By Olga Linares
Olga Linares bargains a reinterpretation of the vintage rank-societies of the important Panamanian provinces in line with archaeological, ecological, iconographic, ethnohistoric, and ethnographic facts, and concludes that the paintings kind of this sector used animal motifs as a metaphor in expressing the features of aggression and hostility attribute of social and political existence within the valuable provinces.
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Additional info for Ecology and the arts in ancient Panama: On the development of social rank and symbolism in the central provinces (Studies in pre-Colombian art and archaeology)
In general terms the arrangement of designs in the Conte ceramics (Phase V) is simpler than that of Macaracas: the painted animal motif is usually placed in the center of the plate and the background is not so filled-in; further, the animal’s pose is more naturalistic. The slip found in Phase V tends to be white, because of the color of the paste. (Cooke 1976c: 325) 57 Of the following Period VI style he has this to say: Parita and El Hatillo” (Cooke 1976d, author’s transIn general, the Macaracas ceramics are more baroque; the lation).
15). The “temple” Verrill found had rows of stone columns, some measuring more than twenty feet in height, arranged into a rectangular enclosure. How Verrill derived his ground plan of the “temple” from his excavations remains a mystery to us. D. 900, it was lived on, and buried in, until Colonial times. Recently, glass beads and a horse’s skeleton were recovered from the mounds (Cooke 1976f). Whereas the treasures found at Sitio Conte astonish and delight museum visitors the world over, the site itself fails to impress.
On it was put a covering of wax carved delicately into the model of a figurine. A mold of clay was placed around the object, and the molten metal was poured through a small vent. As the wax ran out, the gold moved in to occupy its space, leaving the figurine free when the mold was cut open. Another common method for working gold, far simpler, but much less versatile, was hammering gold and tumbaga nuggets on a piece of leather to produce flat objects, usually plaques. If sections of these metal “sheets” were subsequently pressed with a flat awl on the same leather backing, designs in high relief could be achieved.
Ecology and the arts in ancient Panama: On the development of social rank and symbolism in the central provinces (Studies in pre-Colombian art and archaeology) by Olga Linares