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STYLISTIC AFFINITIES BETWEEN THE QUIMBAYA GOLD STYLE AND A LITTLE-KNOWN CERAMIC
STYLE OF THE MIDDLE CAUCA VALLEY, COLOMBIA
Author(s): Karen Olsen Bruhns
Source: awpa Pacha: Journal of Andean Archaeology, No. 7/8 (1969-1970), pp. 65-83
Published by: Maney Publishing
Stable URL: http://www.jstor.org/stable/27977587
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65
STYLISTIC AFFINITIES BETWEENTHE QUIMBAYAGOLD STYLE

AND A LITTLE-KNOWNCERAMIC STYLE OF THE MIDDLE
CAUCA VALLEY, COLOMBIA
Karen
Olsen
Bruhns
The middle reaches of the Cauca Valley of Colombia, stretching

from the area around the city of Antioquia in the north to near Buga in
as the homeland
of a number
have
been
famous
of impres
south,
long
a
of
that
for lack
sive
better
been
called
artifacts
name,
have,
Quimbaya.
a rather
re
name comes
from that
of a small
This
tribe
that
inhabited
area
at the time of the
of Manizales
the modern
around
stricted
city
were
Whether
called
any of the artifacts
Quimbaya
Spanish
Conquest.
the
The Quimbayas
is a moot point.
themselves
by the Quimbayas
small
unrelated
and
somewhat
differ
group,
linguistically
The Quimbayas
themselves
from the tribes
around
them.
from the area
around
from the north,
perhaps
they had migrated
made
actually
were
a rather
ent culturally,
that
said
in the area in which the Spanish found

the R?o Sin?, and had settled
the migration took
them.2 By Pedro de Cieza de Le?n1s calculations,
a
the
time
before
very long
Conquest, although this point is open
place
Because
little
very
Cauca
middle
it
area,
to
question.3
in the
taken
of artifacts
Quimbaya.
rate
found in the region

museum
During
ceramic
research
actually
was identified
styles
scientific
excavation
of
is not known which
in
been
under
the
many
types
to the historic
pertain
Colombia
has
1966
in
by the author.41
of
series
sepa
Although the analysis
was done on purely

to
the ceramics
it was possible
stylistic
grounds,
the small
amount
of verifiable
the analysis
with
check
archaeological
some other
and to associate
available
such as tomb type
information
data,
and non-ceramic
the
with
various
In addition,
artifacts,
groupings.
was some added
there
of the ceramic
corrobor?tion
from excavations
groups
of
in
the
Calima
related
culture
area
to
the
south.
It is
of
groups
pottery
temporal
relationship
stand.
since
of the remains
all
in geographic
distribu
However,
overlap
must exist.
that
time differences
it is assumed
One of the groups
tion,
so isolated
to the style
of ceramics
Wendell
Bennett
that
corresponds
a
ware
as a dis
Brownware
is
This
which
he
called
Incised.^
recognized
more
common
different
from
the
tinct
resist
substyle,
entirely
painted
not
closely
known in
directly
the various
what
and incision
vessels
of
decorated
appliqu?
of urn-like
consists
this
vessels,
style
mainly
He further
incised
decoration.
"...One
notes,
and
on the side
with modeling
further
research
quite
has
superior
borne
the
area.
He noted
that
and with
in color
dark
has a relief
human figure
to the general
Bennett
Quimbaya."
On
the relief
modeled
out;
on Brownware
found
not resemble
Incised
vessels
does
that
of
ceramic
of
the
at
the other
middle
Cauca
It
all.
styles
does,
however,
the style
show startling
affinities
with
of metalwork,
also
featuring
this
point
decoration
relief
likewise
called
style
in
of only eighteen
four
in the full
round),
which is
Quimbaya.
Bennett
roughly
as figures
(as well
human figures
times
1942
that
had
vessels.6
size
of
total
sample
of
the
Brownware
In 1966 I managed to locate
urns
alone,
plus
several
related
Incised
a sample
pieces
66
of
different
an
shapes
and
its
contents,
entire
grave
from
group
tomb
which
been
had
recently found in an outlying barrio of Manizales.

Although this tomb
had been opened by workmen looking for treasure,
they had brought at
least
of
part
their
original
In
Manizales.
sources,
vessels
mation
sources,
and
type,
had
and
four
de
Antropol?gico
the secretary
given
layout
This
it
made
also
to
possible
with
large
jars
in
also
Caldas,
some informa
there
which she very kindly passed
one
associate
with this
types of the Cauca Valley
burial
it
they
urn
was further
to published
extended
by referring
sample
were
of secondary
most of the published
these
value,
although
no provenience.
The expanded
infor
with
coupled
sample,
having
of information
from the Manizales
and bits
from other
grave
group
me to make a fairly
of the ceramic
detailed
enabled
analysis
me.
to
contents,
addition,
the type of tomb and its
tion about
on
an
including
the Museo
to
of
the
many
tomb
style
and
In addition,
of objects.
a general
to outline
of provenience
for
been
range
possible
sure
comes
None of the pieces
with
from
outside
provenience
area
in the departments
of Caldas
and El Quindio
restricted
has
style.
rather
this
a
(fig.
1).
The
sample
able
is
Brownware
a style
mainly
to this
style
Incised
style
of funerary
on stylistic
as
urns;
in
represented
most of
grounds belong
the
to this
this
vessels
extended
assign
group.7
The
urn with
to a funerary
addition
contains
cover,
grave
group,
a
an
as
ash
olla
also
used
and
small
bowl,
containers,
jars,
were
ware.
A number of other
observed
in
the
undecorated
jars
a
the
de
studied
Museo
collection
Caldas,
only
containing
Antropol?gico
use.
of
be
of
vessels
These
domestic
could
number
jars
apparent
large
on
or fine
of elaborate
to this
The lack
finish
decoration
group.
long
use
seems
were not primarily
of funerary
to explain
vessels
which
why
are represented
urns
in museums
and private
collections.
mostly
done most of the burial
who have
excavations
in the area,
do
Guag?eros,
are
not handsomely
for
not bother
to collect
vessels
which
decorated,
a ready
do not have
the sample
these
market.
Consequently,
represents
Manizales
four
large
of plain,
in
the
relatively
only
(probably)
for funerary
purposes.
small
percentage
of
made
pieces
expressly
the commonest
in the Brownware
noted,
shape
represented
a
an
urn.
vessel
whose
neck
It is
is
Incised
group
semicylindrical
same diameter
as
Most of
its
the
is of approximately
body.
opening
a slight
a
urns
the bottom,
bulbousness
these
towards
exhibit
giving
As
line
flowing
to western
most pleasing
out protruberances
have
pushed
The
of the bulbous
swelling.
precisely
a vertical
flat.
edge
originally
furnished
All
urns
rim.
decorated
a meter
was over
ported
an
to 12 cm. tall,
with
of
the
bottom
of
the
purpose,
vessel.
often rested
The
the
the
eyes
lower
is
The rim is always flat

