Torso of a small, seated, anthropomorphic figure stretching out its legs. The figure has two massive arms, which it is raising on its hips. Its head is not depicted. The pottery has been smoothed, slurried, primed and painted. The primer and paint are almost completely eroded. The sculpture has a white-yellowish base colour, which was painted black-brown. Ferrero (1975) and Healy (1980) refer to seated and standing anthropomorphic figures that can wear an open or closed headdress. Symbolic meaning: according to Bonilla et al. (1987), the object probably represents a pregnant woman. Stevenson-Day (1997) interprets the female sculptures of the Mora group as shamans. According to Lothrop 1926: Nicoya 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)