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VAN HOEK, M. 2016. The Avian Staff Bearer. Upgrading a Controversial Icon in Atacama Rock Art. In: TRACCE - On-Line Rock Art Bulletin.
... Just as the icon of the Staff Bearer of the Andes travelled -in space and time -from the ancient Cupisnique Cultures that developed along the coast of northern Peru to the High Andes (for instance to Chavín de Huántar) and from there diffused south across the Andes to emerge in later civilisations such as Tiwanaku and finally transforming into the Avian Staff Bearer in the rock art repertoire of northern Chile (the journey of the Staff Bearer has fully been discussed by me [Van Hoek 2016a]), the Saluting Anthropomorph may in the same way have diffused from the Huancor-Yangastambo area to other areas; even to distant areas as San Juan in Argentina or Utah in the USA. The problem is how to prove this. ...
Although in general complex biomorphic figures in rock art are not suitable to demonstrate diffusion, there is one idiosyncratic anthropomorphic figure the in rock art repertoire of the Americas, which, although it is very rare, has a remarkably wide distribution that might indicate long-distance diffusion. I have labelled this icon the Saluting Anthropomorph.
This short paper discusses a new find of another petroglyph depicting the “Venus-Cross” in the Vítor Valley of Southern Peru. The paper also reviews its distribution within the Majes Rock Art Style (MRAS) and within a much larger area (the Desert Andes). It proves that - for still some unknown reason - the “Venus-Cross” is overrepresented in the Vítor Drainage.
This paper reviews the publication by academic archaeologists, Andrzej Rozwadowski and Janusz Z. Wołoszyn, in which they suggest that zigzag petroglyphs at Toro Muerto in the Majes Valley of southern Peru - constituting the most important rock art site in the Desert Andes of South America - could be representations of songs. In my paper I question a number of their suggestions and statements by trying to put the whole issue in a more appropriate context. I cannot refute their theory, but my objections makes it unlikely (though not impossible) that Toro Muerto zigzags indeed represent songs.
The paper describes the petroglyph site of Cerro San Diego, north of Lima. The site has a rather unusual location. Moreover, it has some exceptional petroglyphs, for instance a large purported “eye-motif” from the Andean Formative Period.
The Majes drainage in southern Peru boasts the largest collection of rock art in the Andes, especially because of the abundance of petroglyphs at the Toro Muerto and Alto de Pitis. Importantly, both sites have numerous bird petroglyphs of different types. Yet there are other sites in the Majes drainage that also have idiosyncratic bird imagery. One of those sites is Cíceras, which is the subject of this study. I focus on a specific type of bird petroglyphs, for which I tentatively suggest that they have a special transcendent proficiency.
Rock art images often include unexpected and enigmatic elements. This study investigates the petroglyphs of especially anthropomorphic figures that have an unanticipated feather-element; a long groove (sometimes slightly curved) with a row of parallel but shorter grooves attached to one side only, ranging in number from two up to eight of such shorter grooves. This study will describe the petroglyphs of the several types of biomorphs featuring a feather-element, focussing however on the "Feathered Homunculus", as well as their surprisingly limited distribution.
The book has 66 pages and 72 numbered illustrations of drawings, photographs and maps, as well as one Appendix with statistics. The book offers an (almost?) complete inventory of rock art images of watercraft in the Desert Andes (focussing mainly on Chile and Peru and on the petroglyph sites of Tamentica and Ariquilda in particular), but also attempts at explaining the distribution and meaning of both prehistoric watercraft and historic boats.
Besides a tour along the many examples of polycephalic biomorphs found at rock art sites across the globe, the book also offers a special Case Study involving a most specific bicephalic anthropomorphic figure from the west of North America. The book has 147 pages, including an extensive list of references and list of Figures (plus the full captions). Included are 120 numbered illustrations (colour photographs and drawings) comprising altogether 350+ illustrated examples of petroglyphs, pictographs (and even a few geoglyphs) that seem to involve polycephaly. Several other rock art examples are only mentioned; not illustrated.