A decorative
(fig. 3).
the rim
below
as a decorative
slightly
as well
on
appear
for
(fig.
A few of the urns
2).
quarter
flattened,
of
the
although
body
not
instead
always
and ledge-like,
thickened with
encircles
the body
molding
This
molding
the lids
with
upon the molding,
serves
which
these
completely
functional
were
urns
covering
one re
The largest
in size.
vary
widely
are
some 10
a
the
smallest
and
half
in height;
15 to 20 cm.
of roughly
size
average
apparent
often
these
to have
had lids,
although
originally
urns
67
have
been
logued
mislaid
separately
lids
original
has
usually
process
or
"bowls"
and a number of isolated

rounded
top,
A related
is an anthropomorphic
true
in
urn (fig.
the
of
modeling
but lack
rim,
5)?
lids
flattened
and
and
specimens
decoration
decoration,
examined represented
was
vessels
These
in
more
or
a number of pieces
although
decorative
The lid
thickened
function
apparent
vessel.
cata
their
4).
anthropomorphic
the
the
of
were recorded.
(fig.
All
or are
about
urns
with
the urns
A number
and
sides,
urn shape,
to the basic
simply applied
exhibit
both
shape,
cases
In many
ledge-like
straight
that of the urn itself
rim, much like
females.
of moving
"basins."
the
in
as
also
have
none was
As
molding.
less
the flat,
seen
which retained the lid, it is not known how the lid fitted on or if,
The
indeed, it was of the same form as the lids of the other urns.
and appliqu?
decoration
these
and incised
which
anthropomor
modeling
on
as is their
urns
to
identical
the
other
bear
is
that
color
urns,
phic
so there
seems
to be no doubt
and finish,
of their
with
Brown
association
ware
The
urns
of
the
Incised
average
pottery.
height
anthropomorphic
20 cm.
to be about
appears
The
not
can be
vessels
other
which
numerous.
The
of
the
group
jars
a globular
a
60 cm.),
with
and
(ca.
body
on the neck
or at
modeled
decoration
its
well
in comparison
finished
(at least
larly
A fair
number of similar
decorated.
jars
are
to the Brownware
Incised
are
Manizales
grave
group
large
narrow
often
with
tall,
neck,
are not particu
The jars
base.
or elaborately
to the urns)
attached
was seen,
and it is likely
that
associated
with
the
Brownware
Incised
Several
they
group.
were
as also
small
bowls
and ollas
identified
Brownware
tentatively
being
With the exception
of the examples
Incised.
from the Manizales
grave
can all
these
vessels
be provisionally
the
associated
with
group,
only
more elaborate
are
Brownware
Incised
ceramics.
rather
They
made,
crudely
also
be
should
of use
and many show signs

ware
in the fire.
were very likely
These dishes
the
of
domestic
In addition,
who made the urns.
there
people
a few anthropomorphic
or zoomorphic
on stylistic
dishes
which
seem,
to belong
to this
No figurines
were
in this
iden
group.
grounds,
style
tified.
the
are
All
vessels
the
were carefully
The coils
faint
although
against
a strong light
vessel,
of coils
particularly
were
which
and
onto
smoothed
vessels
exhibit
Most
like
other
smoothed on both the inside
traces
or felt
on
of
them
can
seen
be
and outside
by
by running the fingers
The moldings
interior.
to the vessel
and then
formed of coils
or flat
these
groups
are
vessels
of
the
more
middle
or
less
Cauca,
of the
vessels
down the
lightly
were
cut
of clay
urns
reduced
made
evidently
and shaped.
cut outs
this
the
holding
the vessel
The anthropomorphic
wall.
the same kind of construction.
of
ceramic
the
applied
was likewise
decoration
seem
to have
been
constructed
by coiling,
of the middle
ceramics
Cauca
prehistoric
Valley
seem to have
The coils
affiliation.
been
built
stylistic
of clay
which
formed
the bottom
of the urn or jar.
pancake
is typical
their
whatever
up from a flat
vessel,
the
of
of
as
in
reduction
and
Relief
applied
other
firing.
seems
Un
to
68
been
have
for practically
all
of the vessels
an
exhibit
intentional,
tone.
A substantial
number
of vessels
was lightly
smoked,
a black
The normal
surface.
color
a drak
red
producing
is,
however,
a
sometimes
towards
chocolate
brown.
The
is
brown,
tending
paste
to greyish,
tannish
with
the
a dark
smoked vessels
gray paste.
having
A few pieces,
are
and small
utilitarian
oxidized.
jars
mainly
pieces,
a
All
sand
A
have
a
has
number
micaceous
pieces
temper.
significant
dark
even,
sand
of
that
temper;
sand
quartz
and
the
quartz
of
the
vessels
sand
The temper is moderate;

All
other
mixed
is
with
divided
fairly
evenly
black
obsidian
particles.8
10 to 15% of the clay
perhaps
between
body.
both
and anthropomorphic,
the dishes,
plain
were
and polished.
More of the
jars
slipped
jars
a very
low burnish,
smoothed
and given
while
other
small
vessels
merely
are
It appears
smoothed.
that
vessels
made for funerary
only
slightly
or ceremonial
use
were much better
finished
and elaborately
decorated
than
those
for domestic
intended
purposes.
some
and
of
The
of
edge
edge may slope

is
edge
excised
often
usually
rests.
rim
is
decorated
almost
follows
certain
with
flat
invariably
little
incised
also
depressions,
was
ticks,
in size.
small
molding
of
coil
clay,
formed
smoothed
or
canons.
specific
wall.
the
although
The outer
3).
(fig.
circles,
the rim
punched
Below
The
inner
or
on
molding upon which the lid

the
by pushing
damp and thickening

carefully
This molding may form a flattish
visible.
too,
wall
of the body is a projecting
This
very
beyond the vessel
slightly
into the interior
the clay was still
applied
urns
the
projecting
imperceptibly
triangular
an
with
flat,
the
the upper quarter

wards while
of
decoration
The rim is always
outer
urns,
were
the
shelf
so
vessel
wall
the resulting
that
the
join
out
bulge
is
in
to match the rim,
ticked
it may be cut and pulled

On some vessels
rows
double
as decoration.
On a few of
but is merely
tively
shaped
The
body of the urn
ridge.
to form vertical
or points
2).
scallops
(fig.
of projecting
or
flutes
may be used
scallops
urns
the plainer
the molding
is not decora
smoothed
off to make a plain,
projecting
below
the molding
is then usually
covered
a white
incised
decoration.
At times
was
paste
bands
with
of
vertical
the
rubbed
into
incisions,
been
The incision
general.
scratched
in when the vessel
seem to have
this
not
does
although
practice
is very
shallow
and appears
to have
been
was quite
are
The
vertical
most
bands
dry.
filled
with
scratched
and
Vfs
sometimes
commonly
carelessly
Xfs,
forming
a herringbone
Filled
bands
alternated
with
pattern.
usually
empty ones.
or notched
If the molding
is scalloped
the vertical
are
stripes
usually
matched
these
the
with
incised
line
the boundary
up
projections,
forming
of
the
decoration
of the
placement
more
ing
takes
elaborately
the form
tween the flutes

walls
This
pose.
stripes
of the filler
quality
are
vessels
starting
of
ornament
designs
are
modeled
modeling.
on the
fluting
decorated
of
being filled
a second
have
molding
were
to
outwards
pushed
second
molding
Other pieces
or points.
scallops
and the very
scratchy,
the
between
does
not
decorated
with
typical
of this
with the usual

on
give
seem
the
lower
the
to
vessel
have
body,
the
scratchy
of
part
its
fulfilled
with modeling
ware.
On some
usually
the
The
regular
careless
A few pieces
this
model
areas
be
pieces
flatter
designs.
body
where
bulbous
slightly
any functional
have applied
Other
the
shape.
pur
heads
69
at
located
the
around
intervals
regular
top
molding.
the
vessels
These
often flanked by slightly modeled upraised arms with incised

if they were holding the lid which fitted onto the molding.
have
vessels
full
or
more
are
faces
less
are
of
often
eyes
and naturalistically
noses
are
pierced,
wcoffee-beanft
formed.
and
some
or
at
of
sort
the
top
slanted
low
in
hands, as
A very few
relief
in the same style.

