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The regional museum of Ica
(Museo regional de Ica)
3. Paracas culture: 1. General with ceramics and weavings
Photos of a visit to the museum of 2010
presented by Michael Palomino (2011)
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This is the board at the entrance to the area of Paracas culture (2,000-200 B.C.)
Map with the region of Paracas (Spanish: Parácas)
The region of Paracas consists in desert, coast line rich in fish, and islands.
Texts about Paracas culture in Spanish and English
<Prelude to civilization: the Paracas culture (2,000-200 B.C.)
By 2,000 years B.C. the Central Andean region was the scenery of an increasing development of technologies and social organization, giving rise to civilization and complex societies. The social, political and economic control was concentrated in the theocratic elites, the ceremonial center being the nuclear building in the important villages.
Economy was based on agriculture and almost every known Andean plant and animal of economic importance were already fully domesticated. There was a flourishing textile industry which employed plant fibers such as cotton and wool from cameloids such as alpaca and vicuña. Pottery was discovered and metallurgy began to be developed making gold, silver and copper artifacts.>
Board showing the centers of Paracas culture in the valleys of the region of Ica with photos
Showcase of Paracas culture with pumpkins
Pumpkins with carved paintings, close-up
Pumpkins with carved paintings, close-up 02
Text about Paracas culture in Spanish and in English
<In the Ica region this period is represented by the development of the Paracas culture, called Ocucaje in the Ica valley [with it's center of Ocucaje], well known by its dazzling embroidered textiles found in mummy bundles. Initially the Paracas culture inherited some decorative techniques and icons from the previous Chavin tradition, but then produced a distinct style well represented in pottery by the use of polychrome resin pigments applied after the vessel was taken out of the kiln.>
[And precisely from Ocucaje the engraved stones are coming].
Whistling objects of Paracas culture
Whistle of Paracas culture ("silbato")
Whistle of Paracas culture ("silbato"), close-up
Whistling ceramic bottle with carved design of a man
Snake ceramic bottle of Paracas culture
Bone in form of a white wild cat
Bone in form of a brown wild cat
The second showcase with ceramics of Paracas culture
A second showcase with ceramics of Paracas culture
Translation:
<Generally the ceramics and bottle ceramics have dark colors. But the used pigments principally have all living colors. These ornaments were painted with them which had a form similar to humans or to animals. These ceramics are one kind of the most perfect ones in pre-Spanish Peru.>
(original Spanish:
Generalmente los ceramios Paracas Cavernas son de coloración oscura, pero los pigmentos usados eran de una amplia gama de vivos colores. Esto, unido a los adornos y vasijas escultóricas antropomorfas y zoomorfas, hacen de la alfarería Cavernas una de las más logradas del Perú prehispánico).
One more ceramic bottle with a design of a human figure
Cup with a hawk of Paracas culture
This plate of Paracas culture has got the design of a human figure with antennas (this is probably an extraterrestrial god with antennas on his head)
There are similar figures in geoglyphs in the region of Palpa:
Region of Palpa, geoglyph with a man's figure with antennas [1]
Vessel in form of a human person with a little flute on it's headband
Vessels in form of parrots
Vessels in form of parrots, close-up
Vessels in form of parrots, sight from above
Cup with a wild cat with a human face
This cat with a human face is also on other ceramic vessels as it will be seen later.
Ceramics of necropolis of Paracas culture
Showcase with ceramics of the necropolis of Paracas culture
Text about the necropolis of Paracas culture
Translation:
<The ceramics of the necropolis of Paracas culture are more or less unicolor. The walls are extremely thin, and the technology of burning was very sophisticated controlling precisely the temperature in the oven. Carved designs with these vessels are only rare. Also the painting after the burning and one more burning of the colors cannot be stated. But there is the work with the negative as one can see with these ceramics.>
(original Spanish:
La alfarería Paracas Necrópolis se caracteriza por su monocromía, y el alto grado de desarrollo de la tecnología en cuanto al control de la temperatura del horno y la extrema delgadez de las paredes de las vasijas. De otro lado, se usan muy poco las incisiones para los diseños, se abandona la aplicación de los pigmentos resinosos poscocción, pero el uso de la técnica del negativo es muy popular, como se puede apreciar en estos ceramios).
Text about pumpkin bottles
Translation:
<The first phase of Nazca culture was parallel with the necropolis phase of Paracas culture. In this case it is shown a double pumpkin bottle. Perhaps a warrior father is represented by this teaching his child how cutting heads as trophies after a battle.>
There is only one double pumpkin bottle in the showcase.
(original Spanish:
La primera fase de la Cultura Nasca es contemporánea con la fase Paracas Necrópolis. En este caso, se trata de una gran vasija de doble cuerpo que probablemente representa a un padre guerrero enseñándole a su hijo el arte de la decapitación de cabezas como trofeos de batallas.>
Pumpkin bottle in beige
Cucumber bottle
Pumpkin bottle with simple line design
Brown pumpkin bottle 01
Pumpkin bottle with modeled frogs
Ceramics plate and big ceramic vessels of Paracas culture
Plate with a fish design
Plate with a design with several fishes
Bowl with geometric design
Bowl with geometric design 02
Text about the following ceramics of the big vessels
Translation:
<These simple colored vessels in pumpkin forms, and with double beaks and bridge handle are very typical for Paracas necropolis ceramics. They practically always can be found as sacrifice for the dead persons.>
(original Spanish:
Estas vasijas monócromas con cuerpo en forma de zapallo, y con doble pico y asa-puente, son distintivas del arte cerámico Paracas Necrópolis. Se les encuentra casi siempre como ofrendas acompañando a los difuntos).
