Mentes graníticas e mentes areníticas: fronteira geo-cognitiva nas gravuras rupestres do baixo Rio Negro, Amazônia Setentrional

ɄTÃ WORI – Um Diálogo entre Conhecimento Tuyuka e Arqueologia Rupestre no Baixo Rio Negro, Amazonas, Brasil

“…Fonte: Google Earth Figura 10 -Mapa da distribuição de estilos de petróglifos no baixo Rio Negro, cada cor equivale a um dos três perfis gráficos identificados na pesquisa arqueológica Fonte: Marcos Brito (publicado originalmente em Valle, 2012). TÉNÓRIO TUYUKA, Poani Higino Pimentel; CABALZAR, Aloísio.…”

<b>Um Breve Panorama Sobre a Arte Rupestre no Amapá</b>

“…Ainda que comparações estilísticas sejam complicadas, podemos fazer comparações sobre a implantação destes sítios na paisagem. A referência no Rio Jari aponta para um sítio em cachoeira, um padrão identificado em outras porções da Amazônia (MAZIÈRE, 1997;PEREIRA, 2004a;VALLE, 2012). Já no Oiapoque, as gravuras estão em blocos de médio porte em uma encosta.…”

On confluence and contestation in the Orinoco interaction sphere: the engraved rock art of the Atures Rapids

“…Authors as early as Koch-Grünberg (writing in 1907) posited that the pre-Columbian artistic corpuses could indicate where interactions between diverse groups of people had taken place along the course of the river, suggesting that exchange occurred via major waterways in this vast region. Rock engravings may be included in this concept of embeddedness in broader-scale patterns, as many motifs are similar or identical to others along the Orinoco and into neighbouring areas (Williams 1985: 378; Dubelaar 1986; Pereira 2001; Haviser & Strecker 2006; Valle 2012).…”

“…The motif of a flautist surrounded by other human figures from the main panel on Picure probably depicts part of a Yuruparí/Warime-linked rite (Figure 9). Performances conceivably coincided with the seasonal emergence of the engravings from the river just before the onset of the wet season, when the islands are more accessible and the manioc harvest takes place (Zent 1992; Huber & Zent 1995; Mansutti Rodríguez 2012: 64; Valle 2012). Although the majority of the Atures rock art corpus is cyclically submerged and exposed by the waters of the Orinoco (see Figure 1), the flautist panel is unique in that it can be linked to elements of recorded, extant indigenous practice.…”

“…Petroglyphs (rock engravings) of the Middle Orinoco River have featured in regional reviews for several decades (Tavera-Acosta 1956; Sujo Volsky 1975; Dubelaar 1986). Yet systematic survey of engravings on a scale comparable to neighbouring regions remains unrealised here (see Reichel-Dolmatoff 1978, 1987; Pereira 2001; Koch-Grünberg 2010[1907]; Valle 2012). Conversely, more comprehensive studies of pre-Columbian pictographs (rock paintings) hint that the practice of rock art creation has considerable time-depth (see Scaramelli 1992; Greer 1995; Tarble & Scaramelli 1999).…”