*Ceinture

in the form of a yoke. The main motifs carved on the surfaces of this yoke have their origins in the iconographic system of Teotihuacan. Among these are several references to the Teotihuacan warrior and to the cultural and religious system of the City of the Gods. The upper terminal parts of the yoke's branches are incised with two representations of a butterfly seen in profile. The segmented body of the butterfly can be discerned, with its thorax and abdomen, topped by a wing, and a leg with an oversized claw. It is a fantastic creature because its head, surmounted by an antenna curved backwards, reveals an upper jaw with powerful teeth. The latter is reminiscent of the jaguar's and justifies its name of Jaguar Butterfly, an iconic symbol closely associated with warriors and war. The upper surface of the yoke is completed with an interlaced design typical of yokes from the Veracruz region, on the coast of the Gulf of Mexico. This too suggests its provenance. The frontal area of the yoke shows the face of a character, probably a warrior, whose head is wrapped around the body of a Jaguar Butterfly. We note the same characteristics of the butterfly described above but this time in frontal view with the split body encircling the human head. The latter is here surmounted by the head of the butterfly in the manner of an elaborate headdress with the two antennae curved on either side. The vertical surfaces of the ends of the yoke's branches are decorated with the head of a bird whose half-open beak reveals a human head. The head is adorned with earrings and has closed eyes. The head of the bird is surmounted by the body of a butterfly, in a manner similar to that of the central motif studied earlier. There is a wing, a forward curved antenna and a clawed leg. These details are clearly visible on the lateral surfaces and not on those of the terminal extremities because the latter offer the sculptor only limited space. Also noteworthy are the small triangular incisions around the bird's eyes and around its half-open beak. These incisions probably indicate the presence of feathers. The tight scroll at the back of the orbital cavity is known from other carvings, notably those depicting scarlet macaw (Ara macao) heads on hachas, a complementary piece of equipment to the Mesoamerican ball player's yoke. This fantastic bird is known as the Butterfly Bird god and has been associated with a myth in Teotihuacan that would have important similarities with the Popol Vuh of the Maya. These include descents into the Inframund, ball games, and a resurrection from the Inframund. The episode of the ball game is significant for our discussion of this yoke because it is an essential part of the player's equipment. In the myth of Teotihuacan, it is suggested that the god Butterfly Bird is in fact a solar god and that his resurrection from the Inframund evokes the daily cycle of the solar star. As for the central motif of the yoke, the close association of the butterfly with warriors and war in general, is explained by the belief in Teotihuacan, and later among the Aztecs, that the souls of dead warriors are transformed into butterflies. These accompany the sun in its daily journey. Tecali, white crystalline limestone (alabaster) with important traces of cinnabar Veracruz - Teotihuacan influence, Mexico, 450 - 750 AD 11.5 x 39 x 34 cm Provenance: - Former Yvon Collet collection since 1968 - Mermoz Gallery, 2004 Thanks to its iconography and its remarkable execution, this yoke is unique in Mesoamerican art. Its iconographic program testifies to the importance of the religious and cultural concepts initially enunciated in Teotihuacan and their diffusion through space and time in Mesoamerica. Re-capping (5cm/5cm) on the upper corner of the right side *This lot is presented as a temporary import