Two big vessels
Two big vessels, close-up
And there is a big vessel with a figure with a head in form of a heart
And there is a big vessel with a figure with a head in form of a heart 02
The vessel with the figure with the head in form of a heart, close-up 01
The vessel with the figure with the head in form of a heart, close-up 02
The vessel with the figure with the head in form of a heart, close-up 03
Big ceramic vessel with a design of a woman and other figures
Big ceramic vessel of Paracas culture with an outlet in form of a head
Big ceramic vessel of Paracas culture with an outlet in form of a head, close-up
Big ceramic vessel with a face
Big ceramic vessel with a face 02
Big ceramic vessel with a face 03
Big ceramic vessel with a face, close-up
The first loom and weavings in Paracas culture
Big board with indications about the weavings and the first looms in Paracas culture
Text about the first looms in Paracas culture
Translation:
<In Old Peru the loom appears in Paracas culture and in other cultures at the same time, and is a new instrument of production. In the archeology the loom is considered as one more indicator for a new direction of social and economic organization in thevillages.
By the loom the old Peruvians developed new clothing and clothes. With it the technical refinement and diversity were always augmented. And the result were under other things the precious fabric techniques of Paracas.>
(original Spanish:
El telar aparece en la cultura Paracas y en otras de esta misma época del Antiguo Perú como un nuevo instrumento de producción. En la arqueología es considerado como un indicador más de las nuevas características de organización social y económica de tales poblaciones.
Con él los antiguos peruanos elaboraron vestimentas y otras prendas con una diversidad de técnicas cada vez más amplia, lo cual tuvo como resultado el desarrollo del tan preciado arte textil Paracas).
[Weaving afforded wool which came from the domesticated wool animals (lama, vicuña etc., sheep were introduced by Christian occupation). According to Erich von Däniken and many indications of Asia it's absolutely possible or even probable that extraterrestrial gods came to Earth in these times and tought the natives the domestication and the use of animals and also the loom].
Drawing of a fixed horizontal loom of Paracas culture
Drawing of a fixed vertical loom of Paracas culture
Drawing of a mobile loom fixed on the waist
And there is also a showcase with a waist loom
The natives in Peru know this waist loom today yet and are weaving e.g. bands with it or little table mats or caps as one can see on this photo of Cuzco of 2009.
Saleswoman of embroidery with waist loom in Cuzco in 2009
The waist loom is fixed on the belt
The other end of the waist loom is fixed on a post
The text about weavings
Translation:
<The weavings had a rich variation concerning it's constitution with the use of the loom. The means permitted to the weaver to create the composition of threads, and today the weavings are rich heritage of the country.>
(original Spanish:
Los tejidos alcanzaron una mayor variedad en su constitución con el uso del telar. Instrumento que con sus respectivos accesorios, permitió al tejedor recrear la composición de los hilos logrando los tejidos que hoy constituyen nuestro rico patrimonio heredado).
And here are the weaving needles
... and also cotton comes
The funeral in Paracas culture
Big board about funerals in Paracas culture
Grave position in Paracas culture wrapped in blankets
The dead body was "folded" and wrapped in blankets, and around it were put the funeral gifts.
The text about the funerals in Paracas culture
Translation:
<The dead persons in Paracas culture (in the time of 400 to 100 B.C.) were buried in a basket. The dead body was wrapped into different blankets. These were rough blankets, but they had elaborated edgings up to the well known funeral bunch. In the inner and also round about the bunch there were given many funeral gifts.
The most impressive bunches were found by [the Peruvian archaeologist] Julio C. Tello in 1927 near the necropolis of the Colored Mountain (Cerro Colorado) on the peninsula of Paracas. Many of the skeletons of the excavated graves were old, tall men, with deformed long skulls, deformed almost in a cylindrical way.>
(original Spanish:
Los muertos de la cultura Paracas (400 a.C. - 100 a.C.) fueron enterrados dentro de un cesto envueltos en una serie de textiles tanto burdos como primorosamente bordados hasta conforma el conocido fardo funerario. Al interior y también alrededor del fardo el muerto fue acompañado por ofrendas diversas.
Los más impresionantes fardos han sido los hallados por [el arqueólogo peruano] Julio C. Tello en las necrópolis de Cerro Colorado, Península de Paracas, en el año 1927. Muchos de los abiertos fueron de varones ancianos maduros, altos y con cráneos deformados alargados y casi cilíndricos).
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Photo sources
[1] Erich von Däniken: Zeichen für die Ewigkeit - die Botschaft von Nasca; Goldmann-Verlag ohne Jahr [1996 ca.]; ISBN: 3-442-15033-7, p. 133
^