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Mediating Opposition:On Redefining Diaguita Visual Codes

and Their Social Role During the Inca Period

Paola González Cara!al

I"TROD#CTIO"

$

The anal%sis and interpretation of Diaguita&Incaart has pri'aril% focused on the definition of itsdecoratie patterns—or (design gra''ar(—fro' astructural perspectie) This *or+ is ,ased on the anal%sisof collections and d*elling sites in the -l.ui/ 0i'ar1 andChoapa alle%s located in the northern/ se'i&arid regionsof Chile 2see 3igure $4) The use of s%''etr% anal%sis2sensu 5ash,urn $677/ $689 5ash,urn and Cro*e

$6884 has allo*ed the deelop'ent of a s%ste'aticdescription of this co'ple; isual art/ facilitating the process of co'parison ,et*een different groups thatcontri,uted to the iconograph% of the Diaguita phase III2Diaguitas/ Incas/ Inca Pa%a and Paca!e or Sa;a'ar4/ as*ell as to the detection of st%listic ariations in theDiaguita culture fro' a spatial and te'poral perspectie)Once the Diaguita&Inca structural patterns *ereidentified/ *e sought to conte;tualize this art ,% 'eans of

differentsettle'ent

archaeological patterns/

2e)g)/ 'ortuar% practices/artifacts4/ ethnohistoric/ and

$

*ithin a specific cultural region possessed of a co'ple;indigenous representational s%ste' prior to the Inca)

I) Visual 0anguages of the Inca

The ter' (isual languages( refers to the participation of isual art in practices si'ilar to those of*riting relating to the production of 'eanings in Incaculture) Certainl%/ it is not a t%pe of *riting in itself/*here the use of signs is intended to presere the spo+en

discourse) Rather/ *e suggest a closer lin+ to the notionof (se'asiographies( 2sensu Salo'on 'erica *as discoered and con.uered ,% the Spaniards/the% specificall% stated that the Peruian s%ste' ofrepresentation could not ,e used to co''unicate the ,eliefs of natie peoples to -uropeans ,ecause >ndeanart inoled co'pletel% different notions ofrepresentation) >ccording to Cu''ins:

the art found ,% the Spaniards in Peru *as/ to a

large e;tent/ a,stract/ and the onl% *a% thatthese pictorial representations could enter the

-uropean conscience *as through te;ts 2$669/ p)6

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Figure 1. Map of Diaguita territory and archaeological sites mentioned in this paper.

prior to the Diaguita) Ph%sicali''ediatel%anthropological studies indicate a population changeoccurred si'ilar to that of the Molle culture associated*ith the -arl% >gro cera'ic period 2"ie'e%er et al)/$6674)

5ith Ani'as/ pol%chro'e cera'ics ,eco'eer% popular in the region together *ith the use of thic+geo'etric outlines/ the painting of ,oth outer and innersurfaces/ and the s'o+ing of the interior surface ofessels) The .uadripartite diision of the design field iser% co''on in >ni'as potter%/ inoling the use oftriangular spaces that go fro' the ri' edge to the ,ase ofthe ,o*l 2see 3igure

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P>O0> GO"LA0-L C>RV>>0: M-DI>TI"G OPPOSITIO"

Figure 2. Plates pertaining to the Animas culture (Ánimas Type I!."ollections of the Municipality of Illapel ("hoapa #alley!.

including the (!arros zapatos/( pots *ith opposingadornos on the ri'/ essels *ith circular depressions onthe ,ase/ and su,&glo,ular ollas) In other artifactcategories/ close correlations e;ist in the inentories andfor's of copper o,!ects li+e ,ells/ earrings/ rectangular+nies/ and chisels ,one spatulas and tu,es and finel%crafted triangular pro!ectile points) 3inall%/ the presenceof ta,ular erect cranial defor'ation—a popular 'odalit%

in Diaguita conte;ts—has also ,een detected in theAni'as conte;t of the 0a Puerta site 2"ie'e%er et al)/$6674)

The stratigraph% of the Puerto >ldea site andCo'paia de TelBfonos 2>'puero and Riera/ $67D 6==&

$D $

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a'ong so'e 'ales at these sites *hose graes *erefound to include spatulas and o%ster shells relating tohallucinogenic consu'ption) These indiiduals hae ,eeninterpreted as sha'ans) 5e are specificall% referring to?urial "F 7 of the -stadio Municipal site in Illapel2Rodr1guez et al)/ $664 and ?urial "FH of the 0os Coiles

