corncob Fetish, brass knuckles and Zeremonialstab:
enigmatic iconography in Central America
Gisela Ermel
In: Q'Phase, No. 7, Kassel 2007
than 3,000 years ago - BC around 1200. - Did a group of Stone Age farmers in Central America, a mysterious and abrupt jump to high culture, while the rest remained around Mesoamerica on a stone age level (1). These so suddenly and without intermediates resulting high culture we describe today as that of the Olmecs. After the cultural leap appeared extraordinary display motifs that differed in one respect from all previous designs: they showed fantastic and unrealistic features (2). All of a sudden were in Central America now shown people that appear to our modern archaeologists like a combination of Jaguar and human, and human subjects were presented with extra-long skulls, as we know from the earth is not her anatomy (3). A little later on these subjects were still figures with bird costumes, winged snake-like objects as well as combinations of two additional groups of subjects (4).
had either the time People a fertile imagination (but oddly enough, only from the cultural jump) - and these motifs were based on the seen and experienced. The fact that the people of that time simply "gods" and this thought up with features and objects of refinement, which inspired her to Mother Nature seems to be rather illogical.
Today people imitate and portray higher standing cultural charms and foreign visitors and their "magical" equipment only when they of higher standing Europeans, Americans, etc. have been contacted real. It would take too long to list here all the different cargo cults, after 1 and 2 World War I arose and had their origin in the initial contact with representatives of South Sea islanders them a technologically superior civilization. Almost every reader of this magazine has ever seen photos of straw airplanes, wooden antennas, etc. - Examples of technical imitation of primitive objects.
But in what role models go, equipment is those characters - across the board by archaeologists as gods, supernatural, hybrids and so called - back to the early Middle Americans perpetuated by the cultural leap to stone?
Such an object is the so-called corn cob fetish. He looks like a torch or rod-like object. The lower part is usually cylindrical, then follows a section that is reminiscent of bundled pipes or rods, and shows a kind of horizontal wrapping. Furthermore we see a wider tuft-like element, often equipped with one - like most archaeologists believe - sky symbol (4 + 2).
view examples of the so-called corn cob fetish from 800 BC. This upper part is similar - again in the opinion of several archaeologists - either flame (then interpreted as a torch) (6) or springs, or the upper part of a corncob or ... Here the imagination is the limit. It is therefore a short rod-shaped object with a straight base and round-pointed top. On some representations of this object is reminiscent of a modern flashlight.
What is striking is the fact that the persons who consider the subject in hand, almost always "gods" or "not human beings" are (4). What is striking still is the fact that the later the time the representation was made, the more fantastic looks the object. The oldest representations are much easier and more soberly.
The earliest example is from San Lorenzo, from the city, which was immediately on the date of the sudden cultural leap. Here the mysterious object is a stone stele sheet with a mysterious "jaguar man-dragon-motif" (7). In La Venta of corn cob Fetish sheet including a small Jadeaxt, which belongs to the world famous "victim 4". On this Jadeaxt one person was presented with an enigmatic headdress, which holds the subject in hand. A similar motif is on a Jadebrustplatte from La Venta. In Chalcatzingo, an important Olmec outpost of La Venta-time, this item is emblazoned on a monument, which was named by the excavators as "Flying Olmecs" or "El Volador" (8). The figure on the monument with a cape and wings in his hand the corn cob fetish. Such an object in his hand as a person on a wall painting in Oxtotitlan, where a person in a "Bird Costume" was shown (9 + 10 + 11). There are many other examples that can not possibly all be listed.
stone monument from San Miguel Amuco: figure with "bird's helmet, and corn cob Fetish 
Chalcatzingo: rock relief with" flying Peron "with corn cob fetish in the hand
What is a subject here actually represented? It was in all the excavations of various sites never found a real artifact, which is similar to the depicted object, or even similar. We know him only by representations. Man can therefore only speculate on the meaning and practical purpose of this object. Michael Coe, the expert par excellence for Olmec culture, suspects that was shown here is nothing more than a simple burning torch. Some archaeologists tap a scepter, a club or an unknown weapon, others on a commercial object, a bundle of feathers, for example, while still others suggest no real object in the represented object, but a symbol for clouds or rain (4).
When Karl Taube, an expert on Olmec iconography, the object with the maize fetishes of the Pueblo Indians of North America, compared from then on was the term "corn cob fetish" hang on this subject. These corn fetishes of the Pueblo Indians are almost always equipped with prayer sticks and prayer feathers, so a detail that is associated with the communication between human beings and higher - radio contact with the gods, so to speak.
