JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.One of the most enigmatic aspects of decapitation practices among south coastal Peruvian Paracas and Nasca cultures (900 B. C.-A.D. 750) is the near absence of headless bodies in the archaeological record. Drawing on a case study of an Early Nasca, Phase 3 headless burial at Site PV62D13 in the lower Ica Valley, together with examples of headless interments reported in the literature, I examine the nature and disposition of headless burials. Three burial patterns, or forms, are proposed. The burial at PV62D13 is distinguished for its extended posture and interment in a non-cemetery setting and is proposed to be a dedicatory burial. Burialforms for disembodied heads are also examined, and over time, a notable increase in cached heads, buried without grave offerings is observed. Painted ceramic images of Nasca trophy heads and headless bodies are reviewed diachronically and a marked increase in decapitation scenes is notedfor Late Nasca. Attention is drawn to the limited number of headless body images overall, and possible solutions to reconcile the visual imagery with the archaeological data are offered.Uno de los aspectos mas enigmaticos en las pra'cticas de decapitacion humana entre las culturas Paracas y Nasca (900 a. C.-750 d. C.) de la costa sur Peruana, es la casi ausencia de enterramientos de cuerpos sin cabezas. Mientras las cabezas se las encuentran decapitadas o como cabezas "trofeo" y sus equivalentes iconograficos por todas partes, la escasez de cuerpos sin cabezas, y en efecto, la casi ausencia de imagenes visuales respectivas durante Nasca temprano son notables. Aqu f examino la fndole y me'todo de enterrar los cue rpos decapitados haciendo uso de un caso de enterramiento Nasca temprano, Fase 3 de un cue rpo sin cabeza excavado a Sitio PV62D13 en el valle bajo de Ica, junto con ejemplos de otros enterramientos sin cabezas que se encuentran en la literatura. Se proponen tres patrones o formas de enterramientos. El entierro en el Sitio PV62D13, sugiere ser un enterramiento tipo of renda, que se distingue por su postura extendida y su ubicacion que no corresponde a aquellos de un cemeterio. Dos fechas radiocarbonicas ubican el enterramiento en un rango de restos culturales de Nasca 3. Aquf se discuten las discrepancias entre estas dos fechas. Tambie'n, se establecen y comparan las formas de enterramientos de cabezas trofeo a trave's del tiempo, encontra'ndose que existe un incremento notable en entierros de cabezas agrupadas sin ofrendas. Se examinan diacronicamente la ceramica decorada con cabezas trofeo y con cuerpos decapitados, notandose un aumento en la presencia de escenas de decapitacion en Nasca tardfo. Llama la atencion el numero restringido de imagenes que muest...
Obsidian constitutes a significant lithic material recovered from Paracas (first millennium B.C.) sites in south coastal Peru. Its presence in a variety of site contexts indicates that interaction with the neighboring highlands was well established, as one of the principal sources is Quispisisa at a distance of 225 km. In this study we discuss an obsidian assemblage from the Callango sector of the lower Ica Valley and the results of neutron activation analysis (NAA) that have determined Quispisisa as the source. These analyses advance and refine our understanding of local and long-distance interaction between the coast and highlands and contribute to broader concerns about the activities associated with procurement and exchange. Test results produce the first chemical signatures for a Paracas residential site in the lower Ica Valley. Our study adds to the ongoing inquiry about obsidian geochemistry and how source loci analysis complements questions about the materials and social interactions of pre-Hispanic cultures.La obsidiana es un material lítico significativo recuperado en los sitios paracas (1 er milenio a.C.) de la costa sur del Perú. Su presencia en diversos contextos de los sitios indica que la interacción con la sierra vecina se encontraba bien establecida, puesto que Quispisisa, que se encuentra a unos 225 km, fue una de sus fuentes más importantes. En el presente estudio examinamos un conjunto de obsidiana procedente del sector de Callango del valle bajo de Ica, así como los resultados del análisis de activación de neutrones (NAA) que determinó que su fuente fue Quispisisa. Estos análisis mejoran y refinan nuestra comprensión de la interacción local y de larga distancia entre costa y sierra, y contribuyen a un examen más amplio de las actividades asociadas con su adquisición e intercambio. Los resultados de las pruebas arrojaron las primeras firmas químicas de un sitio residencial paracas en el valle bajo de Ica. Nuestro estudio se suma a la investigación en curso acerca de la geoquímica de la obsidiana, y cómo el análisis de las fuentes complementa las preguntas referidas a los materiales y las interacciones sociales de las culturas prehispánicas.
Inka expansion into south coastal Peru (Chinchasuyu) is well documented in the archaeological record and in historical narratives that celebrate Inka achievements in Ica and Chincha. The lesser-known Pisco Valley equally benefited from Inka largesse as a result of a restructuring of the region by Thupa Inka, who is thought to have dispatched corps of occupational specialists (kamayuq) there. Centering on a group of kamayuq in Pisco, this research traces their movements and activities during and after Inka reign. Attention is drawn to their innovative transition from salt specialists to wine producers. The work contributes to a regional history of Pisco and offers a local perspective on the effects of the indigenous relocations instituted by Viceroy Francisco de Toledo. It attempts to unite and reconcile fragmentary historical sources about colonial Inka provincial peoples with the archaeological record and directs questions for future research.
Architecture and its attendant meanings are the subject of an exceptional group of ceramics produced by the Paracas (c. 800–200 BCE) of south coastal Peru. Masterfully executed in patterned detail, these designs encapsulate a moment in pictorial history that parallels innovation in building design and public acts of display. This essay considers how these architectonic features were pictured and demonstrates the significance of the forms. I examine specific features, such as the step and stepped pyramid, in the context of their architectural history. Modeling in portable objects is shown to be guided by design conventions that emphasize simultaneous, multidimensional perspectives. The objects’ value in ritual activity is also considered. Ideas about the built environment are discussed in relation to sacred geography. I propose a narrative for the interrelated ideas, motifs, and monuments that inform Paracas ceremonialism and sacred places.
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