Hollow, anthropomorphic figure with an oversized, flattened head. The small, seated (?) object has a flat base and a round opening at the back of the head. There was a fragmented eyelet at the base of the head, which was used for suspension. The sculpture was smoothed, sanded, primed, painted and polished. The primer and paint are almost completely eroded. The arms and legs of the heavily weathered ceramic are fragmented. The object has a white-brownish base colour, which is painted black and red. The sculpture wears a headdress decorated with geometric motifs. They appear to imitate textile or wickerwork. The flattened head indicates a skull deformation. The strongly accentuated nostrils and a red mouth mask indicate the feline predatory characteristics of the creature depicted. Ferrero (1975) and Healy (1980) point to seated and standing anthropomorphic figures that can wear an open or closed headdress. Symbolic meaning: Stevenson-Day (1997) interprets the female sculptures of the Mora Policromo, variedad Guabal group as shamans. According to Lothrop 1926: highland polychrome ware. Cultural significance: the ceramics of the Mora group were produced in the north-west of Costa Rica and traded to the Central Highlands and the Atlantic region of the country. It uses design elements (seated anthropomorphic figures with headdresses, mat motif, Kan cross) that are also known from the Maya ceramics (Copador group) of the Clásico Tardío (900-600d.C.). The anthropomorphic figures of the Guabal variant show greater representational schematism compared to the anthropomorphic sculptures of the zoned bicoloured pottery (Rosales Esgrafiado) and the Policromo Antiguo (Galo Policromo group). (Künne 2004)