The term corn cob fetish for since the beginning of the Central American cultures over and over again in the hands "of supernatural person" object represented as the so far only how misleading it can be, for the "look-at-the-best-of-how" - principle be interpreted. Only when one recognizes that the cultural leap from the Stone Age farmers to high culture with the omission of this necessary development and intermediates could not be imagined without the initiative higher standing unknown master planner, one can begin to consider what kind of object here was immortalized in stone again and again in appearance and in whose hands he had first seen.
The same applies to the equally mysterious shown "brass knuckles" in which no one knows what they should be. Again, the oldest image is from San Lorenzo, another motive for as a Jadeaxt the "victim 4" from La Venta (this time held by a floating or flying it represented person), and as the subject is found among others in the relief of the " Olmec flying "in Chalcatzingo.
addition to the archaeologist Matthew Stirling, a typical Olmec "Werjaguar" with "brass knuckles" Monument in San Lorenzo 
Olmec representation of a figure with a corn cob fetish and brass knuckles 
Olmec figures with corncob fetish and brass knuckles Since the earliest start of Olmec culture, these "brass knuckles" again and again and again represented, sometimes as a single object, sometimes in pairs. The object has an engaging hole for the hand and usually has a wave or waves pattern. The subject matter is reminiscent of our kite string handle, a teething ring for infants and even to our knuckles. Most hold the persons depicted a pair of these objects against the chest or one of those items in hand. In many cases, in addition to a corn cob fetish. It is not surprising that the oldest representations accurately reflect the people are equipped so that by archaeologists as "gods" are interpreted or "supernatural", or people with excessive, abnormal skulls. Only much later Maya rulers were presented with it. As with corn cob fetish is: the later the representation, the more fantastic and embellished the subject.
Olmec figure with helmet, brass knuckles and corncob Fetish The true meaning of "brass knuckles" is as unknown as that of the "corn cob fetish. Also in this case, never a real artifact was found, which is similar to the objects represented. The term "brass knuckles" in 1952 by Philip printer for the good old "look-at-the-best-of-like" principle introduced and got stuck, (4 + 12). Also, as so often when you do not continue to talk of a ceremonial objects. Bold already are the archaeologists who wonder if the brass knuckles is a tool, a weapon or a sports utensil for boxer or ball player. Karl Taube had in terms of brass knuckles an unusual idea: it could be the tool of the rain god to act to make rain (4). Too bad that we have no evidence that the Olmecs knew about such a thing as a rain god. That the model for the brass knuckles a simple sea shell, she speculated, the archaeologist Andrews does not sound very compelling. Of course there was again speculation about symbols for clouds or water.
can be found in the ruins of no real model for an object represented, it is the opinion of the excavators are only two possibilities: either these are symbols, or the role models for the article were made of perishable materials and time have not survived to the excavation. A third way is by archaeologists - to? - Not be taken into consideration: that the articles involved, not a real copy of which was here because the so-equipped, they took back with them - wherever.
The same goes for the third display location, I would like to present here: the Zeremonialstab. This time, the earliest example dates from the time of the Olmecs. In La Venta as regards this object is a person on a stone stele, standing in front of a door-like niche, which is interpreted by archaeologists as the "Monster Maul" or "entrance into another world" (archaeologists have also quite fancy) (see also my article "The manned monster's mouth). The depicted object is reminiscent of a modern sliding caliper.
This item was presented on stone steles in cities that emerged at the same time as La Venta: Abaj Takalik, Calakmul, El Mirador, Lamanai, Seibal, Tikal, Uaxactún and several others. The subject took away (about 900 AD.) Until the end of the Mayan culture.
