This finely carved pendant depicts a composite zoomorphic figure, merging characteristics of an armadillo and a bird, rendered in the abstract, angular style of Greater Nicoya jade artistry. The compact, armored body, rounded snout, and upright posture evoke the nine-banded armadillo (Dasypus novemcinctus), a nocturnal burrowing animal common in Central America. In contrast, the prominent tail, raised crest, and flared rear elements resemble avian plumage, indicating deliberate iconographic blending. Such hybrid figures were common in Pre-Columbian Costa Rican art, especially in jade, a material associated with fertility, water, and social prestige. The armadillo, symbolic of protection, earth, and the underworld, is here combined with avian elements traditionally linked to sky, vision, or shamanic flight. This duality may have represented liminal transformation or shamanic power, the ability to navigate both terrestrial and spiritual realms. A large biconical perforation through the torso indicates that the piece was designed for suspension, most likely worn as the centerpiece of a ceremonial necklace with accompanying beads of jade, shell, or other valuable materials. The stylization and tool marks align with known Costa Rican jade-working traditions from the Late Formative to Early Classic period. Pendants like this one are associated with elite status and ritual use, reflecting the cultural significance of jade as a symbol of fertility, power, and cosmic regeneration. Medium: Blue/green JadeiteDimensions: Height: 1 1/4 inches (3 cm) Condition: Intact and in very good condition overall. Provenance: Mirtha Virginia de Perea (1929 - 2019) private collection of Costa Rican art. Mrs. de Perea spent her entire 48-year career at the Embassy of Costa Rica in Washington, DC, advancing from secretary to the rank of Cultural Minister-Counselor and Consul. She was a devoted patron of the arts, promoting numerous local artists and sponsoring many cultural events throughout her career. She also amassed an impressive collection of Latin American art. After retiring in 1999, she became a US citizen and continued her support of the arts through her membership in the Women’s Committee of the Washington National Opera and other local groups.
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