“The Book of Bows - The Archer in Desert Andes Rock Art” discusses the distribution of the rock art image of the archer in the coastal desert of western South America. After having inventoried all rock art images of the archer (known to me up to July 2019) I discuss the remarkable absence of the archer in big parts of the Desert Andes. I continue exploring the possible meanings of especially the scenes involving confronting archers and of archers hunting game; in the Desert Andes as well as across the globe. It proves that many images of the archer are clearly fertility related and as a consequence I would like to propose that - possibly - this idea also applies to the archer in the rock art of the Desert Andes.
This book deals with a group of valleys in the Department of Arequipa: from Caravelí to Vítor. The book (156 pages in English with 105 numbered illustrations [and many more]) - called Formative Period Rock Art in Arequipa, Peru. An up-dated analysis of the rock art from Caravelí to Vítor - offers many, previously unpublished illustrations of rock art panels that prove beyond any doubt that there certainly is a much larger amount of Formative Period rock art imagery in this area than previously accepted, including more MSC-Style petroglyphs. The book also discusses and rejects the authority of the purported Siguas Culture, as I argue that this specific, individual culture never existed. An important but still modest role in the creation of the many rock art layers in the Study Area is by the Paracas Culture, while the Wari Culture has had only very, very little impact. Finally, the study offers a tentative, up-dated Time Scale for especially the rock art of the Majes Valley. I hope that this up-date will be useful to a large number of rock art researchers in Peru and outside Peru.
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Este libro trata de un grupo de valles en el Departamento de Arequipa: de Caravelí a Vítor. El libro (156 páginas en inglés con 105 ilustraciones numeradas [y muchas más]) - llamado Formative Period Rock Art in Arequipa, Peru. An up-dated analysis of the rock art from Caravelí to Vítor - ofrece muchas ilustraciones inéditas de paneles de arte rupestre que demuestran más allá de toda duda que ciertamente hay una cantidad mucho mayor de imágenes rupestres de Período Formativo en esta área que antes se aceptan, incluyendo más petroglifos al Estilo-MSC. El libro también discute y rechaza la autoridad de la supuesta Cultura Siguas, ya que sostengo que esta cultura individual específica nunca existió. Un papel importante pero aún modesto en la creación de las muchas manifestiones de arte rupestre en el área de estudio es por la Cultura Paracas, mientras que la Cultura Wari sólo ha tenido muy, muy poco impacto. Finalmente, el estudio ofrece una escala temporal tentativa y actualizada para especialmente el arte rupestre del Valle de Majes. Espero que esta actualización sea útil para un gran número de investigadores del arte rupestre en Perú y fuera del Perú.
****** The book (published as PDF) has 100 pages with 85 illustrations, including numerous maps and drawings. In this study I focus on the corpus of rock art in a specific part of the Department of La Libertad, notably the Huacapongo Valley; a small inland section of the drainage of the Virú River. I elaborate that most rock art complexes in the Huacapongo Valley (and beyond) are almost certainly related to an important part of a much larger system of pre-Columbian infrastructure, hence the title: the Huacapongo Corridor. This critical work also offers information about several rock art panels that has not been reported before. It also questions several previous publications by other authors. The book is dedicated to archaeologist Rafael Larco Hoyle who was the first to seriously question the origin of the many MSC-Style (Cupisnique) petroglyphs in the area. He also was the first scholar to investigate the rock art of this specific zone.
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El libro (publicado como PDF) tiene 100 páginas con 85 ilustraciones, incluidos numerosos mapas y dibujos. En este estudio me enfoco en el corpus de arte rupestre en una parte específica del Departamento de La Libertad, notablemente el Valle de Huacapongo; una pequeña sección interior de la cuenca del río Virú. Explico que la mayoría de los complejos de arte rupestre en el Valle de Huacapongo (y más allá) están casi seguramente relacionados con una parte importante de un sistema mucho más grande de infraestructura precolombina, de ahí el título: The Huacapongo Corridor. Este trabajo crítico también ofrece información sobre varios paneles de arte rupestre que no se ha publicada anteriormente. También cuestiona varias publicaciones previas de otros autores. El libro está dedicado al arqueólogo Rafael Larco Hoyle, quien fue el primero en cuestionar seriamente el origen de los muchos petroglifos MSC-Style (Cupisnique) en el área. También fue el primer erudito en investigar el arte rupestre de esta zona específica.
