Laughing Head of the Totonacs, remarkable example of Freehand Modeling in Clay. Heads of this type probably served as decorative details on temple fronts.
The smiling or laughing faces have a much higher technique and are perhaps the finest examples of clay modeling from the New World. These heads have tubular extensions at the back and were possibly set into temple walls. The faces and foreheads are broadened in accordance with the esthetic type of a forehead flattening people. While the faces vary so much in minor details as to create the impression that they are portraits of actual persons they are alike in method of modeling. Nearly all are laughing or smiling in a very contagious fashion. Sometimes the tip of the tongue is caught between the teeth, sometimes the corners of the mouth are pulled down as if the smile were reluctant, and there are other individual variations in the expressions of lively and unrestrained mirth.
Perhaps the most famous objects found in Totonacan territory are the so-called “stone collars” or “sacrificial yokes.” In size and shape these resemble horse collars, but in contrast to somewhat similar objects from Porto Rico they are usually open while the latter are closed. Nothing is really known concerning their use but there has been no lack of fanciful surmises. The most popular explanation is that the yokes were placed over the necks of victims about to be sacrificed. It is evident that the yokes were intended to be placed in a horizontal position because there is a plain lower surface and the ends are frequently carved with faces that are right side up only when the plain side is down. These yokes represent the richest and most elaborate works of art in the entire region since they are carved in the most finished manner from single blocks of exceedingly hard stone.
Other peculiarly shaped stones are found in the Totonacan area and are carved according to the same splendid technique. The “paddle-shaped” stones have been found in considerable numbers and their use, like that of the stone yokes, is absolutely unknown. It is evident from the carving that they were intended to be stood on end.
[Plate XXXI.]
(a) An Elaborately Carved Stone Collar, an Example of the Best Sculpture of the Totonacan Indians.
(b) A Palmate Stone from the State of Vera Cruz. Two grotesque figures are holding snakes in their mouths.
The designs on the sacrificial yokes and paddle stones are largely reptilian, but there are examples where the turkey, the coyote, as well as the human motive are treated somewhat after the manner of the Mayas. Plumed serpents, monkeys, centipedes, and crocodiles are interestingly drawn on pottery. An important site is Papantla where a remarkably ornate pyramid rising in six terraces may be seen, as well as massive sculptures in the same style as the works of art described above. The front wall of each terrace on all four sides of the pyramid, except for the space occupied by the stairway, is divided into a series of niches neatly made of cut stone. Formerly each of these niches may have served to shelter the statue of some god. Many fine remains of Totonacan art have been recovered from the Island of Sacrifices in the harbor of Vera Cruz. This island retained its ancient sacrificial character in the time of the Spanish conquerors. It is apparent, however, that the culture had already changed greatly if we may judge by the ruins of Cempoalan, the Totonacan capital in the sixteenth century. The art of this city is largely Aztecan.