed up what was then known about these sculptures and noted that they bore certain resemblances to stone monuments from lower Central America, suggesting that the Central American sculptures might well be due to successive in­ trusions of Mexican peoples or ideas into Central America. Although there has been, since Richardson's study, a great increase in information con­ cerning these sculptures and their cultural context, his preliminary hypo­ thesis has remained current and most syntheses regard it as given that the Central American sculptura.l traditions were offshoots of those of Meso­ america. Even with the resurgence of interest !n possible contacts and in­ fluences between Mesoamerica, Central and South America there has been little reconsi·deration of the basic nature of these sculptural traditions or formulation of alternative hypotheses concerning their origins and relation­ ships. Partly this is because one of the basic problems of any such recon­ sideration has remained essentially unchanged since Richardson wrote: the near total bck of precise chronological placement for these sculptures, where­ ever they are found . This is not the fault of the researchers, necessarily. In any situation involving long occupied areas in which rebuilding and remodeling of sites has tlken place there exists the very real possibility, and often the certainty, that monuments have been moved and/or re-set. To such ancient disturbance may be added modern movement and, often, actual removal of sculptures. Hence there are doubts about the original context of sculptures in the majority of sites. The result is that in both Mesoamerica and Central America the temporal placement of these sculptural traditions is quite vague and, at best, is within a period or phase of some centuries. This is not a situation which lends itself to any rigorous study of origin, function or extra-territorial relationships (Figure 2). 10 '" 148 Bruhns, Intermediate Area Sculpture in Thematic Perspective Baess ler-Archiv, Neue Folge , Band XXX (1982) 149 FIGlJ!1.E 2 REl, r\ ~ ' lV:;: CriHONO LOGY OF lr\TEHt"ri,::D I ATE P.flEA P.KD SOUT EE:R I'! ~,it.:~OAl'[f.uI CP.N " ~~ON -J,lA':'/·." SCULI'TliJlE PErCOllS r.lSXICO GUA'l'EhtALA EL SA LVADOR NI CARAGUA COSTA nICA PA NAlItA COLo rmr p, '\ Late [ ost­ ~ Cla3!'.nc r'(l , ~ ~~ 12CO A.D. ~~ I r I---~ Early Post­ Za pLlt€ r n Jiqu i 5 De l ta ~~ ·;L£ Clas ::;ic '"'­ \ i1o lTlo t.omo o Linea Vie j a . Chon t ales 1,a.o f1c r cedes/ ,llO A.D . 1'0 --- ------~ ~ fl.e va n t a z 6 ~ . r I; I :l!;::;ic 1 - --I ~' iorr n"cnt r o 600 A.D. 1 ,':) !,!oscopori( 0) EU1- ly Classic San Arustin 10( A.D. Izapa Le t. i f': i 1. La te Fo r mative '" ... 61 " 300 B. C. AntiFUa Ba Sln 1 Aba j Takalik I: 1. ; 1' , ~ ; !'ii _!..i ... ·:: 1 900 B.C. !-=--f' \ ' "Olmec" " 01r.tec" f,.-;· "·:;· #, ,, \.; --l <{ ;::~~ ~ -~ ~UJ::J ~" \::;: -, 'ti­>! <:l I ! -..!\: '" '" '<U ~ Ii :::2~ ,,<:lo~~ "1 -.!.. ~:J~ ~~~~\ II ; ,~ z() Yet another problem is the multiplicity of styles fo und in both areas. o~ \ " . 1~ · !~ 2 There are unsolved problems with the definition of even the major styles of ~ ' ~ ~ southern Mesoa,merica in either the synchronic or the diachronic sense, i - ~ Nowhere is this more of a problem than in the sites of the P acific piedmont, '­ f -' \ '---' w here examples of stylistically diverse sculptures, perhaps representing many diverse cultural strains, are known, These often occur within the same site o r local e and were rather obviously also re-lised and re-set m any times.1 Fig, 1. Distribution of sites with monumental scu lpture in the Intermedi ate Area l d. Graham 1978 and 1982, Norman 1976, Parsons 1969, inter alia. and [hose with sculpture in non-Maya tradi tion s of somhern Mesoamerica, Compass rose: jaguar head sc ulpture from Cara Sucia, EI Salvador. Legend figures: from relief 2, Chalcatzingo, Morelos, Mexico, Corner faces: masked and supernatural figures from San Agustin, Colombia, 150 Bruhns, Intermediate Area Sculpture in Thematic Perspective Baessler-Archiv, Neue Folge, Band XXX (1982) 151 It is, however, possible to s.ide-step this latter problem by turning to a When one turns to the cultures of lower Central America and northern consideration not of style but of theme in an attempt to delineate relation­ South America, the so-called Intermediate Area, it is apparent that a common ships among the various cultures which erected