GENERAL DESCRIPTION
Ground stone axe heads, or celts, were tools for clearing wood and brush from land to be farmed. Celts made of precious greenstone, jadeite, and serpentine were important in Olmec ritual and may have constituted a form of wealth. Celts were most commonly placed in caches and burials. Incised celts were produced late in the Olmec era. In form, they are adaptations of the common stone axe into luxury material. This apparently symbolizes elite control over agricultural processes and over the acquisition of luxury materials. The shift from three-dimensional sculpture to incised two-dimensional designs parallels a shift in the form of information toward writing and conventionalized symbols. These were used widely in formative period Mesoamerica and indicate shared concepts among cultures. Some of these were transmitted to and adopted by the Maya and appear in hieroglyphic writing.
When a ruler incised his image on a celt, he directly associated the power of the axe with his own political position. This celt depicts an elaborately dressed ruler, standing with head and legs in profile and a frontally positioned torso. Prominent among his regalia are a baton of power, closely associated with the World Tree that was raised on the first day of creation, and a towering royal headdress, the ultimate symbol of Olmec political authority. The headdress carries the symbols of the world directions, the deity of maize vegetation, and the deity of the portal at the center of the world. Dressed in this way, the ruler is symbolically identified as the interface between the natural and supernatural, the cosmic balance, and as the World Tree that links the levels of the cosmos.
Adapted from
- Carol Robbins, Label text, A. H. Meadows Galleries, 2010.
- Carol Robbins, Label text [1968.32], A. H. Meadows Galleries, 2010.
- Carol Robbins, DMA unpublished material.
NOTES
- Olmec, Middle Formative period, 900–500 B.C.E., updated by KJones in TMS on 10/16/13, 03/14/16, and 03/21/16.
- Fun Facts Source: Carol Robbins, TMS, Notes / Curatorial Remarks, n.d. (citing Peter David Joralemon, A Study of Olmec Iconography (Washington D. C: Dumbarton Oaks Studies in Pre-Columbian Art and Archaeology, 1971): Figure 33).
- General Description drawn from: DMA unpublished material [Carol Robbins, TMS, Notes / Curatorial Remarks, n.d. (1970.18)].
Catalogue essays
Artist/designers
Cultures
Pre-Columbian (American): AAT: 300016619
Olmec: AAT: 300017051
Geography
Mexico (nation): TGN: 7005560
Guerrero (state): TGN: 7005585
Process/materials
greenstone (rock): AAT: 300386691
stone: AAT: 300011176
carving: AAT: 300053149
polishing (finishing): AAT: 300053867
incising: AAT: 300053847
Historical periods
Middle Preclassic Period (Formative): AAT: 300016973
Formative Period (Preclassic): AAT: 300016973
Preclassic (Archaic / Formative / Mesoamerican period): AAT: 300016967
Individuals
Subject terms
sculpture: AAT: 300047090
celts (cutting tools): AAT: 300251881
supernatural (concepts): AAT: 300055947
green (color): AAT: 300128438
rulers (people): AAT: 300025475
figures: AAT: 300189808
portrait: AAT: 300015637
standing: AAT: 300239500
deities: AAT: 300343850
maize (zea mays species): AAT: 300375398
corn (zea mays species): AAT: 300375398
tree of life (general motif / axis mundi /cosmic axis / world axis / world tree): AAT: 300312112
power: AAT: 300374809
scepters: AAT: 300214161
staffs (staff weapon components): AAT: 300204653
headdress: AAT: 300046023
loincloths (main garments): AAT: 300209923
masks (costume): AAT: 300138758
cardinal directions (compass points): AAT: 300078457
creation (doctrinal concept): AAT: 300069002
cosmology (cosmological / disciplines): AAT: 300054294
cosmic diagram (cosmos / cosmic geography / cosmic landscape): DMA
kan cross (motif): DMA
ritual objects: AAT: 300312158
luxury (concept / condition): DMA
RELATED OBJECTS
PROVENANCE
From 1970: Dallas Museum of Fine Arts, Dallas Art Association Purchase, purchased from Teochita, Inc., New York (Frances Pratt, dealer) [1], [2]
[1] The main source for this provenance is Acquisition Record (dated May 08, 1970, copy in Dallas Museum of Art Collections Records Object File). Exceptions and other supporting documents are noted.
[2] The Dallas Art Association is the predecessor to the Dallas Museum of Fine Arts. The name was abandoned in 1970. Works from this collection were transferred to the Dallas Museum of Fine Arts. The name of the Dallas Museum of Fine Arts, founded in 1933, changed to the Dallas Museum of Art in 1983.
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
253363666: UMO. [Caption] Drawing of 1970.18 (frontal). Source: Peter David (P.D.) Joralemon, A Study of Olmec Iconography (Washington, D.C.: Dumbarton Oaks Research Library and Collection, 1971): 25 (fig. 33). Copy in Dallas Museum of Art Collections Records Object File (1970.18).
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
- Incised celts are relatively rare; approximately fifty are known. Several conventional symbols appear on this celt—the kan cross, the crossed bands, flame eyebrows, arm bands, knuckledusters, clefts, etc. These were used widely in formative period Mesoamerica and indicate shared concepts among cultures. Some of these were transmitted to and adopted by the Maya and appear in hieroglyphic writing. The image on this celt is very similar to that of the San Miguel Amuco stela from Formative Period Guerrero.
