Small, seated female figure with spread legs. The hollow object has a small, round opening at the navel. Two opposing round openings appear at the neck, which probably served as a suspension. The sculpture was smoothed, sanded, primed, painted and polished. The polishing, painting and priming have eroded in places. The ceramic has a white-reddish base colour, which was painted red and black-brown. The sculpture has an upright posture, broad hips and emphasised breasts. Its facial and body decorations seem to allude to the structures of textiles. There are two rectangles on the figure's upper arms, which are intertwined in a cross shape. Her attributes are repeated in the face painting. The glyph-like sign indicates the particularly valuable character of the decorated objects in the central Mexican highlands (Pasztory 1983: 45). The figure wears a pubic bandage and has a short, straight haircut. Her back remains undecorated. Symbolic meaning: Stevenson-Day (1997) understands similar sculptures as female shamans. Cultural significance: the anthropomorphic figures of the zoned two-coloured ceramics (Rosales Esgrafiado) and the Policromo Antiguo (Galo Policromo group) show great representational realism compared to the sculptures of later ceramic groups (Mora Policromo, variedad Guabal). The Galo and Carrillo Policromo groups (800-500d.C.) represent the first truly polychrome ceramics produced in the Gran Nicoya region. Their design (shape, colouring, individual motifs) is strongly reminiscent of the Ulua Policromo group (950-550d.C.). (Künne 2004)