The present study is an attempt to isolate the structure and the developmental periods of the Olmec representational system. A systemic view and comparative analysis of this art yielded a breakdown of its component parts, established their range of variability, and provided an understanding about their articulation. Recurrent patterns of articulation revealed the major themes of the system. The term Olmec is limited to a specific art style, and not to the civilization The human form was the system's underlying form. Three main themes, or iconic complexes, emerged: the realistic Baby Face, the composite anthropomorph, and the composite zoomorph. Each theme showed specific associated motifs which, in some cases, were shared by the other two. The fundamental structure underlying the entire system is dual, one determining the naturalistic expression and the other the composite expression The temporal sequence of the Olmec representational system may be divided into three major periods. Olmec I (1200-1000 B.C.) is characterized by the presence of the composite zoomorph iconic complex, and by hollow and solid clay figurines depicting individuals with the realistic Baby Face type of visage. Monumental sculptures were apparently carved during the second half of the period. Olmec II (1000-700 B.C) is characterized by the appearance of the composite anthropomorph and its associated symbols. Portable carving was introduced in the form of realistic Baby Face individuals, the composite anthropomorph, stone copies of utilitarian objects and objects of adornment. New forms such as seated realistic Baby Face figures holding the composite anthropomorph and the same individuals dressed as the composite anthropomorph are added to the extant inventory of altars and colossal heads. Beginning at about 700 B.C., new forms and stylistic aspects are introduced into the system without significantly altering its structure, establishing the Modified Olmec period (700-400 B.C.). Composite representation related to serpent and avian pars pro toto elements became dominant. The realistic Baby Face individual is replaced by one with plain realistic features, the focus of representations carved on rock outcroppings, stelae, or painted on walls. (Abstract shortened by UMI.) / acase@tulane.edu
| Identifer | oai:union.ndltd.org:TULANE/oai:http://digitallibrary.tulane.edu/:tulane_26566 |
| Date | January 1990 |
| Contributors | Pohorilenko, Anatole (Author), Andrews, E. Wyllys, V (Thesis advisor) |
| Publisher | Tulane University |
| Source Sets | Tulane University |
| Language | English |
| Detected Language | English |
| Rights | Access requires a license to the Dissertations and Theses (ProQuest) database., Copyright is in accordance with U.S. Copyright law |
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