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Geometric petroglyphs at Toro Muerto may represent ancient songs

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A new study, published in the Cambridge Archaeological Journal, suggests that geometric petroglyphs found at Toro Muerto in Peru are representations of ancient songs.

Toro Muerto, meaning “Dead Bull”, is a collection of petroglyphs in Peru’s Castilla province. The site contains over 3000 volcanic rocks inscribed with petroglyphs from the Wari Culture, a Middle Horizon civilisation the flourished from between AD 500 to 1000.

One of the unique aspects of the petroglyph iconography at Toro Muerto are images of dancing anthropomorphic human-like figures known as danzantes, which are accompanied with geometric motifs of zigzag line variants and sometimes with accompanying dots or circles.

Previous interpretations have suggested that the zigzag lines might be symbolic of snakes or lightning, with a possibly association to fertility and water cults.

However, by drawing on parallels with the Tukano people of the Colombia rainforest, the study authors suggest that the petroglyphs at Toro Muerto are abstract representations of ancient singing and songs.

Tukano motifs in art is rooted in visionary experiences evoked by the ritual consumption of the psychoactive drink yajé/yage made from Banisteriopsis caapi jungle vine.

Image Credit : A. Rozwadowski

They created art forms with concentric circles, dots, wavy lines, zigzags and crenellation motifs, that referred to creation myths that were topics the Tukano implied in dances and songs sung to the accompaniment of musical instruments.

Furthermore, different examples of Mesoamerican iconography (Maya, Mixtec and Nahua codices) have such dots or lines (also spiral-shaped) that possibly depict songs in visual form as a representation of the sonic sphere of culture.

Therefore, considering how important the sonic sphere, including songs, is in the cultures of both Amazonia and the Andes, the study authors argue that the graphic depiction of songs in petroglyphs might not be a unique phenomenon and may have existed in various other cultures such as the Wari at Toro Muerto.

According to the study authors: “In our study we show that some geometric images could have been representations or embodiments of songs themselves, in their own right, independent of any depictions of mouths or bodies. We base this study on the case of the petroglyphs at Toro Muerto in Peru, while the source of our interpretative proposal is ethnographic knowledge, more precisely an ethnographic analogy from Amazonia, specifically the art of the Tukano people.”

An expansion of this hypothesis proposes that certain intricate compositions, featuring dancers and linear geometric patterns, symbolised a journey to the afterlife.

Header Image Credit : A. Rozwadowski

Sources : Cambridge Archaeological Journal – Rozwadowski A, Wołoszyn JZ. Dances with Zigzags in Toro Muerto, Peru: Geometric Petroglyphs as (Possible) Embodiments of Songs. Cambridge Archaeological Journal. Published online 2024:1-21. doi:10.1017/S0959774324000064

This content was originally published on www.heritagedaily.com – © 2023 – HeritageDaily

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Archaeology

Archaeologists study submerged Nabataean temple

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In 2023, archaeologists discovered the submerged remains of a Nabataean temple during an underwater survey of the ancient port of Puteoli, located in modern-day Pozzuoli, Italy.

Puteoli was established in the mid-6th century BC as a Greek colony called Dicaearchia. After the Roman conquest of Campania following the First Samnite War, Dicaearchia was annexed into the Roman Republic, which later founded the colony of Puteoli.

Puteoli served as one of the primary trading hubs for Rome, emerging as the great emporium of foreign trade for the Alexandrian grain ships and goods from across the Roman world.

Due to the position of Puteoli in the Phlegraean Fields, an active volcanic region, volcanic bradyseismic activity has raised and lowered the geology on the peninsula, resulting in parts of Puteoli being submerged.

The results of a year-long study, published in the journal Antiquity, has mapped and reconstructed parts of the submerged temple, the only known temple located outside of Nabataea – an allied kingdom of Rome that controlled territory from the Euphrates to the Red Sea.

The Nabataean temple and the internal routes of the vicus Lartidianus (dotted lines) at the current stage of research – Image Credit : M. Silani

Using a photogrammetric survey, the researchers have identified that the temple had a rectangular plan and two rooms with access facing north, linked to the internal routes of the vicus Lartidianus (an area designated for foreign people engaged in trade).

Within one of the rooms (designated Room A) are two altars made of white Luni marble, and a mensa with eight rectangular recesses for housing aniconic betils. In the second room (designated Room B), the southern perimeter wall has a white marble slab covering, one of which shows the inscription Dusari sacrum, meaning “consecrated to Dushara”, the chief deity of the Nabataean pantheon.

According to the study authors: “The existence of a Nabataean sanctuary within the port area confirms that there was a community from that region participating in the commercial activities of Puteoli.”

“The integration of these individuals within the local community is evident in the building techniques and materials used in the construction of the temple, and for the choice of Latin for the inscriptions to their supreme god, the lord of the mountains and the germinating force of nature, Dushara.”

Header Image Credit : M.Steanile

Sources : Antiquity | https://doi.org/10.15184/aqy.2024.107

This content was originally published on www.heritagedaily.com – © 2023 – HeritageDaily

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Archaeology

Treasure hoard discovered in Viking farmstead

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Archaeologists from the Archaeological Museum at the University of Stavanger have discovered a Viking treasure hoard in the Hjelmeland municipality, Norway.

Excavations were in preparation for the construction of a new farm track to identify any archaeological remains in situ. The researchers discovered traces of a Viking farmstead, consisting of several structures for both the inhabitants and their animals.

Numerous domestic and agricultural objects have been unearthed, including soapstone pots, knife blades, rivets, and whetstones used for sharpening tools.

Mari Krogstad Samuelsen and Ola Tengesdal Lygre were excavating a dwelling used for housing slaves, when they identified what appeared to be twisted hedging wire at a depth of 20 centimetres.

Upon further inspection, the objects were revealed to be four heavy silver bracelets, each adorned with distinct decorative elements.

“This is definitely the biggest thing I have experienced in my career”, says archaeologist and project manager Volker Demuth from the Archaeological Museum at the University of Stavanger.

“This is a unique find, because we very rarely find such objects exactly where they were placed. As a rule, such valuable objects are discovered on fields that have been ploughed, where an object has been completely removed from its original context,” added Demuth.

According to the archaeologists, the hoard dates from around the 9th century AD and shares similarities to silver necklaces found in Hjelmeland in 1769. At that time, there were no silver mines operating in Norway, so all the silver used by the Vikings was sourced from abroad, obtained through trade, received as gifts, or taken as loot during their raiding expeditions.

Evidence of burning also indicates that the farmstead was destroyed by fire, likely during a time of conflict that required the necessity for the inhabitant’s valuables to be deposited in the ground for security.

Header Image Credit : Archaeological Museum at the University of Stavanger

Sources : Archaeological Museum at the University of Stavanger

This content was originally published on www.heritagedaily.com – © 2023 – HeritageDaily

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