slit
and
eyes
Both eyes and mouth have a raised
the
An appliqu?
impossible.9
presenting
forehead
with
triangular,
the
are
and the faces
figures
in the clay.
mouth incised
around
placed
figures
Both the full
6).
It
former
nose
The
type.
seldom
has an
existence
slit
edge;
detail,
the
large
some
generally
is
apparently
across
is placed
or in the case
braiding,
The arms,
(fig.
The
ornament,
although
a metal
ornament
of
headband with incised
or
plaiting
of the face.
is
are
faces
not
re
the
of
whole
apparently by
figures, the entire body, are modeled in low relief,
shapes to the vessel wall and
applying bits of clay of appropriate
in
The body is usually
smoothing and modeling them while in place.
to detail
the
and shows more attention
than
relief
somewhat
higher
some
are
and
indicated
limbs.
Details
incision,
by modeling,
punching.
seen
were
arm and leg
and
All
but with
bands
female,
naked,
figures
Individual
ligatures.
Some
are
pieces
vary greatly
schematic
and
very
ing.
on
the
face.
modeled,
especially
more care
in modeling
ally
display
urn
of the model
in the quality
while
stylized,
The full-figure
the ones
than
are
others
decorated
with
only
carefully
urns
gener
faces.
are
manner.
in a similar
The vertical
decorated
or
scratched
lines
vertical
sides
usually
simple
herringbones
(fig.
A few have
One example
fluted
sides.
had a modeled
and scalloped
4).
seen
on some urns.
rim like
the scalloped
Similar
molding
scalloping
on
or notching
seen
as decoration
the band
is
around
commonly
applied
the necks
of jars
Brownware
with
The jars
associated
Incised
pottery.
or incised
a little
on the neck
have
decoration
in the
may also
fluting
The
lids
have
seems uncommon.
One jar
from
this
urns,
although
practice
on the upper
of dark red paint
of the
had the remains
part
was the only
of Brownware
observed
Incised
This
piece
pottery
had any painted
decoration.
of
style
Manizales
neck.
which
the
urns
seem to have
a vessel
been
The effigy
formed
by coiling
same shape
as the non-anthropomorphic
it slightly,
urns,
modifying
to this
the effigy
and applying
features
All
the anthro
modified
shape.
seen
urns
or
seated
females,
apparently
pomorphic
represented
squatting
on a bench
the legs
The urn opening
with
has
the same rim
dangling.
as the non-anthropomorphic
and decoration
vessels.
the
shape
Usually
of
the
appliqu?
and
face
features
as
is placed
of thickish
piece
were
formed
bous
in
applied
the
faces
clay
just below the rim.

on
the
non-effigy
This face
urns.
and stuck on with slip.
has the same shape
is
cut
The shoulders
out
of
and thighs
the damp vessel

wall
outwards
and are
bul
rather
by pushing
were
arms
an
The
lower
of
solid
and
made
appearance.
legs
roll
of clay
onto
smoothed
the vessel
The arms are
shown
wall.
bent at the elbows and with the forearms usually

one
It
example
the
shoulder
and
11 The breasts are

hatching.
is shown by a round, shallow
thigh
were
decorated
flanking
with
the face.
incised
On
cross
indicated by applied pellets,

and the navel
indentation
in the middle of the body,
70
made with
the end of a
on the arms and legs,
are
all
vulva
represented
probably
ligatures
and the
urns
seen.
One
in the center
opening
but
bulbous,
the
crease
incised
by
bracelets,
the bottom
Digits,
at
represents
female
of her body.
of
representation
as the anthropomorphic
on
lying
her
annular
high
the
base,
not
feature
back
lower
limbs
is
almost
other
dish
are very
rudimentary.
The other dish
on
observed
the
with
The thighs and shoulders
The bent arms of the female hold the dish opening.

on
anklets,
the
stomach,
of
lines.
of the same style
Two effigy dishes
were
stick.
the
stands
Brownware
Incised
to that of the
An applied
vessels.
head, almost identical
triangular
first dish and of the same style as the heads of the urns, is placed on
one
end
of
the
at
vessel;
the
other
end
tail
fish-like
Incised
do not seem to be at
was observed
one example
vessels
Double
Only
pottery.
Two fins
common
all
in
the
the
replaces
of the other dish.

limbs and incised genitals
stylized
modeled on either side of the vessel.12
are
Brownware
in
entire
sample.
of two very small urns joined by a short piece of

This vessel
consists
on
small tetrapod feet pushed out from the interior
clay and standing
of the vessel.13
The tetrapod feet are unusual too, although polypod
This
have
are
known from other

of the middle
ceramic
groups
from many of the other
ancient
cultures
of Colombia.
urn is so small
if it was a chinerary
it must
double
urn,
that,
or infants
for the remains
of an infant
been
intended
or,
perhaps,
double
as
Cauca,
and
vessels
as
well
for part of a body.

times
the
in
trophy taking,
Cauca
Given the range of funerary practices

as
Valley,
either
well
is a distinct
as
the
on
emphasis
in prehistoric
and
cannibalism
possibility.
the people
who made
information
concerning
Archaeological
no
are
There
almost
is
Incised
entirely
pottery
lacking.
or
can
be
that
non-ceramic
artifacts
sites
archaeologically
occupation
one
In at least
in Manizales,
them.
with
associated
instance,
they
dead
tomb of several
in a rectangular
chambers.
buried
their
cremated
the
Brownware
The four jars
and the one lidded
urn from this
tomb were all
full
of
Lack
of time and facilities
made it
was human.
see
bone
to
made
if
all
ash
and
this
impossible
from
other
with
cremated
ancient
remains
burials
A rudimentary
comparison
were
if
these
all
ashes
human
demonstrates
in Manizales
that,
remains,
must contain
the remains
of more than one
individual.
of the
each
jars
was extremely
common
that
burial
C. mentions
many times
multiple
Arango
ashes
and
bits
to
in the tombs he looted,

