Figure-Celt Pendant
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Greenstone pendants were manufactured from a variety of raw materials in the Central and the Greater Nicoya regions of Costa Rica starting as early as 500 BCE, until around 800 CE. Although some of those materials were locally available, the nearest known source specifically of jadeite is in the region of the Motagua River in Guatemala. Therefore, the use of jadeite in ancient Costa Rica reveals long-distance connections across Central America. The appearance of this distinctive style of pendant, made from imported materials, during a period of incipient social inequalities, suggests that they were a sign of prestige and differentiation.
This celt pendant is a highly stylized representation of a bird, possibly combined with some anthropomorphic features. The round shapes on top of the figure resemble a crest, while the elongated, more angular lines in the front depicts the beak. In between these two elements, the square space hints a face, protected with a helmet or headdress. The perforation around the neck would allow for this pendant to be hung from a cord.
The manufacture of this ornamental celt is a multistage process that begins with a complete axe, which is progressively divided into symmetrical parts. The clean lines and delicate details in this piece demonstrate the artist’s mastery of jade working techniques.
Amanda Suárez Calderón, Samuel and Gabrielle Lurie Scholar in Residence, 2025
Further Reading
Hoopes, John. “Magical Substances in the Land between the Seas.” In Golden Kingdoms. Luxury Arts in the Ancient Americas, edited by Joanne Pillsbury, Timothy Potts, and Kim N. Richter. Los Angeles: The J. Paul Getty Museum and The Getty Research Institute, 2017.
Kuboyama-Haraikawa, Waka. Celtiform Pendants from Pre-Columbian Costa Rica. Oxford, UK: BAR Publishing, 2023.
McEwan, Colin, and John Hoopes, eds. Pre-Columbian Art from Central America and Colombia at Dumbarton Oaks. Washington, DC: Dumbarton Oaks Research Library and Collection, 2021.
Los artesanos de las regiones Central y Gran Nicoya de Costa Rica fabricaron pendientes de una variedad de piedras verdes, llamadas genéricamente jade, aproximadamente desde el 500 AEC hasta el 800 EC. Aunque hay fuentes locales de algunas de estas rocas, la fuente más cercana conocida hasta ahora específicamente de jadeíta se encuentra en la región del Río Motagua en Guatemala. Por lo tanto, el uso de esta piedra en la antigua Costa Rica demuestra la existencia de conexiones a larga distancia a través de Centro América. La aparición de estos pendientes con su estilo distintivo durante un periodo de surgimiento de desigualdades sociales sugiere que eran símbolos de prestigio y diferenciación.
Este pendiente en forma de hacha es una representación altamente estilizada de un ave, posiblemente combinada con algunos rasgos antropomorfos. Los motivos redondeados en la parte superior asemejan una cresta, mientras que las líneas alargadas, más angulares, en el frente representan el pico. En medio de estos dos elementos, el espacio cuadrado sugiere una cara, protegida por un casco o tocado. La perforación a la altura del cuello permitiría suspender la pieza con una cuerda.
La fabricación de este pendiente ornamental es un proceso de múltiples etapas que comienza con un hacha completa, la cual se va dividiendo progresivamente en partes simétricas. Las líneas limpias y los detalles delicados de este pendiente demuestran la maestría del artista en las técnicas de trabajo en jade.
Amanda Suárez Calderón, Samuel and Gabrielle Lurie Scholar in Residence, 2025
Lecturas adicionales
Hoopes, John. “Magical Substances in the Land between the Seas.” En Golden Kingdoms. Luxury Arts in the Ancient Americas, edited by Joanne Pillsbury, Timothy Potts, and Kim N. Richter. Los Angeles: The J. Paul Getty Museum and The Getty Research Institute, 2017.
Kuboyama-Haraikawa, Waka. Celtiform Pendants from Pre-Columbian Costa Rica. Oxford, UK: BAR Publishing, 2023.
McEwan, Colin, and John Hoopes, eds. Pre-Columbian Art from Central America and Colombia at Dumbarton Oaks. Washington, DC: Dumbarton Oaks Research Library and Collection, 2021.
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