On the provenience of wood used in the manufacture of snuff trays from San Pedro de Atacama (Northern Chile)
Author
dc.contributor.author
Niemeyer Marich, August
Admission date
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2014-03-06T19:54:57Z
Available date
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2014-03-06T19:54:57Z
Publication date
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2013
Cita de ítem
dc.identifier.citation
Journal of Archaeological Science 40 (2013) 398e404
en_US
Identifier
dc.identifier.issn
doi /10.1016/j.jas.2012.08.047
Identifier
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https://repositorio.uchile.cl/handle/2250/119780
General note
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Artículo de publicación ISI
en_US
Abstract
dc.description.abstract
The consumption of hallucinogenic substances is a long-standing tradition in the Americas. San Pedro de
Atacama (SPA) in Northern Chile is the archaeological zone with the highest incidence of snuffing
implements in the world. Snuff trays from SPA have been studied under a variety of prisms but their
provenience, in particular that of the wood used in their manufacture, has not yet been addressed. The
delicate nature of trays and their excellent state of preservation call for the use of non-invasive analytical
methods. Wood density was used to demarcate a possible range of species and hence as a broad
provenience marker, and its value determined for 169 trays from the museum at San Pedro de Atacama.
The results showed that although some of the SPA snuff trays studied may have been manufactured with
local wood, most of them used exogenous wood as raw material. At this point, it is not possible to
ascertain the precise origin of such wood, but Bolivia and NWA appear as likely candidates. Three distinct
styles have been defined for SPA trays: Tiwanaku, San Pedro, and Circumpuneño (encompassing the area
around the Puna de Atacama and including SPA). The effect of style on density points to different sources
of wood in Tiwanaku style trays and trays in San Pedro and Circumpuneño styles. As expected from
geographically and temporally dynamic patterns of interaction of SPA with neighboring regions,
diachronic differences in wood density distributions were found. Tray manufacturing technique was not
dependent on wood density, suggesting that the skill of artisans and the quality of their tools allowed
them to use any type of wood for their art work, independent of its complexity.