$9 site 2>lfonso renal site in the ChalingaValle% near the southern ,order of the Diaguita territor%2?ec+er et al)/ renal site/ there is no indication in the'ortuar% asse',lages that an% indiiduals consu'edhallucinogens) Oerall considera,le ho'ogeneit% is notedin the ,urial conte;ts of this population across thecategories of gender and age)

IV) Pre&Inca Diaguita Visual >rt 2>D 6==&$G7=4

?efore detailing the characteristics of the pre&IncaDiaguita isual art s%ste'/ I *ill co''ent ,riefl% on acertain t%pe of natie South >'erican art/ recogniza,le in

,oth Pre&Colu',ian and ethnographic cultures/ that isclosel% related to sha'anic practices) (Sha'anic art(interests us as a concept ,ecause its general contourse;hi,it considera,le si'ilarit% *ith Pre&Inca Diaguita art)

This/ in turn suggests the possi,ilit% of correlations incertain spheres of cultural actiities and practices) Puttingaside the secretieness surrounding its production/ thesi'ilarites noted a'ong art st%les classified as(sha'anic( suggest an effort to depict special real's ofe;perience) Reichel&Dol'atoff/ for instance/ states that:

…one of the 'ost i'portant discoeries in the

last decades in the field of ethnolog% consists in

the confir'ation that art and sha'anic religions

are closel% related to the use of hallucinogenic

drugs …the ingestion of hallucinogenic drugs

represents the principal 'echanis' ,% *hich

sha'anic isions *ere induced/ acco'panied ,%

the illusion of fl%ing through the air/ ani'al

transfor'ations/ and the penetration into other

cos'ic di'ensions outside of this *orld 2$68H/ p)'azonian st%les of the Tu+ano2Reichel&Dol'atoff/ $68H4/ Shipi,o&Coni,o 2Geh,art&Sa%er/ $68H4/ and Cadueo 20ei&Strauss/ J$6HHK $66

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nature 2González/ 'ong such features is thedepiction of *hat 'a% ,e interpreted as the sha'ansalter ego / often represented as a !aguar/ spotted feline/ oranaconda in a'azonic conte;ts) The spotted felines areo,sered on arious Diaguita essel for's including thefooted !ar/ dou,le&cha',er essels/ and zoo'orphic

,o*ls) @allucinogenic i'ager% not*ithstanding/ so'eof the 'ost interesting parallels relate to the co'ple;s%''etr% used to articulate the 'otifs) This s%''etr%'a% inole the use of three or 'ore operations togenerate patterning/ the 'ost significant of *hich is the principal of 'irror reflection 2see 3igures )$$/ )$nother i'portant characteristic is theendless continuation or the self&generatie po*er of thedesigns/ *hich gies the' a notorious rh%th'ic .ualit%2see 3igures 7)$ and 8)$=4) -.uall% i'portant is the ideaof the horror acui / *hich relates to the concern *ithfilling all space co'pletel% 2see 3igure 7)H4/ and the

sectioning of designs into deli'ited fields) Designsgenerated through such co'ple; use of s%''etr% haethe potential to ,e perceied in either their positie ornegatie aspect 2see 3igure 8)$'ong 'odernethnographic populations/ it is possi,le to see the use ofsuch iconograph% in a ariet% of 'edia/ including facialdesigns/ te;tile decoration/ potter%/ and houses)

3urther'ore/ the e;istence of artifacts associated *ith theconsu'ption of hallucinogens in Diaguita 'aterialculture/ such as spatulas/ o%ster shells used as snuff tra%s/tu,es for inhalation and t*eezers/ support this idea)

"eertheless/ it is the nature of Diaguita isualart that 'ost indicates its affinit% *ith the South>'erican sha'anic tradition)The ethnographic eidence points to an art closel% ,oundup *ith sacred su,!ects) The artists are sha'ans/interested in depicting their e;periences of other *orlds/and e;pert in the production of a,stract i'ager%) Thecharacteristic features of sha'anic art appear to ,e aco''on feature of 'an% South >'erican graphic

s%ste's/ ,oth prior to Spanish con.uest and after) Thea,stract i'ages of interest are li+el% sti'ulated ,%e;periences o,tained during states of hallucinogenictrance)