Incised
people
rather
bodies
bone.
of charred
tests
have
also
so it
practiced
than interring
secondary
to have
enough
large
or primary
burials.
Quimbaya
themselves
urns
are
Dating
this
pottery
disposed
is quite
multiple
them.
contained
their
retainer
burial,
multiple
dead,
the
cremating
many of the
As has been mentioned,
is difficult.
of
that the Brownware
possible
or
or
cremations
even
It is not known how the

although
there
is
some
sug
If this was so, then the Brownware

gestion that it was by burial.15
Because the
Incised pottery cannot belong to the historic
Quimbaya.
urns
found
the known
these
have
been
well
where
often
fall
within
places
71
it seems likely,
then, that they predate the Quimbaya
Quimbaya territory,
On
this
the basis of current evidence,
admittedly incomplete,
(fig. 7).
ceramic
date
may
assemblage
somewhat
500
before
The
A.D.
resist
painted
as Brown
pottery of the Quimbaya regions has much the same distribution
ware.
at least
in its earlier
This pottery is related,
phases, to that
to the south.
of the Calima culture directly
There are, in fact, many
ones
found
with
the
trade
pieces
is radiocarbon
Calima
resist
pottery
on the
same
1000 A.D.;
later
dates
Calima
manufacture.
"Quimbaya"
to somewhere
between
to at
it through
carry
style
If these dates
1300 A.D. and perhaps later.16
this dating
the Quimbaya resist
wares,
painted
no
for
time
Brownware
the
before
appeared
and
ceramics
and
Incised
the historic
the
north
A.D.
500
How much before

but perhaps
A.D.
to
style
occupied
style of pottery in the "Quimbaya" area

the resist wares, the Brownware Incised
This
date
corresponds
he calls
"Classic
have
to
Cauca
Valley,
of these
there
a
are
objects
of
of
the
400
middle
ceramic
of styles
or gold
gold
was
Some
would
to
700
illustrated
mainly
catalogues
tions
and
of pieces
descriptions
in museum
of
of
styles
A.D.
for
found in the middle
artifacts.
Because
trea
such as tumbaga,
It is to the
have
collections,
In addition
of
what
will
of
of
both
sort
any
produced
in art books,
descriptive
been
there are
published
illustra
or for small
pieces
groups
no detailed
However,
features
and
stylistic
private
Quimbaya
goldwork
considering
a rigorous
matters
which
of the
definition
attempts
archaeological
has
de
in
P?rez
Barradas
his
monumental
Orfebrer?a
style
appeared.
some work in this
de Colombia
has done
but
prehisp?nica
direction,
nor
date
there
has been no intensive
of
the
any
analysis
goldwork
analysis
to
800
metal
alloys
for single
collections.
available
and
another
Valley.
Metal work, although better publicized

these artifacts.
known as the pottery in many ways.
is as little
Several
on the goldwork of the Cauca Valley.18
from
time before
be reasonable.
we owe the vast

of collections
that
hunters
majority
as well
as the almost
ceramic
artifacts
and other
total
lack
or other
of provenience
the cultures
about
information
that
works,
of
style
down
dating
Cauca
in the Cauca Valley.
treasure
dis
and
came
dead,
there
guess.
millenium
number
sure hunting has been widespread
the
Any more secure
in
to the several
and
least
which is probably ancestral

style ought to date before
dates
guess
excavations
are
flourished
Since
Quimbaya" in metal.17
In addition
many
of
is anybody's
turn of the
date
this
the
after
to Root's
scientific
await
have
800
are applicable
also to
then leaves practically
Quimbaya, with an unidentified
mode of disposal
same territory.
the
different
The
of
dated
to
or cultural
attempt to set up stylistic
groupings except on the most
of
The
resemblance.19
superficial
problem is complicated by
grounds
the fact that the major goldwork styles of Colombia all have much the
same
Darien
distribution.
are
actually
collections
sure
hunters,
are
Thus
found
derived
are
there
goldwork
in most
from
almost
the
no
called
of
work
the
of
Tolima,
Calima,
Quimbaya,
same areas.
all
Because
professionsl
archaeological
or
data
amateur
accompanying
and
the
trea
any
of the metal work. The Quimbaya style is no exception.

It is rather
as being that style of goldwork which is found mainly
loosely recognized
in the Cauca Valley with the majority of the sites known being in the
72
El Quindlo, Valle,
Risaralda,
departments of Caldas,
Tolima, and
It consists
Antioqula
(fig. 7).
mainly of cast pieces of gold or tum
baga in contrast to, for example, the Calima style which is mainly
sheet metal work. Most of the pieces called
Quimbaya are flasks,
helmets, or small heads which
anthropomorphic flasks or bottles,
apparently
are
There
once
there
Although
of
formed
parts
few unusual
is an abundance
also
or
necklaces
decoration.
clothing
throwers
and trumpets.
spear
same area,
the
from
objects
as
such
pieces
of
smaller
are not usually

included in the Quimbaya style because
of
them stylistically
with the other,
difficulty
associating
these
of the
more ela
nose
borate
Ear and nose
metal
and
pieces.
rings,
pendants,
plaques,
arm and leg
are
common
bands
area.
all
in
finds
this
very
geographic
are
These
ornaments
often
of baser
but many examples
of gold
and
metal,
are
It is obvious,
silver
known.
if only
from anthropomorphic
represen
must correspond
that
these
in some way to the culture
tations,
pieces
which
the
produced
Quimbaya
but
pieces,
without
associa
archaeological
to say where and with what other materials

tions it is impossible
they
are
There
also a number of pieces which are stylistically
belong.
intermediate
between some of the art styles;
the Quimbaya style fades
into both the Calima and Darien styles, with pieces
showing features of
both being fairly common. Whether the relationship
or a
is a regional
one
is not
temporal
has proved
necessary
known.
to use
For
just
the
of
purposes
those
pieces
it
comparison
familiar
stylistic
most
which
people
would call Quimbaya; those which exhibit such

with Colombian antiquity
of
that there is little
traits
doubt that they were
peculiar
congruity
all made by the same people within a fairly short period of time.
No
has
been made to utilize
ones
to the Quimbaya
but
as
well.
styles
attempt
related
other
two
The
of the Museo del

by
de
P?rez
Quimbayas,"
main
or
collections
used
in
Oro of the Banco de la
Barradas,
a single
Carli,
grave
this
pieces
tinctive
The technology
studied;
tives
better
much
of separate
sequently
there
in
repouss?
more,
perhaps
In addition
studied,
styles
no
fact,
or the cultures
need
to
describe
than
work
are
are
of
known.
tumbaga,
objects
collection
"Tesoro
de los
of Finlandia
many single
the
processes
are cast,
are
of
alloy.
of
dis
has been well

as
representa
to which they pertain.21
the
Many objects
a gold-copper
the
to
as published
that
exhibit
were used.
Colombian metallurgy
Most of the Quimbaya objects
any detail.
and
is
of ancient
the
in Bogot?,
Rep?blica
American
and European
collections
label
that
them Quimbaya
traits
North
set
of
were
study
closely
belonging
and others,
and the
so-called
lot
from a tomb in the municipio
and now in the Museo de Am?rica in Madrid.20

in
are
which
analyze
pieces
seem to exhibit
features
although
pure
gold,
en
Mise
Con
in
manufacture
hammering
and
many,
couleur
extent than in
although seemingly to a lesser
gilding was practiced,
other Colombian metallurgical
Most of the objects
traditions.
exhibit
a high degree of finish.
have
been
smoothed
after
and
They
polished
have been carefully
and any imperfections
This is
casting,
repaired.
in
direct
Chibchas,
the mold.
contrast
whose
to
metal
some
other
traditions,
were
as
left
pieces
such as that
of
as
came
rough
they
the
out
of
73
of the Quimbaya style

