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Olmec Pottery Production and Export San Lorenzo, Veracruz (5), emphasize the
higher sociopolitical level that the Olmecs
achieved relative to contemporaneous groups
in Ancient Mexico Determined in Mesoamerica (Fig. 1). While leaders, for
example, at the emerging chiefdom of San
Through Elemental Analysis José Mogote in the Valley of Oaxaca lived
in somewhat better made wattle-and-daub
Jeffrey P. Blomster,1* Hector Neff,2 Michael D. Glascock3 huts than other villagers (6), San Lorenzo
leaders probably lived in the so-called Red
The first Mesoamerican civilization, the Gulf Coast Olmec, is associated with Palace, where they used basalt brought in
hierarchical society, monumental art, and an internally consistent ideology, ex- from 60 km away to provide columns, step
pressed in a distinct style and salient iconography. Whether the Olmec style coverings, and drainage channels for their
arose in just one area or emerged from interactions among scattered contem- residence. Rather than engage in the typo-
poraneous societies remains controversial. Using elemental analysis, we de- logical argument as to whether the Olmec
termined the regional clay sources of 725 archaeological ceramic samples from constituted a state or a chiefdom, we simply
across Mesoamerica. Exported Olmec-style ceramics originated from the San note the more complex level of sociopolitical
Lorenzo region of the Gulf Coast, supporting Olmec priority in the creation organization achieved by the Olmec com-
and spread of the first unified style and iconographic system in Mesoamerica. pared with that of other contemporaneous
societies (7).
More than 3000 years ago, the first civiliza- Olmec style. Two views have emerged on the The ‘‘San Lorenzo horizon’’ from 3150
tion in ancient Mexico, the Olmec, coalesced relationship of the Olmec with other contem- to 2800 yr B.P. (1200 to 850 B.C.E., or 1350
along the Mexican Gulf Coast. Much of mod- poraneous cultures, characterized as the to 1000 calibrated B.C.E.) refers to the ear-
ern Mexico, along with Guatemala, Belize, ‘‘mother culture’’ and ‘‘sister culture’’ liest spread of Olmec-style ceramic vessels
Honduras, and El Salvador, constitutes the cul- perspectives (4). Proponents of the mother- and figurines across Mesoamerica (3, 8, 9).
tural region known as Mesoamerica (Fig. 1). culture perspective see the Olmec as more As defined at San Lorenzo (9), some Olmec
Elements of the Olmec art style and associ- sociopolitically complex than coeval cultures, ceramic types (such as Calzadas Carved
ated iconography—the first coherent icono- playing a central role in the dissemination of pottery) have excised designs that may ex-
graphic system in Mesoamerica—that emerged key elements of Mesoamerican civilization. press ideological concepts through iconog-
were depicted on stone monuments in the Gulf Sister-culture advocates characterize the Ol- raphy (Fig. 2, A and B). Two additional
Coast, as well as on portable ceramic objects mec as at the same sociopolitical level as San Lorenzo horizon pottery types have a
that have been found at sites throughout other contemporaneous chiefdoms; while fine kaolin clay body: Xochiltepec White
Mesoamerica (1, 2). Because this iconography engaged in competitive interaction, the Ol- and Conejo Orange-on-White (Fig. 2, C and
has been linked with the dissemination of the mec had no priority in the development of the D). Xochiltepec White has long been rec-
social, political, and religious institutions of Olmec style and its distribution. Here, we ognized as a possible export ware across
the Olmec, analyzing its origin and spread is endeavor to move beyond this dichotomy, Mesoamerica, although of uncertain prove-
central to understanding the development of which obscures understanding the complex nance (6, 9).
complex society in Mesoamerica. The Ol- nature of the Olmec and its relationships The lack of the full repertoire of Olmec-
mec style_s appearance at select sites outside with its neighbors. style motifs at any one site and the apparent
the Gulf Coast has been used to argue that it In terms of Early Formative complexity, regional differences in expression of the Olmec
arose in one area only and was exported or, recent investigations by Ann Cyphers and style have been cited as evidence that each
alternatively, emerged from interactions
among scattered regional chiefdoms (3).
Here, we use instrumental neutron activation
analysis (INAA) on archaeologically exca-
vated or collected ceramics to fingerprint
their provenience and exchange during the
later half of the Early Formative period
EÈ3450 to 2850 years before the present
(yr B.P.), or 1500 to 900 B.C.E.^.
The Olmec and Olmec style in Meso-
america. Not all features referred to as the
Olmec style may be linked with the archae-
ological Gulf Coast Olmec; thus, we distin-
guish between the terms Olmec culture and
1
Department of Anthropology, George Washington
University, Washington, DC 20052, USA. 2Department
of Anthropology, California State University, Long
Beach, CA 90840, USA. 3Research Reactor Center,
University of Missouri, Columbia, MO 65211, USA.