V) Incas and Diaguitas in the Chilean Se'i&>rid

"orth

The cultural contact ,et*een Incas and Diaguitas ta+es place during the Diaguita phase III/ or Diaguita&Inca period/ ,eginning circa >D $7=) This is the %eartraditionall% used to 'ar+ the initiation of this phase/*hen Inca groups purportedl% arried to the region under

the co''and of Topa Inca upan.ui) The period ends in>D $H9 *ith the arrial of Diego de >l'agro to theChilean se'i&arid north zone) "eertheless/ a nu',er ofradiocar,on and ther'olu'iniscence dates indicate that


the Inca presence in this could hae actuall% ,eeninitiated as earl% as the end of the QIVth centur% 2seeSteh,erg/ $66$&6

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Figure +. Decorati#e patterns of the Diaguita%Inca Phase &ith "u'co iconography 1%! clepsydra pattern 0et&eenparallel 0ars in translation (+.2 -ird%handled plate 34245 Museo Ar,ueol6gico de 7a 8erena) +.+ -ird%handled plate39:45 Museo Ar,ueol6gico de 7a 8erena!) 4%1! "u',ue;o 'ig'ag pattern) 1! perpendicular reticular pattern) 14%1/!triangles in hori'ontal translation pattern.

$H

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Figure . Decorati#e patterns of the Diaguita%Inca Phase &ith "u'co iconography 1! slanting parallel 0ars in hori'ontaltranslation) 2! cur#ed lines in hori'ontal translation) $! ferns or mai'e plant in translation) +! #ertical parallel lines intranslation) ! crosses in hori'ontal translation) %4! concentric circle) /%11! lam0da%type Inca) 12! triangle in displacedreflection) 1$%1! scrolls in rotation) 1! and 1/! #ertical 'ig'ag in translation) 14! undulating #ertical lines in hori'ontal

translation) 19! dou0le specular refle

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Cuz.ueo origin/ locall% produced/ in the classic Cuzco pol%chro'e st%le 2See 3igures 9/ and H4) Thedistri,ution of these *ares is er% selectie *ithin theDiaguita territor%) This patterned distri,ution isconsidered further ,elo*)

VI) Decoratie Patterns fro' the Diaguita&Inca Phase:

S%''etr% and the Cultural Origin of Designs

>s preiousl% 'entioned/ our approach to the stud% ofthe isual art of the Diaguita&Inca phase considers ,oththe s%''etrical principals that structure these designs as*ell as their cultural assignation) 5e see+ to discoer the principles that organize this isual art s%ste' in order to ,etter understand the ethno&categories that *ere inoperation/ at least fro' a for'al perspectie)> useful 'ethod for acco'plishing this o,!ectie iss%''etr% anal%sis) 3ollo*ing this approach/ one see+s toidentif% the funda'ental units of the design ltoalsoland Planta Pisco Control sites in the -l.ui and 0i'ar1alle%s/ as *ell as cera'ic frag'ents *ith recogniza,les%''etric patterns recoered fro' Diaguita&Incaha,itation sites located in the 0i'ar1 alle% 2the @uanasite4 and the Choapa alle%/ near the southern ,order ofDiaguita territor%) The residential sites included are thoseof 0o'a 0os ?ru!os/ 3a'il% Cara!al/ Sucesin Ra'1rez/Cárca'o / CBsped 9/ and 3undo >gua >'arilla 2see

3igure $4)3or this stud%/ a total of $== e;a'ples of

decoratie patterns *ere e;a'ined and recorded) On the ,asis of this sa'ple/ 8< differents (decoratie patterns(9

*ere defined ta+ing into account their 'ini'u' units andthe s%''etrical principles e'plo%ed in the design


structure) The sa'ples *ere then classified according tocultural origin 2See Ta,les $ and ) Decoratie patterns of Cuz.ueo origin

> total of $ e;a'ples of decoratie patterns ofCuz.ueo origin *ere registered in the sa'ple 2cf)/3ernández ?aca/ $67$4 *ith iconograph% of the CuzcoPol%chro'e t%pe 2see 3igures 9/ and H4 co'prisinglso present is the use of rotation *ith translation/ in additionto so'e non&s%''etrical and figuratie designs/ li+e thefeline) The designs generated ,% dou,le 'irror reflectionare especiall% interesting/ *here the 'ini'u' unit iserticall% reflected and later reflects itself as a *hole in ahorizontal direction/ generating the .uadripartition of the'ini'u' unit) These are designs *ith a strong s%',oliccontent that re'ind one of the dualistic concepts of theIncas) "eertheless/ this pattern is e;tre'el% unco''on/constituting less than one percent 2=)4 of the total sa'pleof Cuz.ueo decoratie patterns)

