Chat in Palo Santo

Although lacking the architectural spectacularities that are evident in Mesoamerica and the Central Andean Region or even in the Intermediate Region, the set of pre-Columbian indigenous arts in the territory that currently corresponds to Argentina is always interesting but difficult to frame. And the difficulty of framing the pre-Columbian arts in the Argentine territory is due precisely to the extension of such territory, with an extraordinary ecological variety, extraordinary variety that necessarily translates into cultural expressions, especially aesthetics. Moreover, the territorial extension caused different cultural currents to occur in parallel - synchronically - or diachronically ...

In any case, one way to systematize the pre-Columbian artistic areas of this country is to point to the NOA region as the area with stronger Andean influences, to that of the NEA as the area with the strongest Amazonian influences, on the other hand the central region presents, like all Cuyo, the evidences of Andean influences although strongly diluted, almost evanescent to the point that singular styles appear, In any case, in all of these areas, the existence of cultures based on agriculture, which led to the incipience of civilization and the development of small urban centers, the existence of agriculture and even cattle ranching, should be considered already in the tenth century. determining factor in the artistic expression of these areas. On the other hand most of the territory, which until the European invasion in the sixteenth century was diffusely populated by transhumant ethnic groups that practiced a hunter-gatherer production mode, ethnic groups with less technological development that inhabited the regions of the Gran Chaco, the region Pampeana, Mesopotamia Argentina, Patagonia and Tierra del Fuego | Fuegian Region if it is true that they have left less relicts quantitatively, they get to have moments and points in which they stand out culturally, an example of this is the Cave of the Hands with a very close style - by convergence - to prehistoric schematic art.

On the other hand, until a few years ago it was considered that Patagonia had never developed sedentary cultures associated with agro-pottery, that is to say producers of ceramics, after the beginnings of the XXI century, ancient pottery productions have been discovered in North Patagonia, like those exhibited in the Emma Nozzi Regional Historical Museum. In any case, wherever it may be, the pre-Columbian arts that developed in the Argentine territory are practically inseparable from religion or from the belief systems of the peoples that produced them, the relationship between art and the sacred is evident everywhere.

An example of this is precisely the famous Cave of the Hands located in the center-west of the province of Santa Cruz, such a cave is an "eaves" exornado by a large number of cave paintings among which the myriad of traces in "negative" hands usually achieved by an old airbrush and a sgraffito, the cave mentioned as other less known next is one of the oldest lasting artistic expressions in America, the oldest dating back to ca.13 000 years before the present although the most characteristic represented motives arise no less than towards 9350 BP. It is assumed that the people who produced such art is the direct antecedent of the ahoniken. In such a long period it is almost obvious that stylistic modifications were produced: if the parietal paintings of hands date back more than 5000 years and constitute part of the Pleistocene art. Then, gradually, stylized figurations appear: those that represent the hunt What have the artists expressed in these caves? First of all, the impression of the hands on the rock seems to be an attempt to leave something of itself that remains perennial, a magical rite of imortalization, although this does not exclude another intention: to seek the mystical union with the earth and, by such union, the providence provided from the Earth.

As for the hunting scenes, they seem to have been part of sympathetic magic rituals to obtain a constant source of proteins. But among the transhumant ethnic groups, the support elements for the arts have been labile, few traces are found in antiquity but they are when the art is parietal, rocky: in this case the solid support of the stone has left us its beautiful testimonies or in small figurines of coroplasty or of carvings and polished in lithic like small zooliths, phytoliths and anthropoids.

3509, Campo El Bermejo

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