Llamase Taltape la más oriental de las secciones agrícolas en que se encuentra dividida la Hacienda Camarones, en el valle homónimo, Provincia de Tarapacá. Queda comprendida entre una notable angostura rocosa llamada Taltape, y la desembocadura al valle principal de la profunda Quebrada de Umayani, a unos 60 km. del mar.
Son sólidos los fundamentos empíricos y teóricos de la difundida hipótesis que todas las imágenes de la "Deidad Frontal de Báculos" y de los "Acólitos alados de perfil" en los estilos tiahuanaco y huari se derivarían del mismo modelo, este mismo cuya supuesta versión canónica se habría conservado en la Portada del Sol? Tras revisar la ubicación de las piezas figurativas en los espacios ceremoniales, conocida a probable, y después de haber analizado en detalle el repertorio de rasgos, convenciones figurativas y modalidades de composición, el autor ha llegado a la conclusión de que tales fundamentos no existen. El diseño de la Portada no se repite en ningún otro relieve figurativo de Tiahuanaco. Tampoco la decoración del Monolito Bennett, la escultura que supera en monumentalidad y complejidad del diseño a las demás, puede ser considerada un modelo: varía sustancialmente el número, características, posturas, distribución y orientaciones de integrantes de cortejos. La postura frontal y la de perfil carecen de vínculo con la identidad de los personajes que la adoptan, sino más bien se expresa en ella la relación circunstancial de jerarquía dentro del grupo. Varias deidades diferentes fueron representadas frontalmente para enfatizar su rango respecto a los demás seres sobrenaturales que los acompañan en los frisos. Para expresar la identidad de cada una de ellas, los escultores recurrían a un repertorio convencional de signos con los que rellenaban cetros, estólicas, lagrimales, cinturones, plumas del tocado radiante y otros detalles del cuerpo antropo o zoomorfo. Varios pintores de cerámica y tejedores huari emplearon con gran pericia y creatividad este mismo sistema de signos y convenciones figurativas. La usaron, entre otros, para crear algunas imágenes de deidades de alto rango cuya personalidad iconográfica carece de antecedentes conocidos en el altiplano y podría remitir a cultos locales. Por ende, la aparición de la compleja iconografía tiahuanaco en la cuenca de Ayacucho es un fenómeno que difícilmente puede explicarse por medio de influencias formales, a raíz de contactos casuales, v.g. el uso coyuntural de mano de obra foránea, ni menos como resultado de intercambios comerciales o de la difusión del culto de una divinidad precisa. Existen evidencias claras para sostener que las elites residentes en Conchopata y en Huari decidieron enfatizar su origen foráneo, su parentesco con los linajes gobernantes y con las deidades del altiplano por medio de la decoración figurativa de vestidos y de la parafernalia.
This article explores social interaction in the Atacama region through the local rock art paintings. Using a quantitative and qualitative study of pictorial distribution, including both compositional structures and key icons that appear simultaneously in two or more areas with rupestrian art sites, we can determine the presence of differential visual information flows. This flow of knowledge and people would have operated as an expression of preferential social relations between the different Atacama Desert communities.
In this article we present archaeological and ethno-historical evidence that provides data on the close ties that existed between fishing and farming-herding populations of Tarapacá Region in the Late Intermediate Period (1000-1400 AD). These pre-Hispanic relations laid the foundation for the organization of the colonial and republican systems. Different kinds of evidence -the iconography of the paintings found at the Chomache 58 coastal site and its correspondence with visual materials found in rock art, pottery, textiles and baskets from villages of the inland valleys; the presence of inland pre-Hispanic products and raw materials at Chomache 1; caravan routes and their associated infrastructure; and historical documents-tell of a regional network characterized not only by ecological but also social and cultural complementarity.
