Between Art and Artifact: Archaeological Replicas and Cultural Production in Oaxaca, Mexico

Views from the Pyramid

The image of Mexico as a pyramid is one viewpoint among many others equally possible: the viewpoint of what is on the platform at its top. It is the viewpoint of the ancient gods and those who served them, the Aztec lords and priests. It is also that of their heirs and successors: the viceroys, the generals , the presidents. And, furthermore, it is the viewpoint of the vast majority, of the victims crushed by the pyramid or sacrificed on its platform-sanctuary. The critique of Mexico begins with the critique of the pyramid. OCTAVIO PAZ, THE LABYRINTH OF SOLITUDE ILOOKED UPWARD FROM MY POSITION AT the base of the giant stone staircase leading up to Monte Albán’s South Platform. No matter how many times I climbed up those pyramid steps, I always arrived at the top feeling a sense of vertigo and as if my lungs were about to burst. I made my ascent in the midst of a pack of elementary school children all dressed alike in a favorite Oaxacan school uniform: white polo shirts along with navy slacks for the boys and navy skirts for the girls. Two female teachers trailed at the back, watching the mayhem unfold. Pushing myself up and over the last step, I leaned against a waist-high stone wall and stopped to catch my breath. One of the teachers yelled a lastminute warning about not climbing on rocks as the school group dispersed into bunches of shrieking children. Just off to my left, partially obscured by some brush, I saw VIEWS FROM THE PYRAMID 109 | Views from the Pyramid a vendor I had briefly met during my first few weeks at Monte Albán. Even though we had never talked at great length, Jorge stood out in my mind because I remembered that he was one of a handful of vendors who were not from Arrazola but was nevertheless a member of the vendors’ association. Standing next to him was a smartly dressed woman who looked to be in her early to mid-thirties. His outstretched hand held a ceramic pitao cozobi, a ubiquitous and popular figurine sold at Monte Albán, which he apparently was trying to sell to the woman. I had heard guides at the site refer to this Zapotec deity in Spanish as the dios del maíz, or corn god, because of the corncob shapes that often adorned pre-Hispanic figural representations . Jorge glanced over in my direction but did not appear to recognize me. I made my way over to where Jorge and his customer were standing. He continued with his sales pitch, seemingly unfettered by my sudden presence. I did not say anything, and was quite certain that he thought I was just another interested tourist. Closer to the figure in question, I could see that it was only about nine or ten inches high and, in my opinion , the quality of the work was actually quite high compared with similar pieces I had encountered for sale at Monte Alb án. Well-formed features, strategically placed cracks in the ceramic surface, and just the right amount of dirt residue indexed antiquity to my untrained eye. In a hushed tone, Jorge assured the Mexican woman that this was an “original” and, indeed, a bargain at the 150 peso asking price. The woman cupped the figure in her palm and thoroughly inspected it from every angle. “Well, it’s pretty nice. You can see all of the details on the face,” she confirmed. She did not dispute the vendor’s claims of authenticity. Fully aware that shopping was often construed as a competitive sport, I feigned interest in the piece and asked if I could hold it for a moment. She grudgingly passed it to me as if handing over a precious and fragile treasure. I remarked aloud that the figure possessed exquisite detail, tracing the contours of the idol’s face with my fingertips . The Mexican tourist glared. The seller asked us to follow him to a more secluded spot just around the corner, away from the tourist groups assembling at the top of the monument. In a barely audible voice, he explained to us that he was a tractor operator who tilled vil- 110 | Between Art and Artifact lage lands at the edge of Monte Albán. He made a sweeping gesture with his arm and pointed in the direction of where...