Diagnostic
human
beings in a variety
smiling
serenely
are
these
in
figures
the
round;
the
usually
in
9);
(fig.
as
metal
necklace
8) or on helmets
a number of pieces
(fig.
are
There
work.
repouss?
only
cast
of
as
these may be small,
or
sewn
onto
Both
ornaments.
separate
seems
to be
there
representations
Sexual
and feet.
is
difference
only
objects
broad
wear
and
and
Facial
have
plump,
the
the
of
softly
is so slight
sheet
gold
the face
to be strung
Both male and
sample.
with
bodies
in most figures
more stylization
or simplification
towards
tendency
a
All
have
and on the repouss?
figures
figures.
or
some
sort
of
a
that
headband
usually
plaiting
stylized.
in
small
hands
that the
of
quite
There is a
small
the
faces
headdress,
around
simple
is tied
be placed a little
It may occasionally
forehead.
higher as
No hair is represented.
Facial
tied on like a hair ribbon.
are
either
to be
enough
known,
although
This
preponderance,
large
are
rounded
with
flask
in relief,
represent
figures
of females.
modeled or quite
may be carefully
planes
of
Most of
same sorts
sexes
Both
the
carry
genitals.
same
are
The
shoulders
commonly
jewelry.
has a broad,
head
face.
An undeformed
triangular
in
much
square.
which
of the small
differentiation
crowns
or
may be
preponderance
however, may simply be a function
female
are
if they were intended
or they
cloth,
and female
male
slight
forra
figures
Some figures
small neck in the top of the head.22
on. flasks
is the representation
of quiescent
poses.
the
if it were
features
A fairly
narrow
nose
definitely
stylized.
although
long,
a
nose
ornament.
ornaments
be
with
These
may
usually
pendents
or many small
or studs
in the nostrils,
of
through
rings
shapes,
are
or semi-closed.
shown closed
The eyes
the
always
They are
septum.
or slanting,
with modeled
either
horizontal
shown as ling
slits,
edges
is
regular,
common,
various
giving
closed,
ing
in
pression
an
a
of
appearance
with slightly
restrained
very
to certain
in
puffiness
modeled lips;
way.
East
The
examples.
most of the figures
total
The
Indian
some
the
of
resemblance
mouth
is
loosely
seem to be smil
ex
facial
of the Buddha has often been
depictions
the so-called
mask in the British
One specimen,
death
remarked.
Museum,
teeth
between
filed
the
has an open mouth with
showing
parted,
smiling
or raised
on the
is a little
there
Sometimes
incised
decoration
lips.23
of
tatooes.
Most
the
have
face,
figures
large,
perhaps
depicting
simply
modeled ears
are
details
jewelry.
remaining
plump.
diseased
with multiple
very
simple.
earrings
All
of
Body and limb modeling
the
is
or deformed individuals
of the headband.
that
but seem to represent
to
Some figures
strands
are
stylized
naked
of
have small
the
necklace.
flasks
These
and cartilage.
except
and simplified,
represented.2**
to the ear and nose

addition
of,
arm ligatures.
and sometimes
upper
are usually
shown as made of
ments
stylized
figures
of "naturalizm."
well
the realm
within
or obese
of a pregnant
One example
female
in
similar
through the lobe
for
Body
their
although
are
All
of the figures
are no
is known;
there
Jewelry usually
consists
and calf
anklets,
orna
and other
limb
or twined
braided
material
or collars
are rather
bracelets,
rings,
The ligatures
some kind of
The
strings
necklaces
of beads
hung about
flasks
are
their
of
various
shapes.
necks on one of the
identical
in
shape
to
non
The scale is that

anthropomorphic metal flasks of the Quimbaya style.
Some figures hold palm (?)
of a real flask to a real human being.
branches or other small devices in one or both hands.
Others hold small
74
flasks
or
facts
from
flask
and
spatula
in
their
is
not
hands.
This
fact
some
suggests
connection of the flasks with coca chewing.26

That the makers of these
some
intended
little
containers
degree of realism in their
anthropoid
the
is evident in
representation
jewelry they wear, which is identical
to real jewelry found in tombs of the middle Cauca Valley, and in the
or braiding of the head
of the plaiting
often very careful delineation
It has not yet proved possible
bands and body ornaments of the figures.
to identify the spiral ornaments held in the hands with any known arti
inventory
can
they
the
area.
from
the
sell
In
are
there
to
and
This
is
area
to
limited
to
of
the
various
nonrepresentational
with the Quimbaya style
association
on
representation
one instance
least
de los
Quimbayas).
some
of
since
surprising,
what the treasure
items
non-perishable
addition
number
fact
artifact
think
general.
anthropomorphic
artifacts
is certain,
representations,
in this
style.
Their
both on grounds of their
because
there
is at
the
Tesoro
(the
primary
figures
are
Commonest
these
flasks
artifacts
little
among
are
Some of these
with narrow
necks
and lobed
bodies.
identical
in shape
on
are
to flasks
with relief
them.
There
little
also
flasks
figures
use
to those
of unknown
held
and objects
similar
by the figures
usually
called
or jar
lids
decoration
artifacts
has been
association
and
with
Some of the flasks
stands.2^
so
figures
be
could
have rings
worn
around
the
to
attached
neck
as
is
suspended
they
A few examples
of "trumpets"
and spear
figures.
often
have
are
These
known.
relief
objects
anthropomorphic
as
same
set of
the
This
limited
flasks.
in the
very
style
known
As
of Quimbaya
the
metal
objects.
inventory
completes
are
as
bells
and
there
such
many small
mentioned,
objects,
them,
presumably
on some of
seen
throwers
the
of
little
in
the
hunters
the
were
metals
and copper,
found
in
that
both
in precious
to the Quimbaya.
at least
and probably
pertain
partly
no reliable
are
there
to associate
data
any of these
What is even more
metal
the more elaborate
work.
with
unquestionably
on any of
there
is no archaeological
information
is that
unfortunate
an
for
metal
occasional
the Quimbaya
vague
except
provenience.
pieces
for this
de los
and even
is the Tesoro
The only
group
Quimbayas,
grave
on any of the other
no reliable
we have
that
information
grave
goods
source
to Arango,
the gold.
the major
been
with
found
may have
According
for this
most
tombs contained,
be
information
for archaeological
area,
of the dead,
artifacts.
and the bodies
their
sides
many other
gold
jewelry,
simple
the middle
Cauca
To date,
though,
There
were
ceramic
usually
or furniture.
like
canoes
ally
survived.
pieces,
Arango
Arango1s
Although
and
weapons,
also
mentions
occasionally
that
textiles
of
descriptions
the
artifacts
items
large
occasion
are
too
vague to identify most of the ceramic or gold styles he found, he does

of the artifacts
in
give enough information to suggest that the position
the tomb was important in terms of identifying principal
personages
buried
and
in
terms
of
other
retainer
that
burial,
multiple
several
among the
aboriginal
none
sort
of this
of
have
practices.
burial,
cultures
information
From
Arango
ossuaries
area.
this
and
of
for
the
or for any of the other Quimbaya gold pieces.

