Catalogo De La Exhibición El Ecuador Antiguo.Pdf
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Esta obra está sujeta a licencia Creative Commons: Reconocimiento-NoComercial-SinObrasDerivadas, 3.0 Ecuador (https://creativecommons.org/licenses/by-nc-sa/3.0/ec/). Se permite la reproducción total o parcial y la comunicación pública de la obra, siempre que no sea con finalidades comerciales y siempre que se reconozca la autoría de la obra original. No se permite la creación de obras derivadas. 21o Ancient Ecuador El Ecuador Antiguo Culture, Clay and Creativity Cultura, Cerámica y Creatividad 3000-300 B.C. 3000-300 A.C. text by Donald W. Lathrap catalogue by Donald Collier and Helen Chandra Field Museum of Natural History Catalogue of an exhibit organized by Field Museum of Natural History April 18 - August 5, 1975. Participating institutions: Center for Inter-American Relations. New York. September 23 - November 18, 1975. William Rockhill Nelson Gallery and Atkins Museum of Fine Arts. Kansas City. January 15 - February 29, 1976. Krannert Art Museum. Urbana, September 5 - October 3, 1976. Minneapolis Institute of Arts, March 8 - May 8, 1977. Museo Arqueológico del Banco Central del Ecuador. Quito; Museo Arqueológico del Banco Central del Ecuador. Guayaquil, after July. 1977. All photographs from Field Museum with the exception of: Fig. 9. reed boat. Walter R Aguiar: Fig. 78. Tehuacán figurine. Robert S. Peabody Foundation. Andover. Mass.: Fig. 78. Curayacu figurine. Museo Nacional de Antropología \ Arqueología. Lima: Fig. 80. Chavín de lluantar rubbing. The American Mu seum of Natural History. New York: Fig. 82. stirrup-spout bottle. Museum of the American Indian. Hese Foundation. New York: Fig. 85. acrobat. The Mu seum of Primitive Art. New York: Fig. 86. San Agustín sculpture. G. Reichel- Dolmatoff: Fig. 86. Olmec head. Walter R Aguiar: Fig. 88. San Agustín sculp ture. G. Reichel-Dolmatoff. Copyright 1975 by Field Museum of Natural History. Chicago. Illinois Libran of Congress Cataloa Card Number: 74-25248 ISBN Ó-914868-01-2 Cover: Detail of a hollow Printed in the United States of America figurine depicting a male. Chorrera period. 420 Table of Contents Introduction 5 Introducción 6 Acknowledgments 8 Map 1: Ecuador in Nuclear America 10 Map 2: Formative Sites in Coastal Ecuador 11 Chapter I 13 T hf. A ppearance of th e F ormative Stage Origins of Agriculture 13 Coverage of the Exhibit 14 The Chronology Utilized 15 Chronological Chart 16 Chapter II 19 T he Econom y of the F orm ative Stage Dependence on Agriculture 19 Fishing and Hunting Systems 22 Machalilla and Chorrera Developments 23 Chapter III 27 T he C eramics of the Ecuado rian Formative Valdivia Ceramics 27 Machalilla Ceramics 33 Chorrera Ceramics 34 Chapter IV 39 T he F igu rin e T radition Chapter V 43 L ife in F orm ative Ecuador Use of Hallucinogenic Drugs 45 Personal Adornment 48 Chapter VI 53 In flu en ces of the Form ative on the E m erging C ivilizations of M esoamerica and Peru Ecuador's Early Cultural Preeminence 53 The Example of Iridescent Painting 53 Hollow Figurines 55 The Chavin-Olmec Horizon 56 The Effects of Continuing Trade 61 Sumario 64 Bibliography 70 Catalogue of the Exhibit: English and Spanish Text 72 Introduction The organization of an exhibition on the cultures of ancient Ecuador continues a long standing interest of Field Museum. In 1891 George A. Dorsey, who was a member of the Department of Ethnology of the World’s Columbian Exposition and later became the Curator of Anthropology of the newly-founded Field Columbian Museum, excavated on La Plata Island off the coast of Ecuador. He found artifacts of the Bahia culture from the time of Christ and also a superb Inca burial dating from the late fifteenth century, when the area was incorporated into the Inca Empire. These materials became part of the Museum’s collections. Fifty years later the Museum sent John Murra and me to investigate the southern highlands of Ecuador. The major site we excavated. Cerro Narrio, proved to have deep refuse containing a variety of ceramic styles and marine shells that originated on the Ecuadorian coast. At the time of this excavation, 10 years before the development of radiocarbon dating, we did not realize how old Cerro Narrio was. We suspected the coastal connections of some of the pottery styles but could not follow up these suspicions because so little archaeological work had been done on the coast. We now know that the earlier phase of Cerro Narrio dates from before 1500 B.C. and that several of the varieties of pottery were astonishingly similar to pottery of the Machalilla phase on the coast. We have used some of these Cerro Narrio examples in the exhibition to demonstrate the connections between coast and highland. Since 1941 a great deal has been learned by archaeologists about Guayas Province and particularly that part jutting into the Pacific called the Santa Elena Peninsula. First, Geoffrey