?) Decoratie patterns of Diaguita origin

> total of H8 e;a'ples of decoratie patterns of pre&IncaDiaguita origin 2H9 percent of sa'ple4 *ere recorded inthe stud%) Thirt% different decoratie patterns *ereidentified 2see 3igures &84) The follo*ing patterns *erefirst defined ,% Corne!o 2$6864: single zigzag/ dou,lezigzag/ *aes/ chains and Diaguita reticular) Ourinestigation has distinguished *ithin these generalcategories a large nu',er of ariants) These are

?% (cultural origin/( *e 'ean the original association of the

/ ?/ C/ etc)

iconographic ele'ent rather than *here the essel 'a% hae actuall% ,een produced)H The .uantities e;pressed in Ta,les $ and < refer to the nu',er of ti'esa certain decoratie pattern *as present in each site/ on either aco'plete piece or a frag'ent *ith an identifia,le decoratie pattern)

$7

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Ta0le 1 Decorati#e patterns Diaguita%Inca phase from @l,ui alley (Alto#alsol! and 7imar alley (Buana and PlantaPisco "ontrol!

>ltoalsol @uana Pisco Control Total

I) Cuz.ueos

$) Slanting reticulate pattern

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Ligzag CLigzag DLigzag @Ligzag Ligzag 0Dou,le zigzag >

Dou,le zigzag CDou,le zigzag DDou,le zigzag -0a,%rinth ?5aes >5aes C5aes D5aes 3$5aes GChains >Chains ?Chains C

Chains DChains -Chains 3Stepped in horizontalreflectionPoints in translationStepped 0a',da inrotation3ourth St%leMi;ed Inca& DiaguitaReticulado Diaguita ?Ligzag GLigzag I

Ligzag Do,le refle;in C01nea escalerada entraslacin ertical-scalerado en refle;inerticalInca Pa%aTriángulo ReticuladoTOT>0

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2HU4) The re'aining patterns arefound in onl% s'all .uantities ,ut sere to e'phasize thea'ount of aria,ilit% that characterizes this st%le)

One characteristic of pre&Inca Diaguita isual artthat has alread% ,een 'entioned is its structuralco'ple;it%/ *here 'ore than one s%''etric principal isused at the sa'e ti'e/ as in the case of the zigzag pattern2see 3igures )$ to )$=4/ *here the 'ini'u' unitsreflection is displaced and is translated until the ro* isco'plete) Mean*hile/ the dou,le zigzag pattern 2see3igures )$$ to )

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Figure . Decorati#e patterns of the Diaguita%Inca Phase &ith Diaguita iconography 1! 'ig'ag A) 2! 'ig'ag -) $! 'ig'ag

"1) +! 'ig'ag "2) ! 'ig'ag "$) ! 'ig'ag "+) 4! 'ig'ag D) /! 'ig'ag C1) 9! 'ig'ag C2) 1:! 'ig'ag 7) 11! dou0le 'ig'ag A1)12! dou0le 'ig'ag A2) 1$! dou0le 'ig'ag A$) 1+! dou0le 'ig'ag A+) 1! dou0le 'ig'ag A) 1! dou0le 'ig'ag A) 14!dou0le 'ig'ag -) 1/! dou0le 'ig'ag ") 19! dou0le 'ig'ag D1) 2:! dou0le 'ig'ag -2) 21! dou0le 'ig'ag D$.

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Figure 4. Decorati#e patterns of the Diaguita%Inca Phase &ith Diaguita iconography 1! dou0le 'ig'ag @1) 2! dou0le'ig'ag @2) $! dou0le 'ig'ag F) +! &a#es A1) ! &a#es A 2) ! &a#es A$) 4! &a#es A+) /! &a#es A) 9! &a#es -) 1:!&a#es "1) 11! &a#es "2) 12! &a#es D) 1$! &a#es @) 1+! &a#es F1) 1! &a#es F2) 1! &a#es F$) 14! &a#es ) 1/!la0yrinth ") 19! and 2:! la0yrinth A) 21! la0yrinth -.

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Figure /. Decorati#e patterns of the Diaguita%Inca Phase &ith Diaguita iconography1! chains A1) 2! chains A2) $! chains-1) +! chains "1) ! chains "$) ! chains D1) 4! chains @1) /! chains @2) 9! chains ) 11! chains B) 12! Diaguita

reticular) 1$! stepped in hori'ontal reflection) 1+! fourth style) 1! stepped lam0da in rotation and slanting translation.

