Little is known about the Formative period in the Carchi region of Ecuador, but by later times, Carchi was culturally a single unit with the department of Narino in southern Colombia. Consequently, this low pedestal bowl has much in common with typical Narino pottery, characterized by a red-brown ground with black, negative resist, geometric decoration. This piece is especially nice with some complicated diamond and chevron motifs.
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The Tumaco culture of Colombia developed in conjunction with the neighboring La Tolita culture in Ecuador, and the artifacts of both cultures are oftentimes so similar that distinctions are impossible. Tumaco society revolved around an economy based on fishing, maize growth, and gold, the latter of which was readily found in the rivers in Pre-Columbian times. Much like Moche art, Tumaco artistry focused on representations of people in a realistic fashion, showing them in a wide variety of condit ...click for details
The Bahia culture was situated just south of the better-known Jamacoaque region along the coast of Ecuador during the Regional Development period (300 BC - 700 AD). During this period the local societies became very hierarchical with an aristocratic priesthood seemingly dominating everyday life, including craft production. Shaman figures produced by the Bahia, like those of the surrounding cultures, stress ornamentation indicative of rank or social functions, such as apparel, utensils, or instru ...click for details
A tiny and choice little effigy figure! The Jamacoaque culture of northern coastal Ecuador is one of many poorly-known cultures that persevered in the northern Andes for centuries. Their wealth seems to have been largely derived from fishing, farming, and trade of coastal commodities, such as shells. Despite the fact that they left little noteworthy architecture, the pottery figures from these related cultures have grown in popularity in recent years, largely due to the vibrant coloration and st ...click for details
Although most Jamacoaque figures depict a shaman transforming into a feline form, a minority of shaman figures show them transforming into a bird. This figure is particularly interesting because it combines both avian (wings) and lizard (face and tail) characteristics in one supernatural state. Although the detailing of the headdress and pectoral is more sparse than usual, the sculptor had a good eye for motion; the figure captures a moment when the distinction between the shaman's flowing r ...click for details
Many Jamacoaque shaman figures show shamans actually transforming into creatures like jaguars or birds. Others, like this one, take a more literal view by portraying the shaman in full regalia (ornate headdress, feather shirt, loincloth, and pectoral ornament), including a feline mask. Saunders' "Icons of Power: Feline Symbolism in the Americas" notes that jaguar symbolism is explicitly associated with shamanism. Those who claim some of the jaguar's power (such as through sham ...click for details
This olla comes from the Nariņo region of southern Colombia. The first archaeological excavations in Nariņo occurred barely 30 years ago, so little is conclusively known about this area. What does seem evident is that three distinct cultural groups occupied the region: the Piartal, Tuza, and Capuli. However, we typically see the output of these three cultures inappropriately lumped together as generic Nariņo on dealers' websites. This figure was produced by the Capuli, whose archaeological c ...click for details
This fine set of three pieces of hoe money (so-called because of their shape) was produced by the Manteņo-Huancavilca culture of coastal Ecuador. Their people were experienced seamen who navigated to Central America and Peru. Their export staples were spondylus shells, cotton weavings, objects of golden, silver and copper, and obsidian mirrors.
Ecuadorian hoe money is thought to have been the inspiration for later t ...click for details
Until the 1960's, very little was known about the Vicus culture, which was located in the far north of Peru. Vicus ceramics are stylistically similar to those produced during the earliest phases of Moche development. Like early Moche ceramics, the sculptural forms are both compact and rigid. While the Moche preferred the use of colored slips, the Vicus adopted a method of oxygen reduction or negative resist to apply designs, a technique also used by the highland Narino and Carchi cultures of ...click for details
While the majority of Jamacoaque sculpture is concerned with shamans and transformation themes, a noteworthy minority addresses domestic relationships, oftentimes in a very touching manner. This is an example of the latter, featuring a mother cradling an infant on her lap. While most Jamacoaque figures do an amazing job at capturing people and animals in motion, it's far less common to see quiet, still scenes like this one.
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