Water goddess Chalchiuhtlicue - Lot 3

Lot 3
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Estimation :
300000 - 400000 EUR
Result with fees
Result : 382 438EUR
Water goddess Chalchiuhtlicue - Lot 3
Water goddess Chalchiuhtlicue Aztec culture, central high plateau, Mexico Postclassic, 1400-1521 A.D. Grey andesite with traces of pigment H. 32.4 cm - L. 17.5 cm Provenance : - Galerie Roudillon, Paris, July 1973 - Manichak and Jean Aurance Collection - Millon Auction, Aurance sale, September 18, 2019, lot 71 - Private collection Exhibitions : - Mexico, Land of the Gods", Musée Rath, Geneva, October 8, 1998 - January 24, 1999 - Figures de pierre", Musée-galerie de la Seita, Paris, October 2, 1992 - November 21, 1992 Bibliography : Catalogs : - Mexico Land of the Gods, Musée Rath, Geneva, 1998-1999, Goddess of Water reproduced on p. 246, fig. 275. - Figures de pierre, Musée-galerie de la Seita, Paris, 1992, Déesse de l'eau reproduced p. 103, fig. 245. Book: - Chefs d'œuvre inédits de l'art précolombien, Boulogne, éd. Arts 135, 1985, Déesse de l'eau reproduced p. 134, fig. 188-189. Chalchiuhtlicue, "she of the jade skirt", is the goddess of living waters, lakes, streams and rivers. Presented as the wife or sister of Tlaloc, the eminent god of rain and thunder, she is particularly venerated in the central high plateau of Mexico. She gave water to men and plants with her soft waters, but could also be fearsome, sending storms and floods. A goddess of pure water, she was also associated with birth and the purifying bath that followed the arrival of the newborn into the world of men. The remarkable Chalchiuhtlicue from the Jean Aurance collection, in grey andesite, is a fine example of the dexterity of Aztec sculptors. The goddess, in the guise of a beautiful young woman, is kneeling, upright, sitting on her feet. This is the traditional position for women, and even today, Indian women adopt this way of sitting when selling their harvest at market. Chalchiuhtlicue is dressed in a mid-calf-length skirt. The upper part of her body is covered by a Quechquemitl, a kind of three-row poncho-like blouse, whose triangular edges and points are decorated all along with small cotton pompoms. Her arms are glued to her body, forming a block with it, and her hands, with incised fingers, rest on her knees. The goddess's ears support two circular ornaments. Her finery is completed by a beautiful headdress consisting of a wide frontal band, bordered by an ornamental row of repetitive small circles, framed by two long, conical, ridged tassels that fall to the shoulders. The face of this water goddess, perfectly rounded, seems collected. The delicate line of the eyebrows emphasizes the sunken, open eyes, which may once have held shell or colored stone inclusions. The slightly aquiline nose, with its pronounced nostrils, surmounts a fine mouth with half-open lips. As is often the case in Aztec art, the back of the statue is as admirable as the front. The composition is perfectly balanced. The coiffure, combed with a central parting, is held in place by a four-row headband elegantly tied with two ribbons that fall down the goddess's back. A series of ornamental tassels decorate the goddess's skull. The rear point of the Quechquemitl draws the eye towards Chalchiuhtlicue's two feet, turned inwards in a graceful attitude. This position, characteristic of Aztec feminine statuary, would later inspire the painter Diego Rivera for certain depictions of kneeling Indian women with arms laden with arums. Great harmony and gentle serenity emanate from this magnificent statue. Under the idealized features of this beautiful young girl, it is the purity of water that is represented, water so vital to human survival.
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