C) Decoratie patterns of i;ed Inca&Diaguita Origin

In the stud% sa'ple/ 9$ e;a'ples of decoratie patternsof 'i;ed Inca&Diaguita origin *ere registered) #se of thister' refers to designs that displa% a chro'atic inersionregarding the colors used in the structures of pre&IncanDiaguita designs) Such is the case *ith the DiaguitaReticular ? pattern 23igure 6)$4/ the Stepped in horizontaland ertical translation 23igure 6)4/ Ligzag G 23igure6)$=4/ Ligzag I 23igure 6)$$4/ Ligzag 23igure 6)$

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Figure 9. Decorati#e patterns of the Diaguita%Inca Phase of mi

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D) Decoratie patterns of Inca Pa%a origin

In the sa'ple/ $ designs *ere classified as Inca Pa%a inorigin 2$)9U of the total4) The origin of this design isattri,uted to influences fro' "orth*est >rgentina/specificall% the Inca Pa%a culture) @ere *e find the

representation of slender ,irds and the use of inerted/slanting/ and reticular triangles on the interior or e;terioredge of open essel for's 2see 3igures $=)$ to $=)74)

-) Decoratie patterns of Paca!e or Sa;a'ar Origin

Onl% si; designs *ere placed in this categor% 2see 3igures$=)8 to $=)$$4/ *hich is characterized ,% a 'ini'u' unitthat consists of a slender ca'elidae that is distri,utedthroughout the design field o,e%ing the horizontal andertical translation principal) The designs of Paca!e originhae onl% ,een recorded in the -l.ui and 0i'ar1 alle%sin the northern and central zones of Diaguita territor%)

To ,etter understand the significance of the patterns and s%''etries identified a,oe/ it is necessar%to conte;tualie this infor'ation) 3or this reason/ *esupple'ented the anal%sis *ith infor'ation on the spatialdistri,ution of isual art *ithin the Diaguita territor%/'ortuar% practices/ and so'e ethnographic data regardingthe concept of dualis' a'ong >ndean cultures)

VII) ediating Opposition: Diaguita&Inca Visual >rt

and uadripartition

The t%pe of for'al s%''etr% anal%sis adocated ,%

5ash,urn and Cro*e 2$6884 allo*s for the identificationof the structures of s%''etr% that characterize a gienculture) 5ithin the representational unierse of the late prehispanic cultures of the northern Chilean region/ it *as possi,le to distinguish the 'otifs and structures of designthat e;pressed the s%',olic principle of .uadripartition)This is the organizing a;is and principle of the Inca *orldision)

>long these lines/ it is interesting to note thatnearl% half of the rchaeological Museu' of0a Serena 2-l.ui Valle%4 present designs that e;press this principle of .uadripartition 2González/ $66H4)

Mean*hile/ in the present stud%/ this graphic e;pressionis found to ,e differentiall% distri,uted *ithin the area ofinestigation) It is found to occur *ith greater fre.uenc%at sites in the northern -l.ui 2>ltoalsol site4 and 0i'ar12Pisco Control and @uana sites4 alle%s in co'parison tothose in the southern sector of the Diaguita territor%2Choapa alle%4) "eertheless/ it is i'portant to note thatthe >ltoalsol and Pisco Control sites are ce'eteries)Such sites often contri,ute co'plete pieces 'a+ing it iseasier to detect the .uadripartite configurations/ *hile thefrag'entar% re'ains fro' ha,itation sites hae often lostthis infor'ation 2See Ta,le 94) Coincidentl%/ in ,oth thesa'ple fro' the >rchaeological Museu' of 0a Serena

2Gonzalez/ O0> GO"LA0-L C>RV>>0: M-DI>TI"G OPPOSITIO"

suggests that the ,eliefs and cos'oision of the Inca/ asco''unicated through patterning and design/ ,eca'ei'portant to the local population/ at least in the funerar%conte;t) Standardizing the s%',olic ele'ents of theisual art s%ste' 'a% ,e ie*ed as a legiti'atingstrateg% of the do'inant culture

>) Idea of uadripartition in Diaguita&Inca Designs

The graphic 'anifestation of .uadripartition has different'odalities *ithin Diaguita Inca iconograph% and aries inter's of co'ple;it%) The different 'odalities include: $4dou,le reflection of the design 2!oint application of theertical and horizontal principles of reflection 2see3igures H)$6/ 6)/ and $$4 dances 'ade in the definition of the s%',olic

content of the %anant1n concept allo* us to understand it'ore as a process *hose stages go fro' an irreconcila,leopposition to the ,alance ,et*een opposites) The studies

