Formative era art shows war or sacrifice. No stelae have been found extolling rulers' victories, unlike the later Maya or the contemporaneous Egyptian or Hittite cultures. Olmec colonization, that is the founding of new settlements by Olmec emigrants outside of the Olmec heartland, is unlikely. The archaeological records of Olmec-influenced sites show that each had pre-Olmec occupations as well as a significant number of indigenous artifacts created in a local tradition. The Tlatilco site as well as Xochipala figurines are two examples famous for a large number of figurines, which are unlike any found at La Venta or San Lorenzo. Although portable art, such as pottery, celts, or other items could have been transported the long distances between towns, the monumental art at Chalcatzingo or Teopantecuanitlan would need to be created locally. Therefore, it is very likely that sculptors and artists familiar with or experienced in heartland architecture were commissioned to create similar ceremonial sites far from the heartland. But while this can explain how monumental Olmec-style art was created at Chalcatzingo, it does not explain why. Long-distance trade Similarly long-distance trade can explain the Olmec-style artifacts found in Teopantecuanitlan, as well the jade and obsidian artifacts found in the Olmec heartland, which is far from any jade or obsidian source. But trade by itself fails to explain the widespread adoption of Olmec-influenced artifacts and styles throughout Mesoamerica or Olmec iconography found on locally produced wares — while trade can explain the movement of objects, it does not explain the movement of ideas or styles. Therefore, according to archaeologist Jeffrey Blomster, "we have to move beyond a purely economic model . . . The fact that trade involves ceramic vessels which display iconography, representing an underlying ideology and religion synthesized by the Gulf Coast Olmec, suggests that something much deeper is at stake than simply maintaining exchange relationships." Iconography in service to ideology To explain the adoption of Olmec iconography and concepts throughout Mesoamerica, archaeologist F. Kent Reilly proposes a "Middle Form rulers. That is, the styles and the iconography, as well as the artifacts, were used by the rising elites in the Formative chiefdoms to authenticate or to increase their power and prestige. This is echoed, among others, by archaeologist Giselle Canto Aguilera. Working at the Zazacatla site in Morelos, she found that the inhabitants of Zazacatla adopted Olmec styles when they changed from a simple, egalitarian society to