Transformation Figure in Combat Stance

Although smaller than the transformation figure that it was reportedly found with (PC.B.008), this sculpture is similar in many ways. It has a virtually identical combat stance, facing to the left with the left leg forward and the right arm pulled back in a striking position. In this case, however, both hands (or paws) are drilled, indicating a weapon or other object was held in the left hand as well as the right. In comparison to the larger transformation figure, this one is decidedly more catlike, with an entirely feline head and a long, curling tail, but it retains an essentially human bipedal stance, and displays pawlike hands clenched in human fashion; like the other shaman-feline, it has thumbs that slightly cover the ends of the second digits.

Along with the similar pose, the material and workmanship of this statuette also recall PC.B.008. The figure is rendered in the same highly polished and virtually black serpentine, although in this case much more of the surface has been whitened by gradual oxidation of the stone. So, too, a considerable amount of cinnabar staining still adheres to the surface, particularly in the more recessed areas, such as the mouth, ears, inner arms, and groin. Along with drilled holes to indicate the nostrils, small and carefully drilled pits mark the spaces between the fingers and toes, an unusual trait seen also on the feet of PC.B.008. A series of curving incised lines delineate the fingers from the backs of the hands. An Early Formative jaguar effigy bottle attributed to Las Bocas indicates that this convention serves to convert the fingers into long curving claws (see Feuchtwanger 1989:156–157). Thus, rather than simply being human hands, the figure’s fists double as feline paws with long, protruding claws. Although PC.B.008 has essentially human arched feet, the rear paws of this figure are marked with a trefoil-like device denoting the pads of feline paws. As in other Olmec examples of serpentine transformation figures, minute disks of polished iron pyrite serve as the eyes of the jaguar face.

Although a powerful entity prepared for combat, this figure nevertheless seems to emit a quality of playful cuteness, suggested in part by its infant-like stance and protruding belly. Other sculptures suggest that, at times, the Olmec elite regarded the jaguar with a familiarity approaching affection. One recently published Olmec sculpture portrays a potbellied jaguar standing on its rear legs with its hollowed forepaws before the mouth, much as if to blow a trumpet or other instrument (Princeton University Art Museum 1995:no. 50). With its bent arms and partly crouching stance, the anthropomorphic jaguar from Tuxtla Chico, Chiapas, also possesses a playful, animated quality (Benson and Fuente 1996:no. 4; Easby and Scott 1970:no. 35). The stance of this figure also recalls a Late Preclassic jaguar sculpture from El Baúl, Guatemala, which embodies a combination of terrible beast and attentive pet. Elizabeth Kennedy Easby and John F. Scott note how “in spite of its huge size, bared fangs, and exposed claws this feline sits up and begs like a tame dog. The presence of the double-tiered collar reinforces the impression of a domesticated animal” (Easby and Scott 1970:no. 55).

The Classic Maya also frequently portrayed jaguars with a certain degree of humor; although many such examples exist on Late Classic Maya polychrome ceramic vessels, perhaps the most striking occur on the Jaguar Stairway in the East Court at Copan. J. Eric S. Thompson said, regarding these rotund creatures, “at Copán a giant jaguar guards each flank of a flight of stairs. The jaguar has always had a largely undeserved reputation for fierceness, with many apocryphal stories of attacks on lonely travelers. The artist must have decided to debunk the dread creature. He carved each with one paw on hip, the other pointing to the steps. . . . ‘Who’s afraid of the big bad wolf?’ is clearly the theme” (Thompson 1954:204). A Late Classic cache adjacent to Copan Altar Q contained the remains of fifteen jaguars, indicating live jaguars may have been kept at the site. Much like leopards at the traditional royal court of Benin, Nigeria, live jaguars may well have served as pets among the Olmec and Classic Maya elite. Along with the use of jaguar thrones, the presence of these powerful animals in the royal court would proclaim the greatness of the ruler. A high degree of royal familiarity with jaguars reinforced the power of the elite, who could keep fearsome jaguars rather than mundane dogs. A number of Late Classic Maya vessels portray live jaguars standing next to royal thrones (see Kerr 1989:6, 1994:563, 1997:744). The apparently playful quality of the serpentine transformation figure here may indicate a special relationship of this precious object to its owner; this figure may represent a beloved companion as well as a supernatural guardian of a particularly powerful individual.

Indigenous Art of the Americas, National Gallery of Art, Washington, D.C., 1956–1962

Olmec Art of Ancient Mexico, National Gallery of Art, Washington, D.C., 1996