Abstract:Los procesos de estilización y esquematismo, que suponen una simplificación y una alteración de lo figurado, han sido escasamente estudiados en el arte prehispánico de las Tierras Bajas del Paraná. Este trabajo se propone profundizar en estos a través del análisis de una muestra de 34 apéndices figurativos de cerámica procedentes del sitio Las Tejas San Nicolás 1 (provincia de Entre Ríos, nordeste de Argentina). Se aportan criterios metodológicos que permiten discutir estos procedimientos en representaciones t… Show more
“…Figure 4.Zoomorphic depictions with different levels of realism: (a) anteater from ALM1 site; (b) strigiform bird from ALM1 site; (c) canid from LTSN1 site; (d) alligator from LT site; (e) neotropical river otter from ALM1 site; (f) & (i) ophidians from ALM1 site; (g) duck from LP2 site; (h) feline ( Panthera onca ) from AL1 site; (j) capybara from ALM1 site; (k) bird from LP2 site; (l) capybara from LT site; (ll) & (m) indeterminate zoomorphs from LTSN1 site; (n) indeterminate zoomorph from ALM1 site. (a, b, e, g, i, k, n: Ceruti collection, Serrano Museum; c, ll, m: Ottalagano & Loponte (2022); d, f, h, l: Serrano collection, Serrano Museum. )Figure 5.Anthropomorphic depictions with different levels of realism: (a) VU3 site; (b) AL1 site; (c) & (f) LP2 site; (d), (j) & (k) Paraná basin; (e) & (h) middle Paraná basin; (g) human-strigiform bird, LP2 site; (i) ALM1 site.…”
Section: Resultsmentioning
confidence: 99%
“…This increase is especially notable in the CGILM and LTSN1 sites, located on the left bank of the lower Paraná (Fig. 1), in which practically all the representations of birds analysed correspond to raptors (see also Gaspary 1950;Ottalagano & Loponte 2022). Therefore, although with some variations a general trend towards the elaboration of images of psittaciform birds with mostly naturalistic characteristics in the middle Paraná is observed, an opposite tendency towards the elaboration of images of birds of prey with mostly stylized and schematic features in the lower Paraná is verified (Fig.…”
Section: Distribution Of Motifs In the Study Areamentioning
confidence: 92%
“…The figurative motifs considered in this study were mostly taxonomically identified in Ottalagano (2021a), in which systematic methodological criteria for the recognition of the different taxa in ceramic art are made explicit. The classification of the motifs into naturalistic stylized and schematic was based on the proposal defined in Ottalagano & Loponte (2022), which considered the specificities of the regional artistic patterns. According to this proposal, figurative motifs tend to have certain characteristics depending on their level of realism, as will be seen below.…”
Section: Methodsmentioning
confidence: 99%
“…In schematic representations, facial features are omitted, while the incised decorative attributes may or may not be present (Figs 2 and 4 & 5, below). Figure 2.Representation sequences among psittaciform, falconiform and cathartiform birds: (a) ALM1 site (Ottalagano 2021b); (b) site AL1 (Serrano Museum); (c) LT site (Serrano collection, Serrano Museum); (d) CPA site (Ottalagano et al 2010); (e) & (h) LTSN1 site (Ottalagano & Loponte 2022); (f) SF site (Marc Museum); (g) & (i) CGILM site (Gaspary collection, Marc Museum). (a, b, d, e, f, g, h, i: three-dimensional motifs; c: two-dimensional motif.…”
The pre-Hispanic art of the Lowlands of Paraná comprises very realistic to extremely simplified ceramic figurines made by complex hunter-gatherer groups during the Late Holocene. In particular, the article seeks to discuss the differences found between parrot and raptor figures, which are the most frequent motifs. Alternative styles of representation were involved in the visual symbolism of the two groups of birds with well-differentiated morphological and behavioural attributes. Whereas parrot images were elaborated with greater naturalism in sites mostly located in the middle Paraná, birds of prey exhibit a higher degree of stylization and schematization, especially in the lower Paraná. It is proposed that the differences in the artistic modalities used to represent these groups of birds could be related to the positioning of these animals within different metaphorical domains and opposable conceptual categories. It is also suggested that this iconography could be specifically linked to a totemic ontology, which implies a particular attitude towards nature. This study attempts to contribute to broadening our knowledge about the symbolic relationships between humans and animals in pre-Columbian America.
