MODERN INDIAN ART Wild Animal Jaguar Statue Golden Panther Sculpture Figurine Home Desk Décoration

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Furst, Peter T. 1981. "Jaguar Baby or Toad Mother: A New Look at an Old Problem in Olmec Iconography", in The Olmec and Their Neighbors, edited by E.P. Benson, Washington D.C.: Dumbarton Oaks: pp 149–162. Monument 1, Las LimasBabies and children feature heavily in the carvings and reliefs of the Olmec, which supports the idea that jaguar imagery corresponds to the royal jaguar lineage . One prime example is Monument 1 from Las Limas, which is a stone carving of a parent holding a were-jaguar baby. The baby exhibits all the emblems of the were-jaguar, including the downturned mouth, ear braids and the “X” across the chest. The parent has inscriptions of four other supernaturals engraved on their knees and shoulders, including the “Banded-eye God”, “Olmec Dragon”, “Bird Monster” and “Fish Monster”. The common belief is that the statue represents the offering of the deformed baby to the Gods. However, the statue could equally be commemorating the birth of a new member of the Jaguar lineage and a successor to the throne of the “X” Kingdom, with the inscription on the knees and shoulders indicating the parent’s own divine lineage which is passing onto the child. Davis, Whitney. 1978. " So-Called Jaguar-Human Copulation Scenes in Olmec Art". American Antiquity 43(3): 453-457.

My own thoughts are that I saw this statue in the museum which used to be at Browns Lane - this was at least 15 years ago. The smaller jaguar models like the one in Balsall Common were seen Jaguar showrooms in the 1960's, I used to see one on my way to school in Leamington at Jaguar dealers George Kidd. In the centre of the land is a Jumanji styled maze, which also includes a number of obstacles for children to play on.Murdy, Carson N. 1981. "Congenital Deformities and the Olmec Were-Jaguar Motif", American Antiquity 46(4): 861-871. It is not known what the were-jaguar represented to the Olmec, and it may well have represented different things at different times. Rodrigo Nuanaez; Brian Miller; Fred Lindzey (2000). "Food habits of jaguars and pumas in Jalisco, Mexico". Journal of Zoology. 252 (3): 373–379. doi: 10.1111/j.1469-7998.2000.tb00632.x . Retrieved 2006-08-08. The jaguar is further associated with vegetation and fertility by the Maya with what is known as the Waterlily jaguar, which is depicted as having water lilies sprouting from its head (Benson 1998:64-67). Aztec jaguar warrior, from the Codex Magliabechiano Following the granting of planning permission in January 2022 construction began in earnest and continued throughout the 2022 season, with the

Integration of the jaguar into the sacred and secular realms of the Maya peoples is proven in the archaeological record. The Maya, whose territory spanned the Yucatán Peninsula all the way to the Pacific coast of Guatemala, was a literate society who left documentation of their lives (mostly the lives of the aristocracy) and belief system in the form of books and bas-relief sculpture on temples, stelae, and pottery. Often depicted on these artifacts are the gods the Maya revered and it is no coincidence that these gods often have jaguar attributes. As stated earlier, the jaguar is said to have the ability to cross between worlds, and for the Maya daytime and nighttime represented two different worlds. The living and the earth are associated with the day, and the spirit world and the ancestors are associated with the night. As the jaguar is quite at home in the nighttime, the jaguar is believed to be part of the underworld; thus, "Maya gods with jaguar attributes or garments are underworld gods" (Benson 1998:64). One such god is Xbalanque, one of the Maya Hero Twins who descended to the underworld, and whose entire body is covered with patches of jaguar skin. Another is God L, who is "the primary lord of the underworld" and often is shown with a jaguar ear or jaguar attire, and atop a jaguar throne (Benson 1998: 64-65). Not only is the underworld associated with the ancestors, but it also is understood as, where plants originate. In addition, the Maya's source of fresh water comes from underground pools in the porous limestone that makes up the Yucatán, called cenotes. These associations with water and plants further reinforce the notion of the jaguar as a god of fertility. The Olmec civilization was first defined as a distinctive art style at the turn of the nineteenth century. The various sculpture, figurines, and celts from what now is recognized as the Olmec heartland on the southern Gulf Coast, reveal that these people knew their jungle companions well and incorporated them into their mythology.

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Tate, Carolyn E. 1999. "Patrons of Shamanic Power: La Venta’s Supernatural Entities in Light of Mixe Beliefs", Ancient Mesoamerica, 10: 169-188. Mythologically significant animal of the Western Hemisphere The day sign "Jaguar" from the Codex Laud Bullé-Goyri, Alejandro Ortiz (2005-12-15). "Aproximaciones a Los Tecuanes, danza-drama de origen náhuatl del Estado de Guerrero". América sin Nombre (in Spanish) (8): 93–99. doi: 10.14198/AMESN2006.8.12. ISSN 1989-9831. Coe, M.D. (1972) "Olmec Jaguars and Olmec Kings." In E.P. Benson (ed), The Cult of the Feline. Washington D.C.: Dumbarton Oaks: 1-12. In the case of the frosted glass sculptures crafted by artisans at legendary French glassmaker Lalique, founded by jeweler and glass artist René Lalique, some animal sculptures are purely decorative. With their meticulously groomed horse manes and detailed contours of their parakeet feathers, these creatures want to be proudly displayed. Adding animal sculptures to your bookcases can draw attention to your covetable collection of vintage monographs, while side tables and wall shelving also make great habitats for these ornamental animal figurines.

For two millennia, the Olmec civilisation lay forgotten beneath the jungles of Veracruz and the ruins of subsequent Mesoamerican cities. The trail of their rediscovery began in 1867 when José Melgar y Serrano reported the existence of an enormous basalt head in the village of Tres Zapotes. The heads have Benson, E.P. (1998) "The Lord, The Ruler: Jaguar Symbolism in the Americas." In N.J. Saunders (ed), Icons of Power: Feline Symbolism in the Americas. London: Routledge: 53-76. Saunders, Nicholas J. (1994). "Predators of Culture: Jaguar Symbolism and Mesoamerican Elites". World Archaeology. 26 (1): 104–117. doi: 10.1080/00438243.1994.9980264. ISSN 0043-8243. JSTOR 124867.A small village area next to the Mandrill Mayhem station has a number of games stalls, plus a Refresh and Refill drinks station.