Mesoamerican Archaeology. Группа авторов

Mesoamerican Archaeology - Группа авторов


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more formally organized layout of platforms and plazas in the core of the center (González Lauck 1996) (Figure 2.9b). The Great Mound C-1 at the heart of the site was constructed as a 30 m tall stepped earthen pyramid (González 1997). With five massive offerings of greenstone blocks (one of which had a combined weight of 1000 tons), interred to the north of the pyramid in the restricted Complex A, Carolyn Tate (1999) reasonably interprets Mound C-1 as the representation of a mountain emerging from the primordial sea while referencing the location of La Venta at the center of its specific landscape between the ocean to the north and highlands to the south.

      The emplacements of the massive offerings constituted impressive, memorable acts that would have been witnessed at a minimum by laborers and participants and the locations of which were marked with low platforms. Additional buried offerings contained carefully arranged sets of greenstone celts, recalling the much earlier offerings of El Manatí and La Merced, while others contained beautifully carved and polished greenstone figurines. Offering IV, a group of 16 figurines standing before six celts set vertically like stelae, was not only buried but subsequently reopened as if to confirm they were still there and reburied without disturbing their positions in a remarkable act of remembering (Drucker et al. 1959: 154–155).

       Discussion: The Shifting Political Landscapes of Olman

      At 1500 BCE the landscape of the southern Gulf lowlands of Mesoamerica stood on the cusp of a transformation. For over three millennia its human inhabitants had supplemented the natural boundary of its rivers, marshes, swamps, lakes, savannas, and forests by planting maize in small plots cleared in part by burning the natural vegetation during the dry season (Pope et al. 2001). In dwelling on the land, making gardens, walking the trails, marking fishing holes, disposing of their dead, and recounting stories of it all, the Olmecs’ ancestors had already constituted a landscape in concert with the natural environment and the forces they perceived to inhabit it.

      Though their settlements were relatively small and overall population density was low, the inhabitants of Olman were not isolated from one another or from the world around them but shared raw materials, technologies, and artifact styles. Throughout the region, even among the relatively mobile inhabitants of the Tuxtla Mountains, people made similar neckless jars (tecomates) and other vessel forms, which they decorated with a common variety of plastic techniques, including rocking stamping, with a shell moved backward and forward in the damp clay. Obsidian, though not abundant, was acquired even in small sites, probably through down-the-line trade from Central Mexico and Guatemala, as was serpentine and other greenstones used in ritual. At El Manatí, people continued their two-century-old practice of offering greenstone axes, rubber balls, and healing plants to the forces that controlled water in both its benevolent and destructive aspects. Thus, by the end of the Initial Formative period at 1450 BCE, some of the basic elements of Olmec subsistence, technology, and ritual were in place, and they had already begun to shape the landscape physically and conceptually in ways that would remain little changed in parts of Olman for a thousand years, while other parts would see impressive settlement growth, social differentiation, and landscape transformation.

       EARLY FORMATIVE LANDSCAPES (1450–1000 BCE )

      Thus, in the middle Coatzacoalcos valley powerful rulers of the most urbanized settlement in Mesoamerica used the advantage of a large labor force, abundant wild food sources, cultivable uplands and efficient riverine travel to manage the risks and opportunities presented by interannual variation in rainfall and flood intensities. Their power lay not only in their economic advantage but also in their cooptation of preexisting ritual and beliefs about the relationship of humans to the natural and supernatural forces of the cosmos expressed in a novel technology of meaning and social memory – the carving and setting of monumental stone sculptures in juxtaposition with other sculptures and civil–religious architecture in the capital and its subordinate centers.


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