The
lack
of
archaeological
information
Tesoro
for
it becomes
evident
common
were
all
we
Unfortunately,
de los
Quimbayas
this
important
75
style of metal objects means that the only way to arrive at any sort of
information about other aspects of the culture of the people who made
the metal work is to compare the metal objects
with other
stylistically
same
the
artifacts
distribution
in
This
having
space.
approach was
more or less impossible
for a long time? because studies of other
aspects of the ancient cultures of the middle Cauca Valley were even
scarcer than studies of the metal working.
of the ancient
My analysis
Cauca
while
of
the
middle
indi
Valley,
admittedly incomplete,
pottery
The first was that the gold style called
cated several things.
Quimbaya
bore
little
ware
Incised,
resemblance
to
however,
the
more
the
common
ceramics
also
called
Quimbaya,
abundant resist
that is, the relatively
painted wares.
Anthropomorphic
is well developed in these ceramic traditions
and is of a
representation
While it is not
totally different style from that of the metal pieces.
unknown for a people to have very different modes of representation
in
different media, it is uncommon for there to be no stylistic
points of
contact.
Therefore, it seemed that, pending major evidence to the con
connected with
trary, the Quimbaya gold style probably was not directly
ware.
same
Much
the
the resist
situation
painted
pertained for the
other major group of ceramics isolated.
When comparing the gold style
to the group of ceramics which, following Bennett, I have called
Brown
the different
properties
was
situation
of gold
on
between
the anthropomorphic
decoration
are
too close
to be accidental.
ties
facts
different.
very
(or gold alloy)
the
two
for
Allowing
and clay,
the similari
classes
of
arti
In comparing the gold with the ceramic artifacts

the first
one
to
the
be
that
notices
is
appear
shape categories
thing
mutually
This fact is not surprising,
the different media
exclusive.
considering
the different functions of the artifacts.
Some of the
and, apparently,
and
gold
anthropomorphic
tumbaga
to
references
the
are
flasks
occasionally,
as being cinerary
to in the literature
referred
circumstances
in
which
these
however,
vessels.
Lacking
were
articles
it
found,
is hard to say whether they were actually

or
used as cinerary vessels
we
are
with
another
whether
convention.
simply dealing
terminological
Most
of
the
or
cinerary
ones,
vague
metal
vessels,
to have
Incised
vessels
as
functioned
appear
urns.
are
some
There
albeit
very
funerary
correspondences,
in a tendency
towards
lobed
decoration
in both
and
ceramic
but the main correspondences
as
I
have
the
in
are,
said,
Brownware
anthropomorphic
the
vessels.
the
metal
both in its
decoration,
When
either
the
metal
flasks
style
or
and in its
the
clay
placement
urns
are
on
decorated
with relief figures,

these are placed in fairly low relief
against the
are
the
sides of the vessel.
Usually
placed singly between the
figures
lobes
The
flasks,
(fig. 6, 8).
projecting
being smaller, tend to have
the
two
while
The
figures,
larger and rounder urns may have four.
only
are
the same:
poses of these figures
standing with the legs somewhat
apart and the arms at the sides or bent at the elbow and held across the
Some of the figures on the urns seem to be shown as if they were
body.
seated on a bench or stool with the legs hanging down, a common pose of
blances
are
figures.
somewhat
In most
less
cases
the
between
the
are naked
figures
metal
and
figures
females.
the
Resem
anthropomor
of the body shape to

phic urns, perhaps because of the subordination
function in the case of the urns.
In the more stylized manifestations
76
of
the
the
style
are
resemblances
more
There
striking.
an
is
almost
exact identity between the small detached heads of metal and the appliqu?
some of the urns and form the heads of the
heads of clay that decorate
urns.
anthropomorphic
all
or
of
examples,
is
matters
are
detail
same:
the
of the facial
modeling
Brownware
Incised
in
the
round
figures
the face
is the same
except
style,
in clay
in both.
less
and Mongolian
groups today.
medium.
and
headdresses
limb
the face
no
been
by a slit
and metal
examples,
swollen
upper
eyelid,
is
rather
same
the
much
with raised
the
as
Although the clay
and metal
jewelry
as
such
be
easier
shape
or
On
edges.
eye treatment
is found
in
is
some
modified
American
long and may be
in the detached
heads
of facial
tatooing
executed
elaborately
in
wear identical
figures
is
on
identified
the heads
The eyes are relatively
ligatures,
with
triangular,
for the high cheek bones,
at an exaggerated
slanted
angle,
again
particularly
and appliqu?
What seem to be representations
faces.
are
more
both
and
found
in clay
in metal,
though
the latter
that of the detached
is
open and are represented
over
than
effective
figurines
to compare
impossible
and metal.
the general
However,
cases
are
In all
the eyes
closed
it
only slightly
the better
modeled
clay
a bit
to show a rather
or
The shape
of
As there
have
accentuated.
as well.
figures
more
particularly
more
planes
often
the
of
The shape of the head,
appearance.
are
which
the relief
of
in
appliqu?
little
for
Comparisons
found
on metal
only
of executing very fine de

This may be due to the difficulty
examples.
when fired.
such as the jewelry in clay and to their fragility
tails
ornaments
Elaborate
to break off.
nor
work in clay
not have
rendered
are
flay
figures
this
in
cast
metal
would
On the other hand,
it
form
and
less
likely
to do very fine
reason
could
technological
why the artist
low relief
In any case,
in clay.
necklace
in execution
than
the metal
and
ones,
simpler
is there
any
the simple,
somewhat
is reflected
simplification
to
is not impossible
in the amount of jewelry
on the figures.
On all
are
the hands
and feet
anthropomorphic
representations
shown as being
and
the
individual
and
toes
small,
unnaturally
fingers
are
or indented
shown by an incised
The extremities
line.
of the clay
were
off
the
formed
the
end
of
by smoothing
usually
figures
clay
applied
were
the digits,
of the leg
and
roll
feet
amali
but sometimes
incising
of separate
of clay
to the appropriate
formed
and applied
place.
pieces
were
of the metal
and feet
The hands
cast
and
soldered
figures
separately
on.
much
the
small,
of the
As
perhaps
"normal"
thickset
head,
The shoulders
fact,
along
pronounced
all
with
has
just
corresponding
the
length;
large
art.
smooth,
sentation
in all
Body proportions
same.
the
stylization
body,
of all
surfaces.
flowing
of the breasts
figures,
and
feet,
representations
are
are
There
between
is
little
male
or clay
seems
to
be
the
most
common
and
Both limbs and body are plump with
of the style.
whether metal
figure
been mentioned,
the hands
and feet
very
to some local
are
ideal
of beauty.
Limbs
common New World
of a relatively
convention
common in Quimbaya
short
and
is not very
limbs
are
broad
and
in
very
square;
this,
figures
hands
tiny
the full
and
or
no
female
(and including
difference
figures.
in
the
However,
repre
on
the anthropomorphic
77
on
the
both
are
the nipples
urns),
vessels,
clay
clay
shown by a small
cast
The
same
and
metal.
set
one
in
of
The
piece
was applied
This pellet
pellet.
the
with
ones.
metal
for the lower

pertain
shown by a rather
large,
stylizations
navel
is
in
body
shallow,
The line at the bottom of the abdomen is

circular
indentation.
or
an
In the case of female figures
incised
line.
by
impressed
are
no
male
trapezoidal
It is particularly
are widely
if the cultures
of
art
at
or,
however,
conservatism
over between the different media.