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Figure 1:. Decorati#e patterns of the Diaguita%Inca Phase of IncaPaya iconography (1%4! (1:.2 Plate 319$$5 Museo Ar,ueol6gicode 7a 8erena) 1:. Plate 3191:5 Museo Ar,ueol6gico de 7a8erena) 1:.4 Plate 31945 Museo Ar,ueol6gico de 7a 8erena!.Decorati#e patterns of the Diaguita Inca Phase of Pacae or

8a'arilla

$

uz.ueo Decoratie Patterns

i;ed Inca&Diaguita $$

Decoratie Patterns

Inca Pa%a Decoratie Patterns

Sa;a'ar Decoratie Patterns

Total

$$

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Figure 11. raphical representation of the sym0olic principle of yanantin in Diaguita%Inca Phase iconography &ith itscomplementary principles of A&,a 5 Taypi 5 Tin*u and Euti from e

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G4 Tin+u ) This ter' refers to the encounter ofopposites) It can ,e o,sered in the ritual ,attles ,et*eenthe upper and lo*er hales of an a%lllu / as *ell as in theopposition ,et*een 'an and *o'an) The authors defineit as a (zone of encounter *here t*o ele'ents that co'efro' different directions 'eet ( 2@arris and ?ou%sse&

Cassagne $688/ p)ndean notion of.uadripartition)

In the e;a'ples studied here/ the 'eaning andscope of the s%',ol are dependent upon the spatialdisposition of the units of design *ithin the design field/their relationship to one another/ and their color/ 'orethan an% 'i'etic properties the% 'a% possess) In thisrespect/ it is interesting to note the change detected in theuse of colors during the Diaguita Inca phase) On onehand/ a preponderant role is gien to the color red/ inopposition to ,lac+/ eidentl% al*a%s e;e'plif%ing the pla% of opposing forces of the .uadripartite

representations) In the pre&Inca phases/ the color red *asused 'ore discretel%) 5ith the arrial of the Inca/ it ,egan to ,e used *ith 'uch greater fre.uenc%) >ninersion of the colors used during the pre&Inca phasesalso occurs/ such that (negatie( designs are generated in*hich the *hite ,ac+ground is replaced ,% ,lac+)

It is i'portant to consider to *ho' theses%',olic 'essages *ere ,eing directed gien that the useof dou,le specular reflection as a s%''etrical structure inDiaguita Inca art is not particularl% co''on) 0oo+ing atthe ariations that e;isted *ithin the Diaguita isual arts%ste' *ithin the northern se'iarid region of Chile shedsso'e light on this .uestion)

VII) Diaguita Visual >rt and Space: oing >*a%

fro' @o'ogeneit%

Inestigations into Diaguita culture in north central Chilehae produced i'portant ne* infor'ation regarding thedifferential strategies of interaction e'plo%ed ,% the Inca

in their e;pansion to the south)

5e note significantdifferences in ter's of the a'ount and t%pe of local&Incainteraction in the central and northern Diaguita areas 2the0i'ar1 and -l.ui alle%s/ respectiel%4 ersus thesouthern sector of this zone 2e)g)/ the Choapa alle%42González t 'an% Diaguita Inca settle'entsin this region/ one notes a large increase in the nu',er ofdecoratie patterns that co'e into use/ so'e of *hich aree;clusie to this period and all of *hich clearl% pertain to

the Diaguita iconograph%) Conersel%/ designs ofCuz.ueo origin are nearl% a,sent fro' these settle'ents)> nota,le e;ception to this pattern occurs at the

ad'inistratie center of 0o'as 0os ?ru!os) This site ischaracterized ,% the al'ost e;clusie presence ofCuz.ueo essel for's and iconograph% 2Ta,le s noted earlier/ *e o,sered a significant

increase in the nu',er of Diaguita decoratie patterns atDiaguita Inca period sites in the Illapel alle%) Man% ofthese patterns had not e;isted in this region prior to the period of Inca e;pansion) 5e also note considera,letechnological i'proe'ents in ter's of potter%'anufacture during the later phase/ as indicated ,%thinner essel *alls and the use of 'ore intense pig'ents)

The isual art of the Diaguita pla%ed a er%different role in the central and northern sectors of thestud% area) In this region/ the local iconograph%incorporated a significant nu',er of 'otifs and designstructures of Cuz.ueo origin) The Cuzco Inca st%le *as

si'ilarl% transfor'ed in its encounter *ith the Diaguita

This *or+ has ,een supported ,% the 3ondec%t >genc% 2Grant "os)$6H==$

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Ta0le + Fre,uency of Decorati#e Patterns in @l,ui and 7imar alleys in #ie& of their iconographic origin. Thepercentages are calculated on the 0asis of the total num0er of decorati#e patterns present at each site.