“…Figure 4.Zoomorphic depictions with different levels of realism: (a) anteater from ALM1 site; (b) strigiform bird from ALM1 site; (c) canid from LTSN1 site; (d) alligator from LT site; (e) neotropical river otter from ALM1 site; (f) & (i) ophidians from ALM1 site; (g) duck from LP2 site; (h) feline ( Panthera onca ) from AL1 site; (j) capybara from ALM1 site; (k) bird from LP2 site; (l) capybara from LT site; (ll) & (m) indeterminate zoomorphs from LTSN1 site; (n) indeterminate zoomorph from ALM1 site. (a, b, e, g, i, k, n: Ceruti collection, Serrano Museum; c, ll, m: Ottalagano & Loponte (2022); d, f, h, l: Serrano collection, Serrano Museum. )Figure 5.Anthropomorphic depictions with different levels of realism: (a) VU3 site; (b) AL1 site; (c) & (f) LP2 site; (d), (j) & (k) Paraná basin; (e) & (h) middle Paraná basin; (g) human-strigiform bird, LP2 site; (i) ALM1 site.…”
Section: Resultsmentioning
confidence: 99%
“…This increase is especially notable in the CGILM and LTSN1 sites, located on the left bank of the lower Paraná (Fig. 1), in which practically all the representations of birds analysed correspond to raptors (see also Gaspary 1950;Ottalagano & Loponte 2022). Therefore, although with some variations a general trend towards the elaboration of images of psittaciform birds with mostly naturalistic characteristics in the middle Paraná is observed, an opposite tendency towards the elaboration of images of birds of prey with mostly stylized and schematic features in the lower Paraná is verified (Fig.…”
Section: Distribution Of Motifs In the Study Areamentioning
confidence: 92%
“…The figurative motifs considered in this study were mostly taxonomically identified in Ottalagano (2021a), in which systematic methodological criteria for the recognition of the different taxa in ceramic art are made explicit. The classification of the motifs into naturalistic stylized and schematic was based on the proposal defined in Ottalagano & Loponte (2022), which considered the specificities of the regional artistic patterns. According to this proposal, figurative motifs tend to have certain characteristics depending on their level of realism, as will be seen below.…”
Section: Methodsmentioning
confidence: 99%
“…In schematic representations, facial features are omitted, while the incised decorative attributes may or may not be present (Figs 2 and 4 & 5, below). Figure 2.Representation sequences among psittaciform, falconiform and cathartiform birds: (a) ALM1 site (Ottalagano 2021b); (b) site AL1 (Serrano Museum); (c) LT site (Serrano collection, Serrano Museum); (d) CPA site (Ottalagano et al 2010); (e) & (h) LTSN1 site (Ottalagano & Loponte 2022); (f) SF site (Marc Museum); (g) & (i) CGILM site (Gaspary collection, Marc Museum). (a, b, d, e, f, g, h, i: three-dimensional motifs; c: two-dimensional motif.…”
The pre-Hispanic art of the Lowlands of Paraná comprises very realistic to extremely simplified ceramic figurines made by complex hunter-gatherer groups during the Late Holocene. In particular, the article seeks to discuss the differences found between parrot and raptor figures, which are the most frequent motifs. Alternative styles of representation were involved in the visual symbolism of the two groups of birds with well-differentiated morphological and behavioural attributes. Whereas parrot images were elaborated with greater naturalism in sites mostly located in the middle Paraná, birds of prey exhibit a higher degree of stylization and schematization, especially in the lower Paraná. It is proposed that the differences in the artistic modalities used to represent these groups of birds could be related to the positioning of these animals within different metaphorical domains and opposable conceptual categories. It is also suggested that this iconography could be specifically linked to a totemic ontology, which implies a particular attitude towards nature. This study attempts to contribute to broadening our knowledge about the symbolic relationships between humans and animals in pre-Columbian America.
“…Esto permite abordar novedosos aspectos cosmológicos y ontológicos en la discusión. También los estudios de las pastas y temperaturas de cocción (DI PRADO et al, 2020, 2022PÉREZ, 2013;PICCOLI, 2015) permiten comprender mejor los procesos de producción de la cerámica Goya-Malabrigo. La creciente identificación de modelados antropomorfos (Figura 5) de cabezas con tocados, plumas y orejas perforadas posibilita conocer los variados adornos corporales utilizados por estas poblaciones.…”
Em 2012 publicamos um artigo sobre a entidade arqueológica Goya-Malabrigo e sua ligação com a expansão Arawak. Este artigo, escrito em espanhol na Revista de Arqueologia da Sociedade de Arqueologia Brasileira que será republicado neste volume especial, teve grande impacto na arqueologia das terras baixas da América do Sul, como atestam o alto número de citações e as discussões que gerou. Nele, redefiniu-se esta entidade arqueológica, que teve um significativo agenciamento histórico no Médio e Baixo Paraná, Baixo Uruguai e costa leste dos rios da Prata, e também explorou seu vínculo com a dispersão meridional do grupo etnolinguístico Arawak. Dez anos depois, houve um progresso substancial no conhecimento de Goya-Malabrigo e novos tópicos de pesquisa foram abertos. Como consequência do incentivo do artigo de 2012, foram realizados dois simpósios sobre esta entidade arqueológica, um no V Encontro de Discussão de Arqueologia do Nordeste Argentino (Goya, 2013) e outro no XIX Congresso Nacional de Arqueologia Argentina (Tucumán, 2016). Em 2018, uma série de artigos foi reunida relatando novos avanços sobre o assunto (Politis e Bonomo 2018) e novas questões foram geradas. Parte dessas contribuições serão resumidas e discutidas neste artigo.
En este trabajo se presentan los resultados del estudio tecno-morfológico, funcional y decorativo realizado sobre el registro cerámico del sitio arqueológico Las Tejas (LT), recuperado durante las tareas de campo llevadas a cabo en 1995 y 2012. Este yacimiento fue descubierto por A. Serrano a comienzos del siglo XX y es considerado uno de los primeros sitios insulares localizados en el tramo medio del río Paraná (Coronda, Santa Fe). Su emplazamiento en el interior de la llanura aluvial, con dinámicas fluviales propias de este tipo de ambientes, otorga características específicas al registro arqueológico y a sus condiciones de preservación. En el caso de la alfarería, muestra una serie de rasgos similares a la de contextos arqueológicos Goya-Malabrigo, que refieren a formas simples -abiertas y cerradas- mayormente lisas, con incisiones de surco rítmico en algunos casos, presencia de asas, apéndices zoomorfos y alfarería gruesa. Se presenta la información obtenida con el objetivo de contribuir a las discusiones en torno a la tecnología cerámica de las poblaciones que habitaron la región del Paraná medio.
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