The incorporation of astronomy into ritual andphysical sites is well documented in the Andean region for both the precontact and postcontact periods. In northern Chile, a dearth of ancient architecture and extensive documentation of aboriginal populations has contributed to a corresponding dearth of investigation into the uses of astronomy by the ancient populations. The abundance of geoglyphs (ground drawings) throughout the region is associated with ancient caravan trails. The majority of the tens of thousands of geoglyphs documented in northern Chile fall into recognizable clusters of composition orform. 'Geoglifo Sol', discovered in 2008 in the Pampa Tamarugal, is unusual in composition and location. It is circular, includes an anthropomorph and cairns, and is situated on level terrain. In addition, there is an unobstructed view due west to the Andes and to Cerro Tata Jachura, an inactive volcano with historic and modern documented ritual connotations among the indigenouspopulations of this region. Not surprisin-gly, there are several correlations with the cairns and anthropomorph associated with the Geoglifo Sol and alignments to the sun, moon, and specific constellations, including solstices and equinoxes, for the time period of500-1500 A.D,. The significance of the astronomical phenomena with the terrestrial features and regional mythology further suggests a timeframe of use of the geoglyph.
For over 20 years, I have tried to establish a relative date for petroglyphs in Fugoppe Cave, Japan. Unsuspected amidst debris accumulating from about 1300 years ago, the petroglyphs were rediscovered accidentally in 1950. From an analysis of petroglyphs on fallen rocks scattered randomly on the site floor, I argue that the artworks date from ca.1900 years ago. The cave itself, formed by wave action, saw its main occupation by pottery-making people from 1700–1500 years ago; although the petroglyphs on the rock walls predated their occupation, it seems unlikely that the occupants attached any meaning to them.
This article highlights the scenic potential of Tiwanaku stone carved iconography (South-Central Andes, ca. AD 600-1000). It argues that aspects of Tiwanaku carved imagery may be approached as potential scenes of ritual action. The paper develops by taking into account the spatial configuration of the imagery that surrounds a specific set of anthropomorphs referred to as Staff Gods. An examination of Staff God imagery reveals how some elements in the iconography indicate that these personages may be human representations engaged in ritual action rather than representations of divine figures, i.e., cases of Andean divine anthropomorphism. Comparisons with Moche and Recuay scenic configurations also give further meaning to such a hypothesis.
Se presenta una síntesis de los resultados relativos al arte rupestre asociado a sitios habitacionales obtenidos durante cuatro años de investigación en la porción septentrional de la región de Tarapacá. Específicamente, se discute la variabilidad iconográfica tanto intra como intersitio, pudiendo establecer un repertorio común de imágenes que actúan de forma diferencial en cada asentamiento. Asimismo, se discute el rol que habría cumplido el arte rupestre a nivel regional durante el período Intermedio Tardío. De especial interés es el diálogo que se establece entre la información reportada, que pertenece al ámbito de lo privado, y aquella propia del ámbito público, es decir, no vinculada a sitios habitacionales aunque de reconocida presencia en la región. Palabras claves: arte rupestre, Pica-Tarapacá, iconografía, sitios habitacionales, identidad. This article presents a synthetic view of rock art iconography associated with habitation sites in the northern portion of the Tarapacá region. Specifically, we discuss the data in relation to its iconographic variability, both intra-and inter-site, establishing a common set of images that function differently at each settlement. Moreover, we discuss the role that rock art might have played on the regional level during the Late Intermediate Period. Special attention is given to the dialogue between the information reported here-which belongs to the private sphere-and that of the public sphere, which is well-known in the region although not associated with habitation sites.
This article provides a new look at the emblematic site of Tamentica (Guatacondo Canyon, northern Chile). We describe and systematize three rock art motifs which, because of their redundancy and variability, we consider key icons of the Formative Period in Tarapacá, namely: the Anthropomorphic Being with Dentate Headdress, the Bird with Extended Wings, and the Manned Sea Lion Hide Raft. We also review the distribution of these icons on other materials from Tarapacá to Antofagasta. Finally, we discuss the potential role of these icons in their social context, as human groups were undergoing new processes of economic intensification, increasing sedentary life, and population nucleation, which required from the inhabitants of the oases, canyons, coast and highlands to find new ways of interaction between them.
