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|Equador, 200 B.C. - 200 A.D.|
The canasteros is a type of anthropomorphic ceramic representing a seated figure in lotus position. He is carrying a hood or cylinder-shaped basket on his back. The hands rest on his knees. We can hardly notice the mouth of the vase since a flat disk, associated with the rich ornamentation adorning the figure, hides it. He wears a nariguera: a large lip plate in the lower lip, as well as a finely wrought pectoral and circular earrings. The forehead is decorated with a headband composed of a central knot on the front of the skull.
In this figure, the artist took great care to detail the representation of the shaman and his features. The folds of the forehead, the cheeks and the nose are finely modeled and therefore faithfully convey the expressions of the figure. The object's surface presents intact varnished areas in alternation with matte-colored areas.
|Location of Origin: Latin America|
|Medium/Materials: Brown hollow terracotta.|
|Dimensions: Height : 10.7 inches (27.5cm) ; Width : 9.8 inches (25.2cm) ; Depth : 10 inches (25.5cm)|
|Primary Classification: Ancient Art, Antiquities : Pre-Columbian Antiquities|
|Secondary Classification: African Artwork, Ethnographic & Tribal Arts : Latin American|
|This piece belongs to the Tumaco-La Tolita culture, which flourished during the Regional Developmental Period, approximately between 300 B.C and 500 A.D., in southwestern coastal Colombia and northwestern coastal Ecuador. During this period, distinct cultural groups such as Tumaco-La Tolita, Bahia, Jama-Coaque and Guangala emerge and various artistic styles assert themselves, therefore breaking away from Chorreroïd traditional artwork, which were dominating until then.|
According to Jean-François Bouchard (Trois millénaires de civilisation entre Colombie et Équateur, CNRS éditions, Paris, 2003), the canastero type of ceramic was prestigious and could be an offering symbolizing the union of groups having shared commercial interests or friendly relationships. This type of vase and its iconography lead us to think that we are dealing with the representation of a shaman, an important figure with a high social status in Ecuadorian culture. Thanks to their observation and their knowledge when it came to Nature, the shamans were able to understand the forces governing the Universe. With the help of hallucinogenic substances, they were able to communicate with spirits owning power and knowledge and so, due to their dreams and visions, to save mankind.
Publication:Yves SABOLO, Tumaco - 1000 ans d'Art Précolombien, L'office du livre, 1986, p. 145.
|Provenance: Ancient collection Yves Sabolo since 1978.|
|Price:||Item has been sold.|
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