*To whom correspondence should be addressed. Fig. 1. Map of Early Formative regional centers, showing modern national borders and Mexico City
E-mail: blomster@gwu.edu for reference. Dashed lines show approximate boundaries of Mesoamerica.
the analysis are considered, the discrimination Xochiltepec White served as the inspiration sumers and emulators rather than exporters
into groups is unambiguous. For example, just for local ceramic emulations throughout and innovators of Olmec-style motifs.
a bivariate plot of tantalum and ytterbium Mesoamerica. None of the locally produced We propose that the San Lorenzo Olmec
segregates archaeological samples from Olmec-style pottery in the sample from the played a central role in synthesizing a distinct
Oaxaca, Etlatongo, and San Lorenzo (Fig. 5). Valley of Oaxaca, the Nochixtlán Valley, the style and associated iconography, disseminating
In Oaxaca, Delfina and Leandro Gray pots Valley of Mexico, the Isthmus of Tehuante- it across Mesoamerica. The mechanisms for
with Olmec-style motifs have been interpreted pec, the Chiapas Central Depression, and the exchange of Olmec-style pottery and symbols
as expressing local variants of the Olmec style Mazatán region was exported to the Gulf probably varied on a regional basis. Rather
manufactured in the Valley of Oaxaca and Coast (Table 1). Contra to the sister-culture than being imposed by the Olmec, these
exported to other Formative centers (6, 11). perspective, our analysis implies that the symbols were received by people, probably
Our data document the presence of compo- Olmec at San Lorenzo did not receive leaders, at regional centers, who used,
sitionally different gray wares in the Valley foreign-made variants of the Olmec style; the manipulated, and reproduced them in differ-
of Oaxaca; it seems that both local manu- Olmec were its sole exporters. Despite the ent ways. Exchange of these symbols formed
facture and Olmec imports are represented size of the San Lorenzo sample (n 0 203), an important component of communication
at sites such as San José Mogote. Valley of not a single analyzed sherd was imported. and negotiation between communities on both
Oaxaca–produced gray wares were not ex- Rather than expressing regional styles from intra- and interregional levels; non–Gulf Coast
ported to the nearby Nochixtlán Valley; in- across Mesoamerica at San Lorenzo, the INAA groups may have moved Olmec-produced
stead, Etlatongo imported Olmec-style gray data emphasize the diversity of Calzadas Carved objects between regions rather than locally
wares from the more distant Gulf Coast pottery produced by the Olmec. Further- produced pottery. The local impact of this
(Fig. 3B). Indeed, all nonlocally produced more, the conservative approach used to interaction on communities varied. While this
Olmec-style gray pottery samples found out- assign members to the compositional groups interaction may have had a transformative ef-
side the Gulf Coast appear to be San Lorenzo may underestimate the numbers of San fect on the local population of the Mazatán
exports (Table 1). Lorenzo–derived specimens exported out- region (22), the impact in the Nochixtlán Val-
The INAA data thus contradict the model side the Gulf Coast. Because sampling ley appears to be substantially different and
that regional exports can be identified simply was not random, the data in Table 1 do less profound. Despite the high frequency of
by style in assemblages of Olmec-style pot- not represent frequencies of imported pottery imported Olmec pottery in Table 1, the total
tery (6). At least one supposed ‘‘Oaxaca-style’’ for each region. quantity of Olmec-style pottery, both imported
Calzadas Carved gray ware excavated at San Our data present several implications for and locally made, probably never exceeded 5
Lorenzo (sample BLM050) was analyzed by understanding the Olmec and their relation- to 10% of the total ceramic assemblage ex-
INAA; it was produced with San Lorenzo clay. ships with contemporaneous groups. Olmec cavated at Etlatongo (7).
The Olmec produced and exported a wide pottery and symbols associated with the Olmec Olmec priority in the creation of the Olmec
variety of Olmec-style iconography, often were valued by elites at some of the largest style emphasizes their important role in Early
on gray-ware pottery, across Mesoamerica. chiefly centers in Early Formative Meso- Formative social developments throughout much
Local production of Olmec-style motifs also america. It does not appear that these other of Mesoamerica. Understanding the Olmec role
occurred in all regions involved in this in- regions contributed substantially to the as- in disseminating this style and associated ico-
teraction. At Tlapacoya, a Basin of Mexico semblage of Olmec-style symbols employed nography invokes more dynamic models of inter-
village known for pottery with elaborate beyond each region. Not only did the Olmec regional interaction that explore the interests
profile views of cleft-headed creatures (21), not import any foreign pottery with Olmec- of both producers and consumers of Olmec-
Olmec-style designs occur on gray pottery style symbols, none of the regions in Table 1 style pottery. This multifaceted interaction
with both San Lorenzo (BLM039) and local exchanged pottery with each other. Etlatongo anticipates the increasingly complex nature of
(BLM062) origins. Once again, none of the and San José Mogote, in adjacent regions of Olmec networks in the following Middle Form-
decorated and undecorated gray pottery analyzed highland Oaxaca, received pottery from the ative Period, when La Venta became the Gulf
from Tlapacoya was imported from Oaxaca. more distant San Lorenzo rather than from Coast’s largest Olmec center.
Olmec and Early Formative interac- each other. This appears to be a stark repu-
tion. The San Lorenzo Olmec produced diation of the view of mutual exchange and
References and Notes
both fine white-paste pottery and decorated production of these symbols, and it contra- 1. M. Coe, in Handbook of Middle American Indians,
Olmec-style ceramics. The Olmec exported this dicts the claim that Oaxacan Delfina Fine gray Vol. 3: Archaeology of Southern Mesoamerica, part 2,
pottery to other regional centers across Meso- pottery was as popular an export ware as R. Wauchope, G. Willey, Eds. (Univ. Texas Press,
Austin, 1965), pp. 739–775.
america, where many centers created local Xochiltepec White (6). The regions outside 2. E. Benson, B. de la Fuente, Eds., Olmec Art of Ancient
variants of it; indeed, we suspect Gulf Coast the Gulf Coast appear to be primarily con- Mexico (National Gallery of Art, Washington, DC, 1996).