La sustancia y el contexto de las ofrendas rituales de la cerámica paracas
The Paracas (900 BC-AD 1) of south coastal Peru are widely recognized for ceramics bearing patterned designs created fromincised clay that was often post-fire painted. Analyses of containers, effigies, figurines and musical instruments recovered intactin tombs, have centered largely on temporal and...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2013 |
| País: | Perú |
| Institución: | Pontificia Universidad Católica del Perú |
| Repositorio: | PUCP-Institucional |
| Idioma: | español |
| OAI Identifier: | oai:repositorio.pucp.edu.pe:20.500.14657/113371 |
| Acceso en línea: | http://revistas.pucp.edu.pe/index.php/boletindearqueologia/article/view/14446/15060 https://doi.org/10.18800/boletindearqueologiapucp.201301.009 |
| Access Level: | acceso abierto |
| Palabra clave: | Cerámica Cultura Paracas Valle de Ica Callango Ocucaje Teojate Ofrenda Ritual de Clausura Fragmentación Miniaturización Parejas Período Formativo Horizonte Temprano Archaeology Ceramics Paracas Culture Ica Valley Cerrillos Offering Fragmentation Termination Ritual Pairs Miniaturization Formative Early Horizon https://purl.org/pe-repo/ocde/ford#6.01.02 |
| Sumario: | The Paracas (900 BC-AD 1) of south coastal Peru are widely recognized for ceramics bearing patterned designs created fromincised clay that was often post-fire painted. Analyses of containers, effigies, figurines and musical instruments recovered intactin tombs, have centered largely on temporal and iconographic concerns, and in evaluating prestige. A number of archaeologicalcontexts offer an alternative view of ceramics and their role in public and domestic spheres. In this paper, the role of ceramics inritual offerings is discussed and analyzed in tandem with the other forms and mediums they accompany. The contexts for theseofferings differ from those of funerary ritual in which whole vessels are placed with the dead. These analyses indicate that the endcycle of ceramics is diverse, that their substance is valued in whole and fragmentary form, and that their spatial orientation issignificant. Insights are offered into how ceramics as substances interact and complement other materials in offerings and howthis bears upon our interpretation of specific iconographies and design symbols and their respective meanings. |
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