Since the Formative Period (700 B.C. A.D. 700), Quillagua (Lower Loa river basin) has demonstrated social interaction with populations from the adjacent Tarapacá and Atacama regions, an interaction that is particularly conspicuous during the Late Intermediate Period (A.D. 900 1400). The primary indicators of this interaction are textiles from funerary contexts, particularly tunics that show differences in shape and are associated with different regions. In this context, we present an analysis of a group of anthropomorphic paintings from the Middle and Upper Loa River region that depict individuals in tunics. Our analyses of rock art figures allow us to suggest that the co-traditional or "soft-border" zone models presented for Quillagua can be extended to the rest of the Loa river basin.
A survey by foot of the prehispanic route connecting the Highlands ofLípez (Department of Potosí, Bolivia) to the Formative Period sites of Ghatchi and Calar (Vilama river basin, San Pedro de Atacama, Chile),allowed us to analyze roadworks, rest sites, ceremonial places, signallingstructures and transportable artifacts that stand out as evidence ofinterregional mobility. We discuss and propose indicators for therecognition of the early stages of caravanning, and trace the possibleorigins of the main users of this route during the Formative Period.Results demonstrate this to be the oldest route so far described in Chile.
On the basis of previous research, this paper characterizes the attire worn by the anthropomorphic paintings located in the high basin sites of the river Salado (the main tributary of the Loa), the fringed pubiccovering being the only piece of clothing that is represented. Learning on this systematization and its clear chronological correlates, we considered figures from sites in Pisagua, the gorges of Aroma and Guatacondo and San Pedro de Atacama that also have fringed pubic coverings. This exercise is an approximation to certain formal solutions in the field of flat representations from an iconological perspective based on archaeological evidence and its temporal tendencies, in order to deepen our understanding of the social and cultural aspects evidenced by the representations exhibiting this garment.
Resumen El presente artículo explora la interacción social en la región atacameña a partir del estudio de sus pinturas rupestres. Mediante el estudio cuantitativo y cualitativo de las distribuciones pictóricas, tanto por las estructuras compositivas como por los íconos claves que aparecen simultáneamente en dos o más localidades rupestres, se determinan flujos diferenciales de información visual. Esta circulación de conocimiento y personas habría operado como expresión de relaciones sociales preferenciales entre las distintas comunidades del desierto de Atacama. Palabras claves: interacción social -pinturas rupestres -flujos de información visual.
This paper attempts an iconographic analysis of the Formative Period in northern Chile (ca. 1300 BC to AD 600), drawing primarily on images found in textiles, but also on images depicted in rock art, geoglyphs, gold laminae and basketry. This enables to attempt a definition of elements belonging to the Formative iconographic universe, beyond the strict limits of the textile field. The large body of images we have assembles provides visual information that is sufficiently solid to: a) outline the existence of an iconographic horizon characteristic of the late phase of the Formative; b) define its constituent elements, and; c) connect it to south-Peruvian and altiplano developments. The Frontal Figure with Radiate Head is one of the iconographic themes we consider for the Late Formative, as an icon with specific and well-defined attributes. These suggest it might well be a local manifestation (i. e. Valles Occidentales and the Circumpuna subareas) of the classic central iconographic theme of the Pukara, Tiwanaku and Wari cultures of the High Andes: the "Front-facing Staff-bearing Deity".
El objeto de estudio es la iconografía del Norte Grande de Chile, presente en distintos soportes y realizada a lo largo de distintas tradiciones culturales que se han sucedido y entrelazado durante los últimos tres mil años. Entre dichos soportes se encuentra la iconografía de bienes muebles (presente en textiles, vasijas cerámicas, tabletas para el uso de psicoactivos, etc.) o los imponentes geoglifos. Sin embargo, las manifestaciones concretas que elegí son las representaciones en tabletas para el uso de psicoactivos y el arte rupestre.
