(Pontificia Universidad Católica del Perú. Fondo Editorial, 2013) Reindel, Markus; Isla, Johny
The excavations in Jauranga revealed a sequence of archaeological contexts distributed over a stratigraphy with a depth of morethan three meters. Within this stratigraphy we found the remains of numerous adobe walls pertaining to structures of a settlement dating to the Middle and Late Paracas periods. Forty nine funerary contexts from different phases of the Paracas culture were embedded in the stratified layers and structural remains. Furthermore, we recorded 31 intrusive burials of the Nasca culture.The stratigraphic analysis of the structural remains in their relation to the associated artifacts and non-artifactual finds, the ty- pological analysis of the ceramic artifacts from the stratified layers and from the burial contexts, as well as numerous radiocarbon dates allowed us for the first time to establish a chronological ordering of the developmental phases of the Paracas culture based on stratigraphic contexts. The results of these analyses helped to confirm the validity of the results of the stylistic seriation of the Paracas ceramics from the Ica valley published by Menzel, Rowe and Dawson in 1964. Based on the stratigraphic evidence recorded in Jauranga, we discuss aspects of chronology, type and function of the site, as well as their implications for the local and regional archaeological contexts.
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2013) DeLeonardis, Lisa
The Paracas (900 BC-AD 1) of south coastal Peru are widely recognized for ceramics bearing patterned designs created fromincised clay that was often post-fire painted. Analyses of containers, effigies, figurines and musical instruments recovered intactin tombs, have centered largely on temporal and iconographic concerns, and in evaluating prestige. A number of archaeologicalcontexts offer an alternative view of ceramics and their role in public and domestic spheres. In this paper, the role of ceramics inritual offerings is discussed and analyzed in tandem with the other forms and mediums they accompany. The contexts for theseofferings differ from those of funerary ritual in which whole vessels are placed with the dead. These analyses indicate that the endcycle of ceramics is diverse, that their substance is valued in whole and fragmentary form, and that their spatial orientation issignificant. Insights are offered into how ceramics as substances interact and complement other materials in offerings and howthis bears upon our interpretation of specific iconographies and design symbols and their respective meanings.