Sa;a'ar Inca Pa%a

2"O>4

U

$)HU

9U

$)HU

>ltoalsol

Cuz.ueo

=U

Pisco Control 76U@uana

8U

Diaguita

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0-"G#>-S VIS#>0-S D- 0OS I "C>S

In the reconstruction of the 'ortuar% conte;ts/Cantarutti o,seres a 'i;ture of Proincial Inca 7/ Mi;edInca 8/ 0ocal Diaguita 6/ and Mi;ed Diaguita $=) The authoralso e'phasizes that in the to',s *ith 'ore than oneessel/ there is neer an e;clusie st%le in use) In other*ords/ no to',s *ere found *ith onl% Diaguita potter%

or onl% Proincial Inca essels) This infor'ationconfir's the idea of the e;istence of a differentialinteraction strateg% *ithin the -l.ui and 0i'ar1 alle%s inco'parison to the Choapa alle% that is 'ar+ed ,% theintegration of Diaguita and Inca co''unities) The 'ostelite ,urial conte;ts at the -stadio 3iscal de Oalle sitehae a higher percentage of paired essels 2relating to the principle of dualis'4/ instru'ents associated *ith theconsu'ption of hallucinogens/ 'etal o,!ects/ and locall% produced potter% *ith Inca Cuz.ueo designs 2Cantarutti/ll ,ut t*o

,urials 2"o) H/ and "o) $$/ a %oung fe'ale and a 'atureadult fe'ale/ respectiel%4 contained cera'ic offerings)>n i'portant o,seration is that all of the recordedindiiduals e;hi,ited cephalic defor'ation of the ta,ular&erect t%pe) In this ce'eter%/ *e again find an association ,et*een indiiduals *ith artifacts associated *ith theconsu'ption of hallucinogens and priileged offerings) Inaddition to the a,undance of dou,le&cha',er essels in

these ,urials/ *e also note the fre.uent use of.uadripartite design structure) In To',

the "F/

t*o re'aining 'ale indiiduals 2To',s "F6 and "F$dditional artifacts in To', "F9/ *hich *as the secondrichest in the ce'eter%/ included seen cera'ic essels/ acopper tupu/ and seeral ,one needles and polishingstones) The funerar% offerings in To', "F$= includedt*o cera'ic essels/ a *horl spindle/ and a perforated ,one pla.ue) T*o of the other fe'ale ,urials 2To',s "F<and "F$94 also contained 'etal artifacts of personaladorn'ent such as earrings/ rings/ and copper tupu pins )

5ith respect to the 'anage'ent of s%',olic

referents *ithin the iconograph% of the Diaguita Inca phase/ e)g)/ the principles of dualis' and .uadripartition/*e note that ,oth 'en and *o'en see' to hae hade.ual access to +no*ledge and use of these signs) Menand *o'en ali+e appear to hae configured the'selesas actie agents in the use and displa% of the structuring principles and s%',ols so deepl% rooted in Inca ideolog%)

IQ) YPolitical anage'ent of the ?od% in the

Diaguita&Inca Phase

?efore concluding this discussion/ it is useful to ,riefl%consider *hat the different percentages of indiiduals

e;hi,iting cranial defor'ation fro' the sites of 0o'a -l>renal in the Choapa alle% and Pisco Control in the0i'ar1 alle% 'ight indicate) 5ith regard to the anal%sisof the 'ortuar% practices recorded at the Pisco Controlsite/ *hat calls our attention 'ost po*erfull% is that thecultural change e;perienced ,% the Diaguita co''unitiescould also ,e acco'panied ,%

ph%sical

changes 'adeupon the hu'an ,od%) >s noted preiousl%/ all of there'ains recoered fro' this ce'eter% e;hi,ited the sa'e+ind of cranial 'odification 2ta,ular erect4) This is incontrast to the re'ains recoered fro' the southernsector of Diaguita territor% in the 0o'a -l >renalce'eter% of the Choapa alle% *here less than $= percent

2nX94 of the population e;hi,ited eidence of such cranial'odification)

In spite of the fact that there is still no D">eidence to conclusiel% de'onstrate the local origins ofthe Pisco Control site population/ the ,urial conte;tsstrongl% suggest association *ith the local Diaguitaculture) In addition/ the Inca st%le potter% recoered fro'this ce'eter% appears to ,e of local 'anufacture2Cantarutti/