TEACHING IDEAS
RULES
Apply to objects where number equals 1970.18
Category
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General Description
Ground stone axe heads, or celts, were tools for clearing wood and brush from land to be farmed. Celts made of precious greenstone, jadeite, and serpentine were important in Olmec ritual and may have constituted a form of wealth. Celts were most commonly placed in caches and burials. Incised celts were produced late in the Olmec era. In form, they are adaptations of the common stone axe into luxury material. This apparently symbolizes elite control over agricultural processes and over the acquisition of luxury materials. The shift from three-dimensional sculpture to incised two-dimensional designs parallels a shift in the form of information toward writing and conventionalized symbols. These were used widely in formative period Mesoamerica and indicate shared concepts among cultures. Some of these were transmitted to and adopted by the Maya and appear in hieroglyphic writing.
When a ruler incised his image on a celt, he directly associated the power of the axe with his own political position. This celt depicts an elaborately dressed ruler, standing with head and legs in profile and a frontally positioned torso. Prominent among his regalia are a baton of power, closely associated with the World Tree that was raised on the first day of creation, and a towering royal headdress, the ultimate symbol of Olmec political authority. The headdress carries the symbols of the world directions, the deity of maize vegetation, and the deity of the portal at the center of the world. Dressed in this way, the ruler is symbolically identified as the interface between the natural and supernatural, the cosmic balance, and as the World Tree that links the levels of the cosmos.
Adapted from
- Carol Robbins, Label text, A. H. Meadows Galleries, 2010.
- Carol Robbins, Label text [1968.32], A. H. Meadows Galleries, 2010.
- Carol Robbins, DMA unpublished material.
Fun Facts
- Incised celts are relatively rare; approximately fifty are known. Several conventional symbols appear on this celt—the kan cross, the crossed bands, flame eyebrows, arm bands, knuckledusters, clefts, etc. These were used widely in formative period Mesoamerica and indicate shared concepts among cultures. Some of these were transmitted to and adopted by the Maya and appear in hieroglyphic writing. The image on this celt is very similar to that of the San Miguel Amuco stela from Formative Period Guerrero.
Archival Resources
Web Resources
Notes
- Olmec, Middle Formative period, 900–500 B.C.E., updated by KJones in TMS on 10/16/13, 03/14/16, and 03/21/16.
- Fun Facts Source: Carol Robbins, TMS, Notes / Curatorial Remarks, n.d. (citing Peter David Joralemon, A Study of Olmec Iconography (Washington D. C: Dumbarton Oaks Studies in Pre-Columbian Art and Archaeology, 1971): Figure 33).
- General Description drawn from: DMA unpublished material [Carol Robbins, TMS, Notes / Curatorial Remarks, n.d. (1970.18)].
Catalogue essays
Artist/designers
Cultures
Pre-Columbian (American): AAT: 300016619
Olmec: AAT: 300017051
Geography
Mexico (nation): TGN: 7005560
Guerrero (state): TGN: 7005585
Process/materials
greenstone (rock): AAT: 300386691
stone: AAT: 300011176
carving: AAT: 300053149
polishing (finishing): AAT: 300053867
incising: AAT: 300053847
Historical periods
Middle Preclassic Period (Formative): AAT: 300016973
Formative Period (Preclassic): AAT: 300016973
Preclassic (Archaic / Formative / Mesoamerican period): AAT: 300016967
Individuals
Subject terms
sculpture: AAT: 300047090
celts (cutting tools): AAT: 300251881
supernatural (concepts): AAT: 300055947
green (color): AAT: 300128438
rulers (people): AAT: 300025475
figures: AAT: 300189808
portrait: AAT: 300015637
standing: AAT: 300239500
deities: AAT: 300343850
maize (zea mays species): AAT: 300375398
corn (zea mays species): AAT: 300375398
tree of life (general motif / axis mundi /cosmic axis / world axis / world tree): AAT: 300312112
power: AAT: 300374809
scepters: AAT: 300214161
staffs (staff weapon components): AAT: 300204653
headdress: AAT: 300046023
loincloths (main garments): AAT: 300209923
masks (costume): AAT: 300138758
cardinal directions (compass points): AAT: 300078457
creation (doctrinal concept): AAT: 300069002
cosmology (cosmological / disciplines): AAT: 300054294
cosmic diagram (cosmos / cosmic geography / cosmic landscape): DMA
kan cross (motif): DMA
ritual objects: AAT: 300312158
luxury (concept / condition): DMA
RELATED OBJECTS
PROVENANCE
From 1970: Dallas Museum of Fine Arts, Dallas Art Association Purchase, purchased from Teochita, Inc., New York (Frances Pratt, dealer) [1], [2]
[1] The main source for this provenance is Acquisition Record (dated May 08, 1970, copy in Dallas Museum of Art Collections Records Object File). Exceptions and other supporting documents are noted.
[2] The Dallas Art Association is the predecessor to the Dallas Museum of Fine Arts. The name was abandoned in 1970. Works from this collection were transferred to the Dallas Museum of Fine Arts. The name of the Dallas Museum of Fine Arts, founded in 1933, changed to the Dallas Museum of Art in 1983.
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