the encyclopedic entry of Izapa

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Site layout and architecture

Izapa was a large site that included extensive monuments and architecture. The site had eight groups of mounds with between 80 and 130 total mounds, of which roughly only half have been restored. Izapa’s architecture makes up roughly 250,000 cubic meters when combined. The site included pyramids, sculptured plazas and squares, and possibly two ball courts. There are two long open areas that resemble ball courts found at other Mesoamerican sites, but it is unclear if these two courts were used for the ballgame. Mound 30A was where a stepped pyramid was built. This pyramid was around ten meters high and probably used for religious and ceremonial purposes.

Like many Mesoamerican sites, Izapa is laid out just east of true north, It is aligned with the volcano Tacaná and also seems to be situated to the December solstice horizon.

Izapa and other Mesoamerican civilizations

Michael Coe describes Izapa as being a connective link between the Olmec and the early Maya. He supports his argument with the large amount of Olmec style motifs used in Izapan art, including jaguar motifs, downturned human mouths, St. Andrew’s Cross, flame eyebrows, scrolling skies and clouds, and baby-face figurines. Also used to support Coe’s hypothesis are elements in Maya culture thought to be derived from the Izapans, including similarities in art and architecture styles, continuity between Maya and Izapan monuments, and shared deities.

Other archaeologists argue that there not yet enough known to support Coe and that the term "Izapan Style" should only be used when describing art from Izapa. Virginia Smith argues that Izapan art is too unique and different in style to be the result of Olmec influence or the precursor to Maya art. Smith says that Izapan art is very site specific and did not spread far from the site. Izapan art most likely did indirectly influence Maya art, though it would just be one of the many influences on the Maya.

Izapa is also included in the debate of the origin of the 260-day calendar. The calendar was originally thought to be a Maya invention, but recently it has been hypothesized that calendar originated in Izapa. This hypothesis is supported by the fact that Izapa fits the geological and historical conditions better than the previous place thought to be the origin.

Izapan monumental art

Izapa gains its fame through its art style. The art found at the site includes sculptures of stelae and also altars that look like frogs. The stelae and frog altars generally went together, the toads symbolized rain. Much of the art of Izapa that features people includes large groups of people, not individuals. There are common characteristics of Izapan art, such as winged objects, long-lipped gods much like the Chaac of the Maya, Olmec-like swirling sky and clouds, feline mouth used as frame, representation of animals (crocodile, jaguar, frog, fish, birds), overlapping, and lack of dates.

The sheer number of sculptures outweighs that of any contemporaneous site. Garth Norman has counted 89 stelae, 61 altars, 3 thrones, and 68 "miscellaneous monuments at Izapa. In contrast to the ruler-oriented sculpture of the Epi-Olmec culture 330 miles (550 km) across the Isthmus of Tehuantepec, Izapan sculpture has features mythological and religious subjects, and is ceremonial and frequently narrative in nature.

Also, in contrast to Epi-Olmec and later Maya stela, Izapa monuments rarely contain glyphs. Although this could imply that the Izapan culture lacked knowledge of any writing system, Julia Guernsey, author of a definitive work on Izapa sculpture, proposes instead that the monuments were intentionally language-free and that "Izapa's position at the juncture of two linguistic regions [i.e. Mixe-Zoque and Maya] may have fostered the penchant for non-verbal communicative strategies.

Notable monuments

Izapa Stela 1 features a long lipped deity, which Coe describes as the early version of Maya god of lightning and rain, Chaac. In Stela I, the god is walking on water while collecting fish into a basket and also wearing a basket of water on his back.

Izapa Stela 2, like Stela 25, has been linked to the battle of the Maya Hero Twins against Vucub Caquix, a powerful ruling bird-demon of the Maya underworld, also known as Seven Macaw.

Izapa Stela 3 shows a deity wielding a club. This deity’s leg turns into a serpent while twisting around his body. This could be an early form of the Maya God K, who carried a staff.

Izapa Stela 4 depicts a bird dance, which has a king being transformed into a bird. The scene is most likely connected with the Principle Bird Deity. This transformation could symbolize shamanism and ecstasy, meaning the shaman-ruler used hallucinogens to journey to another world. The type of political system that was in place at Izapa is still unknown, though Stela 4 could suggest that a shaman was in charge. This shaman-ruler would serve the role of both the political and religious leader.

Izapa Stela 5 presents perhaps the most complex relief at Izapa. Central to the image is a large tree, which is surrounded by perhaps a dozen human figures and scores of other images. The complexity of the imagery has led some fringe researchers, particularly Mormon and "out of Africa" theorists, to view Stela 5 as support for their theories.

Izapa Stela 8 shows a ruler seated on a throne. The scene shown on Stela 8 is often compared to Throne 1, which was located by the central pillar of Izapa. Stela 8 may be showing a ruler seated atop Throne 1.

Izapa Stela 21 is a rare depiction of violence involving deities. The Stela illustrates a warrior holding the head of a decapitated god.

Izapa Stela 25 possibly contains a scene from the Popol Vuh. The image depicted on Stela 25 is most likely the Maya Hero Twins shooting a perched Principle Bird Deity with a blowgun. This scene is also shown on the Maya pot called the "Blowgunner Pot". It is also suggested that Stela 25 could be seen as a map of the night sky, which was used to tell the story of the Hero Twins shooting the bird deity.

Notes

References

Evans, Susan Toby. Ancient Mexico & Central America, Thames and Hudson, London, 2004.
Guernsey, Julia (2006) Ritual and Power in Stone: The Performance of Rulership in Mesoamerican Izapan Style Art, University of Texas Press, Austin, Texas, ISBN 978-0292713239.
Malstrom, Vincent H., Izapa: Cultural Hearth of the Olmecs?
Norman, V. Garth, (1973) Izapa Sculpture, Part 1: Album. Papers of the New World Archaeological Foundation 30. Brigham Young University, Provo.
Pool, Christopher (2007) Olmec Archaeology and Early Mesoamerica, Cambridge University Press, ISBN 978-0-521-78882-3.
Smith, Virginia G., Izapa Relief Carving: Form, Content, Rules for Design, and Role in Mesoamerican Art History and Archaeology, Dumbarton Oaks, 1984.