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These o,serations recall so'e of the insights of3oucault 2O0> GO"LA0-L C>RV>>0: M-DI>TI"G OPPOSITIO"

R f r n c s C i t d

>03O"SO/ M)/ MP#-RO/ G) >"D RIV-R>/ M)/ $67r.ueolog1aChilena/ $$&$ =ctu,re $67$ Santiago) ?olet1n dePrehistoria/ "Z'ero -special / 996&99

?-C-R/ C)/ RODR[G#-L/ )/ GO"LA0-L/ P)/TRO"COSO/ >)/ >"D P>V0OVIC/ D)/ r.ueolog1a en el r1o Chalinga) Infor'e 3inal) Pro%ecto3ondec%t "F$====96/ MS)

?-RTO"IO/ 0)/ $6H J$$0?\/ ed) Ra1cesde >'Brica: -l 'undo a%'ara) Madrid: >lianza

-ditorial/ R#TTI/ G)/ r.uelogo) Departa'ento de>ntropolog1a) 3acultad de Ciencias Sociales) #niersidadde Chile)

C>STI00O/ G)/ $66

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0-"G#>-S VIS#>0-S D- 0OS I "C>S

si',olis'o en los >ndes: 0a figura % la pala,ra)

-studios % De,ates Regionales >ndinos ) Volu'en 8G )Cusco: Centro de -studios Regionales >ndinos(?artolo'B de las Casas/( 87&$9)

--C@O#T/ P)/ ntropolog1a Chilena/ 9< 2C>/ )/ $67$) Motios deorna'entacin de la cerá'ica Inca del Cuzco ) 0i'a:0i,rer1a Stadiu')

3O#C>#0T/ M)/ ntropolog1a Chilena/ 9<2"D CO"ST>"TI"-SC#/ 3)/ $666) Infor'e "F$ de >ntropolog1a 31sica Planta Pisco Control: #nce'enterio Diaguita III) -l 0i'ar1 % sus alles) Museo del

0i'ar1 / $/ ) TRO"COSO >"DD) P>V0OVIC/ eds) >r.ueolog1a en el r1o Chalinga)Infor'e 3inal ) Pro%ecto 3ondec%t "F$====96/ MS)

>RST-"/ R)/ $6) In+aaltio !a sen +ultuuri )

@elsins+i: Ta''i)

0-VI&STR>#SS/ C)/ $66< J$6HHK) Tristes trpicos)?arcelona: -diciones Paids)

MO"T>"]/ )/ $66) -n torno a la cronolog1a del "orteChico) In: @) "I-M--R/ ed) V Congreso "acional de>r.ueolog1a Chilena/ $&rchios %Museos/ $7&$89)

MOST"/ G)/ $6) #n nueo estilo ar.ueolgico)?olet1n del Museo "acional de @istoria "atural / STI00O/G)/ $667) (Culturas Prehistricas de Copiap ) Copiap:I'presos #niersitaria S)>)

P>RSI""-"/ M)/ ndines)(

P0>TT/ T)/ $678) S%'Btries en 'iroir) 0e concept de%anantin chez les Machas de ?oliie) >nnales/ 99 anBe/HN/ $=8$&$$=7)

R-IC@-0&DO0M>TTO33/ G)/ $68H) >spectoscha'an1sticos % neurofisiolgicos del arte ind1gena) In:M#S-O C@I0-"O D- >RT- PR-CO0OM?I"O/ ed)-studios en >rte Rupestre) Santiago: Museuo Chileno de>rte Precolo',ino/ nthropolog% / < 2$4/ $&

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ST-@?-RG/ R)/ $66$&$66 s%''etr% anal%sis of #pperGila >rea cera'ic design) Papers of Pea,od% Museu' of>rchaeolog% and -thnolog%) Vol) 8 ) Ca',ridge/ M>:@arard #niersit%)

5>S@?#R"/ D)/ $689) To*ard a theor% of structuralst%le in art) In : D) 5>S@?#R"/ ed) Structure andcognition in art) Ca',ridge:Press/ $98&$)

Ca',ridge #niersit%

5>S@?#R"/ D) >"D CRO5-/ D)/ $688) S%''etries

of culture: theor% and practice of plainp pattern anal%sis)Seattle/ 5>: #niersit% of 5ashington Press)

L#ID-M>/ R)T)/ $686) Re%es % guerreros: -nsa%os decultura andina) 0i'a: -ditorial 0uis Valera)

2008 gonzalez

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