Abstract
AbstractThe absence of suitable methodologies to distinguish between wild and domesticated camelids in rock art has limited the interpretation of visual preferences of Andean prehispanic cultures. Although rock art’s contextual information may provide some indications that help to differentiate between wild and domesticated animals, uncertainty prevails because the relation to camelid forms is indirect. Zoological and zooarchaeological knowledge of South American camelid morphology is used as a means of comparison and identification in Atacama Desert rock art attributed to the Initial Pastoral phase (1500–500 B.C., Early Formative period, northern Chile). Based on this analysis, there are strong arguments for a distinctive graphic representation of wild as opposed to domesticated camelids, as well as a correspondence of these representations to two different modes of subsistence—one of hunters and the other of husbandry-pastoralist societies—which would have coexisted during this transitional period.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
