La sustancia y el contexto de las ofrendas rituales de la cerámica paracas

Descripción del Articulo

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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Detalles Bibliográficos
Autor: DeLeonardis, Lisa
Formato: artículo
Fecha de Publicación:2013
Institución:Pontificia Universidad Católica del Perú
Repositorio:PUCP-Institucional
Lenguaje:español
OAI Identifier:oai:repositorio.pucp.edu.pe:20.500.14657/113371
Enlace del recurso:http://revistas.pucp.edu.pe/index.php/boletindearqueologia/article/view/14446/15060
https://doi.org/10.18800/boletindearqueologiapucp.201301.009
Nivel de acceso:acceso abierto
Materia: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
Descripción
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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