Bushnell published a book on his research on the peninsula done before the war. Over the years Olaf Holm and Carlos Zevallos Menéndez and later Emilio Estrada carried out investigations in Guayas and Manabi provinces, and Betty J. Meggers and Clifford Evans collaborated with Estrada in a number of excavations of early village sites along the Guayas coast. Most recently, Presley Norton, Edward P. Lanning and his students from Columbia University, Pedro I. Porras Garcés, Carlos Zevallos Menéndez, Jorge Marcos, and Henning Bischof have carried out surveys and excavations to elucidate the development of the early cultures. During the same period Gerardo Reichel-Dolmatoff was discovering evidence of early agricultural villages with pottery on the lower Magdalena River in Colombia. The collective result of these investigations of the past 20 years is to establish that there were sizable pottery-making communities on the coast of Ecuador before 3000 B.C., and that there were significant similarities in art and technology between these villages and the earliest known settled communities of Perú and Mesoamerica. The traditional view of archaeologists and New World culture historians has been that Ecuador, although achieving some interesting local developments, such as the smelting and alloying of platinum, played no significant role in the rise of civilization in the New World. The Central Andes (Perú and Bolivia) and Mesoamerica were believed to be the only significant centers of plant domestication and of the development of the settled villages, the arts and technology, and the religious ideas that underlay the later civilizations. But our new evidence shows that agricultural villages and pottery were 1000 years earlier in Ecuador than in Perú and Mexico. And we see influences moving from Ecuador to these other areas during the thousand years beginning about 1500 B.C. Clearlv the generally accepted view of the culture history' of Nuclear America, stretching from Mexico to Perú, needs extensive revision. It is the purpose of the exhibition and this catalogue to make known to a general audience the new information about ancient Ecuador and to point out its significance, particularly with respect to Ecuador’s role in the rise of the Formative cultures of the New World. The variety, beauty, and beguiling quality of early Ecuadorian art, particularly Chorrera art, are almost unknown outside a small circle of archaeologists. The exhibition is rich in this material and presents a fair sample of what the potters and other artists were creating on the coast of Ecuador between 3000 and 300 B.C. D ona ld C ollier Curator. Middle and South American Archaeology and Ethnology. Field Museum of Natural History 5 Introducción La creación de una exhibición de las culturas del Ecuador antiguo sigue siendo de mayor interés para el Museo Field. En 1891 George A. Dorsey, quien tue miembro del Departamento de Etnología de la World’s Columbian Exposition y más tarde curador de Antropología del entonces recién fundado Field Columbian Museum, dirigió excavaciones en la Isla de la Plata, cerca de la costa del Ecuador. Allí encontró objetos de la cultura de Bahía y fases posteriores, además de un extraordinario sepulcro incaico de fines del Siglo XV, cuando esta zona fue incorporada al Imperio Inca. Cincuenta años más tarde el Museo nos mandó a John Murra y a mí a investigar la zona sur de la sierra del Ecuador. En nuestra mayor excavación en Cerro Narrío encontramos depósitos profundos que contenían una variedad de estilos de cerámica y conchas marinas que tenían su origen en la costa ecuatoriana. Cuando hicimos esta excavación era diez años antes del desarrollo de la técnica del carbono 14 para determinar la antigüedad y no nos dimos cuenta de la edad de Cerro Narrío. Sospechamos que algunos estilos tenían relación con la cerámica costeña, pero no pudimos probar nuestra teoría debido a la falta de investigaciones arqueológicas hechas hasta entonces en la costa. Ahora sabemos que la primera fase de Cerro Narrío data de antes del año 1500 A.C. y algunas de las variedades de cerámicas son sorprendentemente similares a la cerámica de la fase Machalilla en la costa. Hemos usado algunos de estos ejemplos de Cerro Narrío en la exhibición para demostrar la relación entre la costa y la sierra. Desde 1941 los arqueólogos han descubierto mucho acerca de la provincia de Guayas y particularmente de la parte que se extiende sobre el Pacífico llamada la Península de Santa Elena. Primero Geoffrey Bushnell publicó un libro acerca de sus investigaciones sobre la Península hechas antes de la Guerra. A través de los años Olaf Holm y Carlos Zevallos y más tarde Emilio Estrada han llevado a cabo investigaciones en las provincias de Guayas y Manabí. Betty J. Meggers y Clifford Evans colaboraron con Estrada en varias excavaciones en sitios establecidos en épocas tempranas a lo largo de la costa de Guayas.