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THE SHARK-MONSTER IN OLMEC ICONOGRAPHY - Imaginary Year

THE SHARK-MONSTER IN OLMEC ICONOGRAPHY - Imaginary Year

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PHILIP J. ARNOLD III, “The Shark-Monster in Olmec Iconography”<br />

Mesoamerican Voices, 2 (2005)<br />

As a consequence of these and other<br />

factors, corn and bloodletting are dominant<br />

themes in current treatments of<br />

Olmec iconography. Still lacking, however,<br />

are viable, context-dependent accounts of<br />

why these meanings were relevant to the<br />

Formative-Period Olmec. I offer one such<br />

context below. Specifically, I suggest that<br />

a portion of Olmec imagery references an<br />

early version of a possible world-creation<br />

myth. As reconstructed, part of this story<br />

involves the defeat of a shark-monster<br />

whose body was transformed into the<br />

earth’s surface. The shark-monster-asearth,<br />

in turn, provides the foundation on<br />

which the world tree is raised, thus establishing<br />

the axis mundi.<br />

I explore this theme throughout the<br />

following discussion. First, I offer archaeological<br />

background to justify the statement<br />

that aquatic resources were probably more<br />

germane to lowland coastal Olmec groups<br />

than agricultural products. I focus on<br />

coastal Olmec for the simple reason that<br />

most permanent Olmec artwork was installed<br />

either in lowland settings or in upland<br />

sites with strong coastal ties. My lessthan-subtle<br />

working hypothesis is that<br />

much of Olmec iconography originated in<br />

the Mexican coastal lowlands (cf. Flannery<br />

and Marcus 2000). 1 I then address sharkmonster<br />

imagery itself. Building on the<br />

work of previous studies (e.g., Grove 1987;<br />

Joralemon 1971; Joyce et al. 1991; Stross<br />

1994) this section sets out the evidence for<br />

a shark supernatural and reviews the suite<br />

of motifs that may identify it. Finally, I<br />

consider the possible sacred role of the<br />

shark-monster, noting the various contexts<br />

in which it appears. These contexts include<br />

ritual offerings, sacred spaces, and the regalia<br />

used by elite individuals.<br />

2<br />

A Context for Reading Olmec<br />

Iconography<br />

In 1942, scholars convened the Second<br />

Mesa Redonda in Tuxtla Gutiérrez to consider<br />

the temporal status of the newly<br />

crowned “La Venta culture.” In addition to<br />

their consensus regarding the culture’s pre-<br />

Classic status, these scholars also adopted<br />

the term “Olmec” as a convenient shorthand<br />

(e.g., Jiménez Moreno 1942:19). As<br />

many readers are aware, “Olmec” derives<br />

from the Nahua word “Olman” or “land of<br />

the rubber” (e.g., Bernal 1969:11). Contact-period<br />

documents linked an indigenous<br />

group called the “Olmeca” with the southern<br />

Gulf lowlands of Veracruz and Tabasco<br />

(de Sahagún 1938:Tomo III, Libro X,133-<br />

134).<br />

Fewer readers may realize, however,<br />

that “Olmeca” was but one of several names<br />

for the occupants of this coastal estuarine<br />

zone. For example, de Sahagún<br />

(1938:Tomo III, Libro X, 133, 139) also<br />

referred to these people as “Uixtotin” or<br />

“olmecas uixtotin” (also Piña Chan<br />

1989:17; Scholes and Warren 1965:776).<br />

“Uixtotin” means “people of the salt water,”<br />

an apt moniker that emphasizes an<br />

equally important, albeit very different,<br />

component of Gulf lowlands life ways. Interestingly,<br />

the Quiche Maya’s Popol Vuh<br />

offers a parallel identification—an ancestral<br />

group “from the east” (i.e., coastal<br />

Tabasco or southern Veracruz) is referred<br />

to as both “Sovereign Oloman” (“Tepeu<br />

oloman or oliman”) (Tedlock 1985:167-177,<br />

361) and also as “Fishkeepers” (“Char [4hah]<br />

car”) (Tedlock 1985:189, 336; also<br />

Edmonson 1971:194).<br />

Thus, contact-period sources clearly<br />

linked Gulf lowland groups with a mari-

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