This book examines the functions of sculpture during the Preclassic period in Mesoamerica and its significance in statements of social identity. Julia Guernsey situates the origins and evolution of monumental stone sculpture within a broader social and political context and demonstrates the role that such sculpture played in creating and institutionalizing social hierarchies. This book focuses specifically on an enigmatic type of public, monumental sculpture known as the 'potbelly' that traces its antecedents to earlier, small domestic ritual objects and ceramic figurines. The cessation of domestic rituals involving ceramic figurines along the Pacific slope coincided not only with the creation of the first monumental potbelly sculptures, but with the rise of the first state-level societies in Mesoamerica by the advent of the Late Preclassic period. The potbellies became central to the physical representation of new forms of social identity and expressions of political authority during this time of dramatic change.

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Images on Late Preclassic (300 B.C.–A.D. 250) monuments from Izapa, Chiapas, Mexico, featuring canoe scenes, maize deities, and water gods, have long been interpreted as representing mythic passages. While significant, such interpretations neglect other aspects of the scenes, including environmental and socioeconomic concerns that revolve around rain, subsistence, and water transport. By contextualizing these images and linking them to recent archaeological investigations that illuminate aspects of the Late Preclassic economy of Izapa, I argue that the scenes strategically situated economic activities— maize agriculture, the trade and transport of goods in canoes, even salt production—within a mythic framework. The images constitute an artistic program that entwined mythic tales, industries of salt production, and traditions of water navigation and that phrased them as part of a system of social order during a period of incipient state formation.

This paper takes Izapa Stela 21, with its vivid portrayal of captive sacrifice, as the point of departure for an analysis of the ways in which acts of aggression were portrayed in Late Formative monuments from a region that includes the Pacific slope and adjacent highlands of Mexico and Guatemala. It considers the social significance of themes of captive sacrifice and violence, and their role within a larger iconographic system designed to accommodate the mutually reinforcing ideas of ideology and coercive power. While clearly laden with implications of political control, subjugation, deference, and fealty, the imagery also alludes to agricultural fertility, the arrival of rain, and broader notions of social order.

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