ware Incised pottery do not strike
and clay
representations.
with another
(particularly
in space)
separated
or
triangular
should be so many
that there
the metal
art
style
of overall
resemblance
basis
or two details.
It seems,
show the greatest
often
style
the
one
is
interesting
between
detail
of one ancient
of
correspondences
In most comparisons
on
a broad,
flat,
line.
vertical
in clay)
the vulva
figures
area
an
incised
bisected
by
shown
(there
the comparison
on
most,
that
correspondence
details
of
minor
the
and
is done
the
the
an
carry
greatest
The Quimbaya gold style and the Brown

one immediately as being greatly
so
tex
in color,
are
decoration
they
anthropomorphic
the diff?rences
of overall
extremely
similar,
notwithstanding
impression.
of subject
of representations
The greater
and the elaboration
in
range
to differences
I believe,
be laid
the metal
both
work can,
in basic
If one compares
of the metal
the function
material
and in function.
because
similar,
particularly
In
and size.
ture,
there
is
much
difference
of
details
of anthropomorphic
function
the supposed
from other
with
pieces
of the middle
Cauca
of
the
elaboration
the
metal
Valley,
figures
In these
other
ceramic
the anthropomorphic
styles
surprising.
or jars)
often
flasks
have much more elaboration
of detail
(often
figures
on other
than
the anthropomorphic
same
decoration
the
ware.
in
It
pieces
figures
cultures
is not
is significant
that there
the Brownware
other
ceramic
Incised
styles
of the Quimbaya style

one
seem to be no figurines
style
of the
though
area.
take the place
can
see
some
or figurine/flasks
are
these
prominent
If one assumes
that
of the ceramic
reason
cultural
of other
figures
for
in
in most of the
the metal
figures
the
ela
greater
an
the
decorative
figures
compared
purely
in clay.
It may also
decoration
be pertinent
male
that
thropomorphic
are
common
other
in
middle
Cauca
cultures
in
relatively
figures
clay,
Incised
while
in the Quimbaya/Brownware
in
found
group
they are
only
In any case,
the similarities
metal.
of human repre
between
the style
sentation
in the Brownware
Incised
ceramics
and the Quimbaya
gold
style
seem too numerous
to be due only
and pronounced
to chance.
Moreover,
are much greater
these
similarities
than
those
between
either
existing
cultures,
boration
the
of
metalwork
Cauca Valley.
due
to
aspects
cannot
some
perhaps
the metal
or
the
to
and
ceramics
now
any
There is the possibility

or
temporal
of the culture
be
as
answered
in
trade
connection
of the same people.
the
light
of
art
known
of
style
present
and
not
do
This
styles
of
Colombian
goldwork
have
reflect
information,
been
middle
may be
different
is an objection
and
should be kept in mind. The much greater geographic

bility
be explained by the portability
gold pieces can, I believe,
and
wide
their
apparent
objects
appeal to foreign peoples.
various
the
that the similarities
claimed
for
the
which
possi
range of the
of the metal
Finds of
as
far
north
78
as
and
Honduras
least
Yucatan.
from the middle
Some
of
these
finds
Cauca Valley.29
may
Ceramics
be
Quimbaya
or
at
are not as portable
and,
seem to have
been made for a specific,
where
they
funerary
was
to try to export
incentive
little
them,
purpose,
probably
customs
of funeral
at any one time
the range
in
since,
considering
be
most
of the prospective
customers
would
that
the likelihood
Colombia,
manner.
in a different
of their
dead
would
dispose
in
this
case,
there
The
style
while
and
other
of
problem
cultural
valuable
process,
in
the
Quimbaya
ing in the area,

by the guag?eros.
of
associations
finally
be
can
What is really
ground.
is
and their
neighbors
to find living sites

It is only in this
the
answered
no
is
there
of
the Quimbaya
between
gold
however.
remains,
Stylistic
comparison,
or for reasons
other
evidence
of internal
never
as
as
give
convincing
groupings
associations
traits
when
differentiation
associations
of the
lems
exact
various
for
artifacts
to clear
needed
to
for someone
up the prob
excavat
start
some tombs missed

and, hopefully,
the
of the
that
way
questions
from
the
middle
Cauca
certain.
Valley
will
79
NOTES
de Le?n,
1Cieza
2
3
Henao
and
Cieza
de Le?n,
Friede,
1963,
ch.
1.
1913.
V?lez,
376
p.
1945,
ms.
^Bruhns,
5
375;
p.
1849,
p.
1944,
Bennett,
1944, p.
6Bennett,
7
76.
77.
A large
lidded
The urns may have
had other,
purposes.
non-funerary
now in the museum of the Banco
de la Rep?blica
in Manizales
(collec
urn,
tion of the heirs of Santiago V?lez Arango) was reportedly found filled
with beans.
Although this piece too was found in a tomb, it is quite
8
urns
the
that
possible
to
Attempts
were
infer
used
the
successful.
proved only partly
for
storage.
of
provenience
Almost all
vessels
pieces
from
their
temper
with a temper of white
come from Manizales;

other
sand
obsidian
types
so
no
be
localized.
temper
However,
rigorous
analysis
nor was any attempt
was carried
made to
material
out,
tempering
sources
or clay,
of sand
ancient
and
quartz
could
g
sionally
Clay
black
not
from other
nose
rings
figures
have metal
middle
and
Cauca
other
archaeological
ornaments.
of
sand
of
the
locate
occa
cultures
on one of the urns

is represented
female
in the collec
10A kneeling
are
tion
of the Museo
in
Nacional
In this
the legs
Bogot?.
example,
are
and
modeled
the
entire
lower
hollow.
half
of
separately
However,
the vessel
is reconstructed
in plaster,
and there
is no way of telling
if the reconstructed
shows
the original
form or represents
modern
part
artistic
license.
"'""'
Museo
12
Nacional
The zoomorphic dish
Arango
15
16
is
1961, p.
13Nachtigall,
14
no.
catalogue
38-1-1088.
illustrated
in Nachtigall,
1961,
p.
32?.
320.
1924.
C,
Cieza
de
Bray,
1966
Root,
1961, pp.
Leon,
and
1849,
ch.
personal
254-255;
XII.
communication.
cf.
also
Reichel-Dolmatoff,
1965,
p.
45.
80
18
e.g.
Carli,
19P?rez
20
This
1957;
de Barradas,
grave
was
1954,
opened
etc.
1929,
Lavach?ry,
1958,
in
1891.
and
an
1966,
Its
contents,
incense
burner,
or
of
part
them,
were
has never been com

