Greenstone has been valued throughout history, both past and present. It has been used to create beautiful ornaments and beautify people. Its meaning has been so profound that many cultures have tried to emulate the forms and styles of ancient societies, seeking to establish a connection and continuity with them. In doing so, they wish to assert their descent from these cultures and present themselves as the bearers of their knowledge and ideas. This practice reflects the human desire to preserve and honor cultural heritage, as well as to keep traditions and historical identity alive.

This piece represents a reproduction of a Mezcala style headpiece. It is difficult to determine which elements of this piece really correspond to the Mezcala tradition and whether some were added later. However, it is evident that the representation of the face presents anomalous characteristics that are easily perceptible.

The face has an oval shape and is highlighted by a marked incision on the sides, indicating that it may have been used as a medallion. The back of the object also has two perforations, which appear to have been added at a later stage, as evidenced by the more recent appearance of the stone’s surface. These anomalous elements attract attention and raise questions about the possible late integration of certain elements in this piece.

The front view of the piece shows a face that follows some elements of the Mezcala style. For instance, at the top, there is an incised horizontal line that generally represents the eyes in this tradition. However, in this piece, it is used to mark the upper section and below it there are two half circles representing eyes that lose the characteristic schematism of the Mezcala tradition. From between the eyebrows there are two sloping lines that gradually open, which is a common resource in the Mezcala tradition to represent the nose and mouth.

However, there are also anomalous elements in this representation. The nose is defined by a horizontal line and on each side are half circles representing the nostrils. After these elements, there is an oval with a line in the center that simulates the mouth. These curvatures in the nose and mouth, together with the level of naturalism they generate, are contrary to the abstraction sought in the Mezcala pieces.

In the Mezcala tradition, the headdress was an element where great versatility was displayed and marvelous figures were created using only straight lines. However, in the case of this piece, the headdress presents anomalous characteristics. It is composed of a spiral at the ends and an inverted U in the center, with an incised vertical line.

It is important to note that this headdress shape, which in the Preclassic was associated with maize and in the Postclassic was related to the heart, is completely unusual in the Mezcala tradition. In this tradition, the use of straight lines and abstraction in the representation of the headdresses was favored, which makes this figure notably different and anomalous in comparison with the stylistic conventions of the Mezcala culture.

The presence of elements from the Mezcala tradition in this piece is complemented by figures and forms from other traditions and periods, which is intriguing. It is difficult to determine when these interventions were made, whether in pre-Hispanic times or later, and even if the piece originally belonged to the Mezcala tradition. Despite these unknowns, what is clear is the intention to establish a link with the past, to recreate its forms and to appropriate its cultural legacy.