As a general rule: this object is usually located on the oldest monuments of the sites. The object is either horizontally or diagonally held against the chest in an arm or diagonally in both arms. The appearance of the article shows several variants, since different styles and designs were incorporated in the course of time. However, it is an otherwise consistent theme. Often located at both ends of the rod little snake heads, sometimes resulting human-looking heads, or "little Jadeäxten" or whatever is supposed to represent the (4). It was unearthed not a single artifact that could be clearly identified as an original of the objects represented.
stela from El Baúl, Olmecs: Person with Zeremonialstab 
stele from Quirigua, Maya, a person with transversely reared Zeremonialstab
stela from La Venta, Olmec: Person with Zeremonialstab
But what was shown here? A weapon? A tool? A ruler icon? Theobert painter, who at the beginning of the 20th Century, described the object as the first, baptized him "Ornamentalbalken. 1914 Thomas Joyce wrote about a "Zeremonialstab," a term that generally prevailed. Eduard Seler speculated 1915 on a "snake light", "fire serpent" or "double-headed snake", he had to be inspired by the mysterious weapons of various gods in the Mexican myths. As the subject - as well as corn cob Fetish and brass knuckles - usually held by "gods" were also missing here is not speculation about a celestial symbol, a cosmological symbol and similar interpretations. The most useful description is from Herbert lockers, in 1975, the object referred to as "object of unknown purpose use (4).
on the flank of Cerro Gordo, near the ancient Olmec city Chalcatzingo are prehistoric mine mines. Mapa de Cuauhtinchan II, an illuminated manuscript from the 1580s, which was probably copied from older originals again and again, and therefore probably dates from before the conquest of Mexico shows, in an artificial cave and in a kind of temple a place of worship, equipped with an interesting cult item. It stands on an altar and looks like a bar with foot snake at the top (and how one of the Zeremonialstäbe). Prior to kneel Chichimekenpriester. The illuminated manuscript depicts events from the period between the 12th and 15 Century.
The focus of the action is the Chichimecs who made a long hike, led by a carrier with the mysterious cult object. The illuminated manuscript, which is like a map is created, for many years by a team of experts (most of which by Harvard University) analyzed and researched. Miguel Medina believed that this constitutes a cult object in the cave a sacred bundle (13 + 14). A sacred bundle but, according to representations of several Mexican painted manuscripts and early English accounts documents a subject for voice transmission - that is a communication device. (See also my paper "The sacred bundle").
These should be the object of cult Chichimecs and the "Zeremonialstab" of the Olmec and Maya to the same subject matter? Were unknown and high-culture-bringer, the BC around 1200. arise from Stone Age farmers were the Olmec civilization, have been equipped with technical devices? Among them would be a communication device for the Communicate with each other in all the control and organization of the working masses the construction of the mathematical-astronomical sites not only conceivable but essential. If such a device - or an imitation thereof - have survived to the Chichimecs-time and have been revered as a cult object in a cave to be?
scene of the Mapa de Cuauhtinchan II: temple or cave cult object 
sacred bundle, as vokommt in numerous Mixtec codices 
scene of the Codex Boturini: in the middle of a language emitting sacred bundle, communicate with the people = the radio link to the gods? According to statements by this communication device wandered the Aztecs very long time until specified target and then - also at the command of speaking from the Holy bundle of God - founded the city of Tenochtitlan 
Codex Florentine, The God Tezcatlipoca with his picture and sound transmitting "mirror" excavations in the mining mines and artificial caves at Chalcatzingo brought stone arches, niches and sculptures unearthed figurines from La Venta-time (from about 900 BC.) and much more. We know now that these caves were connected by a Ritualweg with Teotihuacan, a center, the first long began to La Venta. Nor for the Aztecs from the time of the conquest of Mexico was regarded as one of the caves and sacred place of worship. What kept there from the cult and revered object, as shown on the Mapa de Sezenen Cuauhtinchan II was, is completely unknown (13 + 14).
corncob Fetish, brass knuckles and Zeremonialstab: apparently were immortalized in stone and displayed "gods" who were equipped with items that end, we have not come to this day. What would be more practical for culture-bringer, the Stone Age people left the drawing board to build pre-planned cities, as portable communication devices, tools and measuring devices? What did or would the Olmecs and Maya, as it such property in the hands of "divine" representing people? The interpretation of iconographic motifs
Central America are really still in its infancy, and much more useful or even convincing is not yet come of it. The "look-out-like" interpretation is more problematic. Actually would have to go back in each picture to the earliest known example. And here's some move. Recently, sits down among the experts for Central American iconography by the realization that the forerunner of the rain god and the maize god was none other than the ancient Olmec "Werjaguar" (2 + 4 + 5 + 15 + 16), a motif that appeared exactly at the time the first time, as the Stone Age farmers and their inexplicable sudden jump to high culture made. (See also my lecture "From Werjaguar to the rain god")
The figure, which later became the god of rain (as they interpret archaeologists and as Olmec and Maya probably never thought) is often provided with a helmet-like headgear and has a "mouth" with appendages.
