THE SHARK-MONSTER IN OLMEC ICONOGRAPHY - Imaginary Year

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PHILIP J. ARNOLD III, “The Shark-Monster in Olmec Iconography” Mesoamerican Voices, 2 (2005) Figure 10. The Izapan world creation story as depicted on Izapa Stela 3. Note obscured (i.e., missing) leg of standing figure. Redrawn from Norman 1976:Figure 3.4. border (Norman 1973, 1976). Izapa is particularly noteworthy for its extensive body of megalithic monuments; although lacking inscriptions, Stela 3 probably dates to the end of the Formative Period (e.g., Norman 1976:324-325; Smith 1984:45- 47). Several figures appear on the stela; nonetheless, the main activity takes place between a large human figure facing toward the viewer’s left and an equally large sinuous creature with a gaping jaw (Figure 10). The human figure wears an elaborate mask and headdress and, with his left arm raised, seems to threaten the creature with an L- 18 shaped object. Only the upper portion of the sharkmonster’s body is represented; it emerges from between the human figure’s legs. The result of this arrangement is that only one leg of the human is visible—the other leg is effectively missing. 14 The shark-monster has a long upper jaw, a reduced lower jaw, and a bulbous nose. A single, large bifurcated tooth erupts from the front of the gum line. As with the Chalcatzingo Monument 5, a second, long bifurcated element is present. A fish barbel is clearly visible behind the shark-monster’s jaw. One ad-
PHILIP J. ARNOLD III, “The Shark-Monster in Olmec Iconography” Mesoamerican Voices, 2 (2005) ditional aspect of Izapa Stela 3 supports the identification of an aquatic context. Directly above the opened jaws of the sharkmonster is the profile of a human head positioned within a U-shaped outline. The human profile looks toward the action, as if intently watching the outcome. According to Smith’s (1984:27) analysis of Izapan sculpture, the “canoe-shaped U element with a human head…always appears in the context of water.” The shark-monster’s dorsal fin is particularly interesting in this rendition. Izapa Stela 3 includes a personified version of the shark-monster’s dorsal fin, a depiction that recalls the shark-monster engraved on the “Young Lord” figure (see Figure 2). The dorsal fin profile on Izapa Stela 3 is large and sweeps backwards; it displays a prominent nose and behind the head is a backward curving double merlon. The personified dorsal fin displays its own large tooth to emphasize its association with the sharkmonster. Although rendered using distinct styles, the similarities between the two images are noteworthy. Given that both Izapa Stela 3 and the Young Lord were found along the Pacific Coast, the personified, profile dorsal fin may well be a particular artistic convention of this coastal region. In sum, at least three different Formative-Period sculptures represent the struggle between a shark-monster and a human figure. 15 Moreover, in two of the three cases only one of the human’s legs is clearly visible. Thus, it is quite possible that these Formative monuments represent versions of a creation myth whose later Aztec telling pits a mythic hero against Cipactli. The hero loses his leg in the struggle, but 19 the battle’s outcome is the formation of the earth’s surface and a place to raise the axis mundi. One final aspect of the A-2 tomb burial at La Venta is relevant here. As noted above, a shark’s tooth was found with Bundle #2 within the Mound A-2 basalt column tomb. According to Reilly (1994b:7), Bundle #2 included an “unusually large shark’s tooth…on which was placed a translucent blue jade standing figurine…” The fact that the standing figurine was positioned on top of the tooth is consistent with the interpretation that the tooth (i.e., the shark pars pro toto) represents the interface of water and terra firma. Finally, it is worth emphasizing that these non-portable renditions of the primordial struggle appear at La Venta, Izapa, and Chalcatzingo. La Venta and Izapa are lowland sites situated along the Gulf Coast and Pacific Coast, respectively. Chalcatzingo is well-known for its Gulf lowlands connections—for example, Chalcatzingo is the only site outside the Gulf lowlands that contains a version of the lowland table-top throne (Grove 2000:287). Thus, it is reasonable to suggest that this world-creation story originated in the isthmian lowlands but may have later traveled to other areas. It is also quite possible that, as it traveled through space and time, the story changed with each retelling. As these recountings took place, cultural groups likely replaced the coastal shark-monster with other mythological creatures more consistent with their respective environmental settings (e.g., de la Fuente 2000).
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THE SHARK-MONSTER IN OLMEC ICONOGRAPHY - Imaginary Year

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