This collection
given to the Queen of Spain in 1892.
over
to
130
contain
It
is
said
including
gold pieces
pletely published.
five
gold
22
the
helmet,
1938;
1937,
21Bergs?e,
1961.
of
figures,
Anthropomorphic vessels
are
head
23
characteristic
This piece
24
Illustrated
is
de Barradas,
P?rez
of
number
in Jouffroy,
1958,
of
Preservation
Conquest.
in the top
cultures.
1966,
11,
fig.
with metal
along
shapes,
area.
Pre
from this
finds,
to
necklaces
into
similar
stone
of various
beads
and shell
Small
are
among the commonest
archaeological
ones,
some of them were
strung
originally
sumably
those
shown on the gold
figures,
Spanish
Root,
91.
p.
was widespread
Cauca
middle
de Barradas,
in P?rez
illustrated
Coca cultivation
1966;
of unknown use with an opening
of
25
26
1958,
1954,
at the time of the
in Colombia
is
remains
organic
very
in
poor
due to the
Colombia in general and in the Cauca Valley in particular
excava
This fact, coupled with the lack of scientific
humid climate.
tion,
this
has
resulted
in
there
being
no
actual
remains
for coca
of
coca
itself
from
are very
chewing
However,
paraphernalia
over
to hold
besides
South
and include
all
similar
something
America,
or some other
a small
to hold
flask
the coca
material)
(of gourd
leaves,
to remove
from the
the lime
the
with
the coca
and a spatula
lime
chewed
use
seems
of
to be no other
for this
There
container.
group
particular
men or chiefs
that
the rich
of
the Spanish
Since
artifacts.
reported
seems
to drink
out of,
to be no
the
vessels
there
used
Cauca
gold
Valley
reason
not have
to keep
vessels
their
to assume
used
that
gold
they might
use
For coca
rich
in Colombia
lime
if they were
cf.
in too,
enough.
the
area.
Usc?tegui
Mendoza,
used
1954.
27
in Nachtigall,
One figure, illustrated
1961, p. 541, has a lid on
Also some gold figures hold
its head, the whole figure forming a lid.
It is not inconceiv
flasks topped with stoppers very like these lids.
were
that
able
stoppers,
actually
they
or for flasks
of perishable
material.
28
Arango
C,
either
for
some
of
the
1924.
Stone and Baiser,
1965;
Lothrop,
1952.
gold
flasks
81
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Editorial
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Bennett, Wendell Clark

Yale
1944
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New
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in Anthropology, no, 30,
University Publications
Bergsrfe, Paul
1937
The metallurgy
the pre-columbian
A 44,
Nr,
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1938
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1966
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ms.
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Ancient pottery
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1967.
Berkeley,
Carli,
1957
Friede,
1963
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1913
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'
Central Andes,
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estudio
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others
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Ram?n Correa and Emilio
af?o VIII,
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Jouffroy, Alain
Le tr?sor
1958
juin,
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Jos? Tom?s Henao and Santiago

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n?m,
des Quimbayas.
88-93
and
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94,
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Connaissance
Paris.
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613-618.
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y
Bogot?.
des Arts, no.
Lavachery, Henri Alfred

1929
Les arts anciens d'Am?rique au Mus?e Arch?ologique
"De Sikkel,11 Anvers.
Editions
Madrid.
de
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82
Lothrop,
1952
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Chichen Itza, Yucatan.
Metals from the cenote of sacrifice,
and an
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Proskouriakoff
With sections
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1961
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1954
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1958
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1966
basada
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otros.
del
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Oro del
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New
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1961
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Usc?tegui
1954
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slate
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pp.
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las
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1965
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Bogot?.
prehisp?nica
Obra
estilo
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zur ihrer Typologie.
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las
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Harvard
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of Costa
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hojas
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310-329.
de
208
83
KEY TO ILLUSTRATIONS
XXXII
Plate
Fig.
Brownware
Map of western
1?
Incised
vessels
been
Plate
Fig.
the heirs
XXXIII
of
2. Group of Brownware Incised urns in the collection
of Santiago V?lez Arangot Banco de la Rep?blica,
Manizales.
Dr.
Fig.
Fig.
3.
4.
Fig.
5.
cm.
Museo
Feliz
XXXIV
of a Brownware Incised urn.

Silhouette
Height 26.6 cm.
Lid from Brownware Incised urn.
Height 12 cm., diameter
de
Antropol?gico
Henao
Fig.
6.
Brownware
Bogot?.
Fig.
been
7.
Table
found.
Fig.
8.
University
9.
Fig.
Rep?blica,
of areas
with
courtesy
of
relief
figures.
of the Museum,
in which Quimbaya style
Museum,
University
Yellow
mask
tumbaga
Museo
XXXVI
gold ornaments
XXXVII
Tumbaga anthropomorphic
Bogot?.
Collection
XXXV
urn
Incised
Photograph
Plate
the
urn.
Manizales.
Toro,
Plate
have
Manizales.
Caldas,
Anthropomorphic Brownware Incised

Plate
Nacional,
where
found.
Plate
34
showing the municipios
Colombia
have
of
in
phial.
Photograph
Pennsylvania.
the Museo
del
Photograph reproduced
Oro,
by permission
courtesy
Banco
de
of
la
of the Museum.
\JJI
Fig.
?\f
o\
}o
Medellin
f
Q
^s~*^>
rAguaaas
\
)?y
4\
Armenia,
CL
?j
Riojucio
O
S
??a?\,H?K(K
y
*o
L/^
Monttnyro
#c
in
Plate
Municipios
XXXII.
Colombia
Brownware
western
Incised
where
have
vessels
been
found.
\?
y/
QUIBD?
5/
\
of
Santiago
V?lez
Arango,
de
la
Banco
Rep?blica,
Manizales.
in
the
Incised
collection
of
the
heirs
urns
Plate
XXXIV?
Illustrations?
Brownware
Incised
specimens.
See
Key
to
Plate
Nacional,
XXXV?
Brownware
Bogot?,
Incised
Photograph
urn
with
courtesy
relief
of the
figures?
Museum,
Museo
AREAS IN WHICH Q?IMBAYA STYLE GOLD ORNAMENTSHAVE BEEN FOUND

Costa
Rica
Western Costa Rica
(Stone
and Baiser,
1965)
Panama
Cocl?
Colombia
Department of Antioquia
Caucasia
Antioquia
Yarumal
(located
Pajarito
Yarumal,
Valdivia
Medell?n
Jeric?
on the border of the municipios
Angostura
and
Campamento)
Caramanta
Department
of
Caldas
Manizales
Samarraya
Department
Department
of Riseralda
Pereira
of
Quind?o
Filandia
Quimbaya
Montenegro
Armenia
Department
of
Valle
Calcedonia
Roldanillo
Gu?sana
Corinto
Plate
XXXVI.
Fig.
7.
of
"'S
Plate
Key
XXXVII.
to
Two examples
Illustrations.
Fig.
of the Quimbaya gold

9 is
a miniature.
style.
See

Olsen Arqueología

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Maney Publishing

STYLISTIC AFFINITIES BETWEENTHE QUIMBAYAGOLD STYLE

The middle reaches of the Cauca Valley of Colombia, stretching

in the area in which the Spanish found

found in the region

Although the analysis

was done on purely

In 1966 I managed to locate

recently found in an outlying barrio of Manizales.

which she very kindly passed

types of the Cauca Valley

the type of tomb and its

The rim is always flat

A few of the urns

upon the molding,

and a number of isolated

that of the urn itself

rim, much like

and many show signs

were very likely

smoothed on both the inside

by running the fingers

The temper is moderate;

10 to 15% of the clay

edge may slope

molding upon which the lid

damp and thickening

This molding may form a flattish

of the body is a projecting

beyond the vessel

into the interior

the clay was still

the upper quarter

The rim is always

to match the rim,

it may be cut and pulled

tween the flutes

with the usual

often flanked by slightly modeled upraised arms with incised

in the same style.

Both eyes and mouth have a raised

and the faces

Both the full

headband with incised

just below the rim.

and stuck on with slip.

has the same shape

the damp vessel

bent at the elbows and with the forearms usually

11 The breasts are

indicated by applied pellets,

The other dish

The thighs and shoulders

The bent arms of the female hold the dish opening.

of the same style

Two effigy dishes

of the other dish.

of two very small urns joined by a short piece of

known from other

for part of a body.

Given the range of funerary practices

The four jars

and the one lidded