Typical Olmec "Werjaguar" helmet head: the berühmnte "Astronaut" by El Baúl wind mask, mouth and eye glasses (all of them of course only imaginative descriptions of modern archaeologists) are recurring features of later figures of gods. The model of the rain gods of the Maya, Zapotec and other Central American nations was obviously a kopfumschliesenden helmet, his face covered or only partially visible behind difficult to interpret details. From this, then you know by now, developed the typical "spectacles" of the rain god Tlaloc, or trapezoidal mouth masks, imaginative mind and ear jewelry, and mysterious objects in front of your nose or mouth. Head and helmet also show later still the odd column from which most stands out a bit. If it looks like part of a corn plant, the person granted interpreted as a corn god.
What or who might have been but the real model for the oldest representations? People who wore a helmet-like headgear with objects in front or beside the mouth, nose, ears and on his head? Such representations are from the time of San Lorenzo, the first city after the cultural leap. Again, the motto is: the older the presentation, the simpler and austere image. This way, belongs to the so-called "astronaut El Baúl" in the series of very early "Werjaguar" representations which later changed to "rain gods" and "maize gods" mutated - and all that: the Jaguar Man, the rain god and the god of corn are self- nothing as speculative names of our mordernen archaeologists using the good old - and as often misleading - "Looks-like" principle. What the Olmecs and the Maya really constitute or attempted to present, we do not know why a long time.
stone monument from San Martin Pajapan, Olmecs: a "Werjaguar" or a colleague about the same time "astronauts" by El Baúl? Why were only from the cultural leap in Central America - initiated and probably controlled by unknown high-Master Planner - human figures depicted as "gods", "heavenly beings", etc. be interpreted? Why were only from the cultural leap objects shown, the purpose or function are unknown to us? Who were the bearer of culture, which triggered this cultural "big bang" and thus caused most likely including the beginning of this presentation and other motives that we are still a mystery? To these questions the archeology has not found any answers. The myths not only of the Central American nations at the time of first contact with Europeans report of heavenly culture providers, from long ago were beyond the earth here to be our teacher, before returning back to their distant and unknown country.
Literature:
1 = Ermel, Gisela: Das Rätsel von San Lorenzo. In. Sagenhafte Zeiten, Nr. 2, Beatenberg 2006
2 = Blomster, Jeffrey: What and where ist Olmec Style? In: Ancient Mesoamerica, Nr. 13, 2002
3 = Coe, Michael: Olmec Jaguars and Olmec Kings. In. E. P. Benson: The Cult of the Feline. Washington, D.C., 1970
4 = Taube, Karl A.: Olmec Art at Dumbarton Oaks. Washington, D.C., 2004
5 = Reilly III., F. Kent: Olmec Iconographic Influence on the Symbols of Maya Rulership. In: 6th Palenqze Round Table: Olmec Influence on Maya
6 = Coe, Michael / Richard A. Diehl: In the Land of the Olmec. Austin 1980
7 = Coe, Michael: San Lorenzo and the Olmec Civilization. Washington, D.C., 1970
8 = Grove, David C.: Ancient Chalcatzingo. Austin 1987
9 = Reilly III., F. Kent: Visions of Another World. Dissertation, Austin 1994
11 = Grove, David C.: Olmec Altars and Myths. In: Archaeology, Nr. 26, 1973
12 = Drucker, P. / R. F. Heizer / R. J. Squier: Excavation at La Venta, Tabasco. Bureau of American Ethnology, Bulletin 170, Washington, DC, 1969
13 = Yoneda, Keiko: Cuauhtinchan Maps and Cartographic Historical Pre Hispanica. Archivo General de la Nacion, CIESAS, Puebla Horned
1981 + 1991 14 =
15 = Benson, Elizabeth P.: The Cult of the Feline. Washington, DC, 1970
16 = Furst, Peter T.: The Olmec Were-Jaguar Motif in the Light of Ethnographic Reality. In. David C. Grove / Rosemary A. Joyce: Social Patterns in Pre-Classic Mesoamerica. Washington, DC, 1999
Mehr zum Thema:
Gisela Ermel: The sacred bundle of the Aztecs. Culture jump, Master Plan and gods cast: Central America's mysterious past.
Ancient mail Verlag, Gross-Gerau 2007
ISBN 978-3-935910-44-6
272 pages, numerous illustrations
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