This work analyses the strong and recognized relationship between rock art and traffic routes witin the Atacama Desert. The model of circuit mobility is analyzed and in addition Andean ritualism is considered. We describe the architectural, ceramic and rock art evidence from two adjacent sites in the interior of the Quebrada Suca, in the Valley of Camarones (Northern Chile). The sites Suca 7 and Suca 13 were selected for their significance within the landscape and contextual associations. The two sites present different logistical functions within the model of circuit mobility, for distinctive traffic, one being interregional and the other local and circumscribed to the gorge and adjacent valleys. Furthermore, the analysis of rock art permits observations about spatial appropriation, ritualism, and economic and ideological interactions among different late pre-Hispanic populations (A.D. 1,000 to 1,350) within the desert
This study brings new empirical evidence, resulting from the excavation of four transitory camp sites and two human burials associated with geoglyphs, and found along a prehispanic caravan path of 150 km long, connecting the Pica oasis with the Pacific coastal ocean in the Atacama desert in northern Chile. Since the majority of these sites are found in resourceless desertic areas and are associated to contexts such as llama coprolites and corn leaves, we argue that these sites were direct components of caravan trafficking. This route was linked to an intensive long distance macro-regional traffic associated with the circulations of economic and sumptuary goods from diverse origins, including the selva, altiplano, oasis, pampa and coast. Radiocarbon dates obtained at the excavations indicate that even though most of the geoglyphs were created during the Desarrollo Regional period (900-1,450 yrs. A.D.) some transdesertic routes were already used, from at least the Late Archaic Period (1,300 B.C.) by hunters, fishers and gatherers
In 2011 I published the printed version of my book commenting on the 1986-book by Núñez Jiménez about rock art in Peru. This book is called: Petroglyphs of Peru - Following the Footsteps of Antonio Núñez Jiménez. Later I created a er PDF e-version on the BLURB website. But a few years ago I deleted my BLURB account and my five printed books are no longer for sale. I now have the opportunity to give you access to my 2011-book about the 1986-work by Núñez Jiménez. It must be stressed (and I do so in my book as well) that I only comment on the 1986-work by Núñez Jiménez, not the person, nor the researcher. When I wrote the subtitle, I indeed clarified that I followed the footsteps that Núñez Jiménez made to admirably explore the petroglyphs of Peru, as I literally surveyed most of those sites myself.
The book exclusively describes and discusses rock art images from the Desert Andes (the deserts of western Peru and northern Chile) which are associated with life and death (sex and gender related imagery). The book has been lavishly decorated with 326 illustrations (many colour photos and numerous drawings)……. El libro exclusivamente trata las imagenes en el Arte Rupestre Andino (Desert Andes = el Perú desértico y el norte de Chile) que expresan figuras y escenas relacionado con la vida y la muerte. El libro ha sido espléndidamente decorado con 326 ilustraciones (muchas fotos en color y numerosos dibujos).
Early in the Middle Horizon, a new set of religious images appeared in the ceramic arts of Central Peru, demonstrating radical
ideological change that almost certainly documents the adoption of a new religion. Eventually the images became official symbols
of allegiance to the Huari empire, as its political strength expanded from a capital in the Ayacucho Valley, subjecting older
polities throughout much of Peru. Significantly, similar icons occurred at the Bolivian site of Tiwanaku and throughout its
great sphere of influence to the south of Huari.
“Middle Horizon” is a period in Peruvian prehistory (Figure 37.1), but cultural dynamics embraced an area much larger than
Peru (Figure 37.2). The Middle Horizon was the time when leadership in complexity within the Central Andes shifted from northern
Peru and the Pacific coast – especially the spectacular Moche culture (see Chapter 36 in this volume) – to south central Peru,
northwestern Bolivia and the Andean highlands (Figure 37.1). A new religious art spread through the Andes, composed of three
primary supernatural images. From new urban capitals in central highland Peru and Lake Titicaca Bolivia, the distinctive religious
icons diagnostic of the Middle Horizon reached the northern Peruvian mountains and coast. In the south they dispersed through
the highlands, reaching southern Bolivia and the eastern valleys that descend to tropical forests – among them, Cochabamba
with its immense mounds and idyllic conditions for maize agriculture. Northern Chile, at least as far south as San Pedro de
Atacama, participated in this great interaction sphere, as did northwestern Argentina’s La Aguada cultural style (see Chapter
30 in this volume; Figures 30.5, 30.6).
