Olmec colossal basalt head in the Museo de la Venta, an outdoor museum near Villahermosa, Tabasco, Mexico.© Robert Frerck/Odyssey Productions
The central theme of the Olmec religion was a pantheon of deities each of which usually was a hybrid between jaguar and human infant, often crying or snarling with open mouth. This “were-jaguar” is the hallmark of Olmec art, and it was the unity of objects in this style that first suggested to scholars that they were dealing with a new and previously unknown civilization. There is actually a whole spectrum of such were-jaguar forms in Olmec art, ranging from the almost purely feline to the human in which only a trace of jaguar can be seen.
These Olmec monuments were generally carved in the round with great technical prowess, even though the only methods available were pounding and pecking with stone tools. Considerable artistry can also be seen in the pottery figurines of San Lorenzo, which depict nude and sexless individuals with were-jaguar traits.
Exotic raw materials brought into San Lorenzo from distant regions suggest that the early Olmec controlled a large trading network over much of Mesoamerica. Obsidian, used for blades, flakes, and dart points, was imported from highland Mexico and Guatemala. Most items were obviously for the luxury trade, such as iron ore for mirrors and various fine stones such as serpentine employed in the lapidary industry. One material that is conspicuously absent, however, is jade, which does not appear in Olmec sites until after 900 bce and the fall of San Lorenzo.
There is evidence that the Olmec sent groups from their Gulf coast “heartland” into the Mesoamerican highlands toward the end of the Early Formative, in all likelihood to guarantee that goods bound for San Lorenzo would reach their destination. San Lorenzo-type Olmec ceramics and figurines have been found in burials at several sites in the Valley of Mexico, such as Tlapacoya, and in the state of Morelos. The Olmec involvement with the rest of Mesoamerica continued into the Middle Formative and probably reached its peak at that time.
San Lorenzo is not the only Olmec centre known for the Early Formative. Laguna de los Cerros, just south of the Cerro Cintepec in Veracruz, appears to have been a large Olmec site with outstanding sculptures. La Venta, just east of the Tabasco border, was another contemporary site, but it reached its height after San Lorenzo had gone into decline.
Middle Formative period (900–300 bce)
Horizon markers
Once ceramics had been adopted in Mesoamerica, techniques of manufacture and styles of shape and decoration tended to spread rapidly and widely across many cultural frontiers. These rapid diffusions, called horizons, enable archaeologists to link different cultures on the same time level. Good horizon markers for the Early Formative are colour zones of red pigment set off by incised lines; complex methods of rocker stamping (a mode of impressing the wet clay with the edge of a stick or shell); the tecomate, or globular, neckless jar; and Olmec excised pottery. The beginning of the Middle Formative over much of Mesoamerica is marked by the diffusion of a very hard, white pottery, decorated with incised lines, and by solid pottery figurines with large, staring eyes formed by a punch. The people who replaced and probably overthrew the Olmec of San Lorenzo about 900 bce had such pottery and figurines, the ultimate origins of which are still a puzzle.
During the Middle Formative, cultural regionalism increased, although the Olmec presence can be widely detected. The transition to fully settled life had taken place everywhere, and burgeoning populations occupied hamlets, villages, and perhaps even small towns throughout Mesoamerica, both highland and lowland.
Olmec civilization at La Venta
La Venta was located on an almost inaccessible island, surrounded at that time by the Tonalá River; the river now divides the states of Veracruz and Tabasco. As San Lorenzo’s fortunes fell, La Venta’s rose, and between 800 and 400 bce it was the most important site in Mesoamerica.
At the centre of La Venta is a 100-foot (30-metre)-high mound of earth and clay that may well house the tomb of a great Olmec ruler. Immediately north of the Great Mound is a narrow north–south plaza flanked by a pair of long mounds. Beyond the plaza is a ceremonial enclosure surrounded by a “fence” made entirely of upright shafts of columnar basalt. A low, round mound on the north side of the ceremonial enclosure contained several tombs, one of which was surrounded and covered by basalt columns. In this tomb were found the bundled remains of two children, accompanied by magnificent ornaments of jade. Offerings were not only placed with the dead but were also deposited as caches in the site, especially along the north–south axis of the ceremonial centre.
Among the most beautiful objects manufactured by the Olmec were the concave mirrors of iron ore, which were pierced to be worn around the neck. These could throw pictures on a flat surface and could probably start fires on hot tinder. Olmec leaders at La Venta, whether they were kings or priests, undoubtedly used them to impress the populace with their seemingly supernatural powers. Olmec sculptors continued to produce the basalt monuments, including colossal heads and “altars,” that have been found at La Venta. Significantly, an increasing number of monuments were carved in relief, and some of these were stelae with rather elaborate scenes obviously based upon historical or contemporary events.
Olmec colonization in the Middle Formative
From the Middle Formative there are important Olmec sites located along what appears to have been a highland route to the west to obtain the luxury items that seemed to have been so desperately needed by the Olmec elite—e.g., jade, serpentine, iron ore for mirrors, cinnabar, and so forth. Olmec sites in Puebla, the Valley of Mexico, and Morelos are generally located at the ends of valleys near or on major passes; they were perhaps trading stations garrisoned by Olmec troops. The largest of these sites is Chalcatzingo, Morelos, a cult centre located among three denuded volcanic peaks rising from a plain. On a talus slope at the foot of the middle peak are huge boulders on which have been carved Olmec reliefs in La Venta style. The principal relief shows an Olmec woman, richly garbed, seated within the mouth of a cave; above her, cumulus clouds pour down rain.
Similar Olmec reliefs, usually narrative and often depicting warriors brandishing clubs, have been located on the Pacific plain of Chiapas (Mexico) and Guatemala. Since about 1960, spectacular Olmec cave paintings have been found in Guerrero, offering some idea of what the Olmec artists could do when they worked with a large spectrum of pigments and on flat surfaces.
Olmec culture or civilization did not spread eastward from its Veracruz–Tabasco centres into the Maya lowlands, but occasional Olmec artifacts have been found in Formative Maya contexts, such as at Seibal, in southern Petén, Guatemala. Maya Formative Period occupations, represented by settled farming villages and well-made ceramics, date to c. 1000 bce in the lowlands of Guatemala and Belize. It seems reasonably certain, however, that at this early date great ceremonial centres, comparable to those of Olmec San Lorenzo or La Venta, were never constructed in the Maya lowlands.
It was formerly thought that the Olmec worshiped only one god, a rain deity depicted as a were-jaguar, but study has shown that there were at least 10 distinct gods represented in Olmec art. Surely present were several important deities of the later, established Mesoamerican pantheon, such as the fire god, rain god, corn god, and Feathered Serpent. Other aspects of mental culture are less well-known; some Olmec jades and a monument from La Venta have non-calendrical hieroglyphs, but none of this writing has been deciphered.