these monuments. Thematic element in mallY of these cultures was the production of representational analysis of archaeological art is not new in either Mesoamerica or South stOne statuary. Within this vast region there are numbers o·f sites which America, although it is undergoing a new popularity. This is especially true exhib·it a series of characteristics which both set them off from other sites of in the Central Andes where the work of Donnan, Sharon, Cordy-Collins, the area and from the sites of Mesoamerica. In general these sites exhibit Lyon and others in the area of thematic analysis has led to a more profound earthen or earthen and stone mounds associated with free-standing stOne understanding of ancient religions and their histOry.2 In Mesoamerican sculptures and with burials. Sites of this type which have been investigated studies the thematic approach has nOt been as popular, even though it was by archaeologists also show that there is a considerable amount of living a thematic analysis (combined with associational evidence) of Piedras Negras refuse and, often, the remains of domestic architecture as well. Thus it would sculptures that was instrumental in a major revision of thought concerning appear that these were not vacant ceremonial centers or necropolises but the essential character of Mayan civilization.3 A thematic approach has also were, initially at least, villages or tOwns with civic/religious architecture, been used by Michael Coe in studying Classic period Mayan vase painting, domestic architecture and quarters for the dead as well as for the living. yielding new insights into Mayan histOry and religion and, in West Mexico, Sites such as this are quite common and are all rather similar, allowing, of course, Peter Furst has begun to unravel the enigma of prehispanic ceramic tOmb for variation in size md local differences in the arrangement of the larger, sculptures in much the same manner.4 However, a more general trend in non-domestic, platforms. It is difficult to make any definite statements about studies of Mexican and Mayan art has been a concern with style, treating site planning since so few of these sites have been mapped in any detail, but this together with theme as though the two were entirely intertwined. But the plaza arrangement typical of Mesoamerican ceremonial centers does not style and theme are not the same, nor are they necessa ril y dependent vari­ seem to have been well developed. 6 ables. Style can be seen as the expression of ideas in a local mode of re­ presentation, the screen through which all depictions, whether of local origin The statuary, which differs immensely in style from region to region, is or not, are passed. Stylistic analysis is in itself extremely useful in the generally associated with the larger mounds or platforms. These very often delineaeion of a given cultural tradition and can be a crucial methodology contain tOmbs and graves and are associated with cemeteries containing both for arriving at fine chronological distinctions and, th rough these, a true rich, well-furnished, and simpler or poorer graves. The specific type of inter­ culture history.5 This type of sty listic analysis, however, has hardly begun ment varies from site to site, but there is a consistent association between the large mounds, burials in or near these and sculpture. in either Mesoamerica or Central America. Theme, which may be defined as the reflection of the purposes and concerns of the art itself, what is being The sculptures associated with the mounds and cemeteries are usually free­ portrayed rather than how it is portrayed, can be used alone in situations standing and three-dimensional, that is, meant to be viewed from all sides in which there is a great areal extension of whatever is under consideration (although there is a tendency to place less emphasis in detail on the back in and where there is little in the way of precise archaeological data to help. Theme and style can, in one sense, be seen as twO separate aspects of any ~ General descriptions and very partial maps are available for only <1 few sites. The artistic tradition or set of traditions and thematic analysis, especially, can number of sites which have been thoroughly mapped is infinrisimal. Small sites be a va luable first step in the decipherment of cultural inter-relationships.
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