La Ruta de Tarapacá: análisis de un mito y una imagen rupestre en el Norte de Chile
- J Chacama
- G Espinosa
Chacama, J. and G. Espinosa. 2005. La Ruta de Tarapacá: análisis de un mito y una imagen rupestre
en el Norte de Chile. In: Rupestreweb.
Estilos de arte rupestre atacameño en la Estancia de Yerbas Buenas, Río Grande
- J Tamblay
Tamblay, J. T. 2004-5. Estilos de arte rupestre atacameño en la Estancia de Yerbas Buenas, Río
Grande, San Pedro de Atacama, Chile. Versión ampliada y corregida (2005) del articulo presentado al
V Congreso Chileno de Antropología. San Felipe, 8-12 de Noviembre de 2004 (en prensa), que a su
vez es una versión actualizada del original escrito en 1997.
Interpreting a Digitally Restored Petroglyph Panel near Chiza, Región de Tarapacá, northern Chile
- M Van Hoek
Van Hoek, M. 2014. Interpreting a Digitally Restored Petroglyph Panel near Chiza, Región de
Tarapacá, northern Chile. In: TRACCE -On-line Rock Art Bulletin.
- J Albarracín-Jordán
Albarracín-Jordán, J. 1991. Petroglifos en el valle bajo de Tiwanaku, Depto. de La Paz,
Bolivia. Boletín de SIARB. Vol. 5; pp. 35 -56. La Paz, Bolivia.
Trophy' heads in the rock art of the Majes Valley, Perú: exploring their possible origin
- M Van Hoek
Van Hoek, M. 2010. 'Trophy' heads in the rock art of the Majes Valley, Perú: exploring their possible
origin. In: Rupestreweb.
Arte rupestre de Ariquilda: Análisis descriptivo de un sitio con geoglifos y su vinculación con la prehistoria regional
- L Briones Morales
- J. Chacama Rodriguez
Briones Morales, L. and J. Chacama Rodriguez. 1987. Arte rupestre de Ariquilda: Análisis
descriptivo de un sitio con geoglifos y su vinculación con la prehistoria regional. Chungará. Revista
de Antropología Chilena. Vol. 18; pp. 15 -66. Arica, Chile.
Ananta in Caravelí? Polycephalic Snakes in Desert Andes Rock Art
- M Van Hoek
Van Hoek, M. 2015. Ananta in Caravelí? Polycephalic Snakes in Desert Andes Rock Art. In:
Rupestreweb.
Lari y Jamp'atu. Ritual de luvia y simbolismo andino en un escena de arte rupestre e Ariquilda-1
- G Espinosa
Espinosa, G. 1996. Lari y Jamp'atu. Ritual de luvia y simbolismo andino en un escena de arte rupestre
e Ariquilda-1. Norte de Chile. Chungará. Revista de Antropología Chilena. Vol. 28 -No's. 1-2; pp.
133 -157. Arica, Chile.
Arte Rupestre Chileno. Serie El Patrimonio Cultural Chileno. Colección Historia del Arte Chileno
- Mostny Glaser
- G H Niemeyer Fernández
Mostny Glaser, G. & H. Niemeyer Fernández. 1983. Arte Rupestre Chileno. Serie El Patrimonio
Cultural Chileno. Colección Historia del Arte Chileno. Publicación del Departamento de Extensión
Cultural del Ministerio de Educación.
Caracterización del Arte Rupestre de las Terrazas de Conanoxa
- M F Fernández Donoso
Fernández Donoso, M. F. 2013. Caracterización del Arte Rupestre de las Terrazas de Conanoxa,
Valle de Camarones, extremo norte de Chile, Andes Centro Sur. Práctica profesional. Universidad de
Chile. Santiago de Chile.
Petroglifos del Perú. Panorama mundial del arte rupestre. 2da
- Núñez Jiménez
Núñez Jiménez, A. 1986. Petroglifos del Perú. Panorama mundial del arte rupestre. 2da. Ed. PNUD-
UNESCO – Proyecto Regional de Patrimonio Cultural y Desarrollo, La Habana.
El arte rupestre de los Antiguos Cazadores Atacameños
- J T Tamblay
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