This article addresses the issue of Inca hegemony in the area of the current community of San Jerónimo, on the left bank of the Utcubamba River, Amazonas. Considering mainly the site of Purumllaqta de Cuimal and its relationship with the funerary structures of Cerro El Tigre and the rock art sites of Suinte, Ayasamana and Chumoc, we approach the importance of this area for the Tahuantinsuyo.

This article addresses the issue of Inca hegemony in the area of the current community of San Jerónimo, on the left bank of the Utcubamba River, Amazonas. Considering mainly the site of Purumllaqta de Cuimal and its relationship with the funerary structures of Cerro El Tigre and the rock art sites of Suinte, Ayasamana and Chumoc, we approach the importance of this area for the Tahuantinsuyo.

In this research we dive into an area scarcely known by Amazonian and Peruvian archaeology, the Kanu sor Santiago River basin, the border area between the Sub-Andean Zone and the Amazonian plain. Through the recognition of an archaeological site in Apinkras Creek, current territory of the Wampis community of Villa Gonzalo (district of Río Santiago, Condorcanqui-Amazonas) and a subsequent analysis of the associated cultural material, we seek to approach the antiquity and the characterization of the societies that elaborated these objects during their permanence in the area. In this way, we identified that our study area was situated within a large area of interaction, mainly in the Amazon, at dates not yet precisely identified, but l estimated to have occurred between 2000 BC and 400 AD.

Esta investigación realizada en la periferia de la ciudad de Iquitos, en la región de Loreto, tiene como objetivo analizar la alfarería, su cosmología y vínculo identitario de la población kukama-kukamiria en el centro poblado Santo Tomás, lago Mapacocha, río Nanay. El estudio es cualitativo, de tipo etnográfico descriptivo, y utiliza como técnicas e instrumentos de investigación la observación participante y entrevistas semiestructuradas. Se trabajó con 29 kukamas con conocimiento alfarero; 11 interpretaron los íconos (entre los 33 a 73 años) y a 18 se aplicaron entrevistas semiestructuradas. La observación participante estuvo focalizada en tres familias alfareras. Se presentan 11 imágenes de cerámicas y 47 íconos. Se concluye que la alfarería no es solo una evidencia cultural tangible, sino también se la reconoce como parte del saber hacer ancestral que refleja la ...