tag:blogger.com,1999:blog-10796425721410861642024-02-07T02:15:34.740-08:00Arte Rupestre de CentroaméricaEl arte rupestre centroamericano merece ser más conocido.
El objetivo acá es de dejarse llevar por las imágenes, la riqueza de la iconografía y la belleza de los paisajes de América Central.
Como no se puede amar lo que no se conoce, ni defender lo que no se ama, es una necesidad dar a conocer el patrimonio rupestre centroamericano, donde numerosos investigadores y comunidades se esfuerzan siempre más para salvaguardar una herencia frágil, y transmitirla a las generaciones futuras.
PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comBlogger30125tag:blogger.com,1999:blog-1079642572141086164.post-73059069315517972602021-03-07T02:28:00.008-08:002021-03-07T02:44:10.510-08:00El Obispo<p><span style="font-family: arial; font-size: large;">En las faldas del volcán Suchitán, en el Oriente de Guatemala y a unos 20 km al oeste de la frontera con El Salvador, se encuentran varias rocas grabadas, testigos de la importancia del lugar en la época prehispánica. Una de ellas es El Obispo, un antropomorfo grabado de tamaño casi real. </span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk_xktpCZeuKTNt3YPG8z8P6lJR1Hxhawx6x-LI_HJXWxACcZZd5Rw5dHGOfVpSp-MW2zsIQ1dROQGBk4dSX7CH6od2j0bwEFt1QYdvkzJYp49QgLTjM1kc-CPvRHLIi81ZSjKjRgkjeER/s2800/pano+1+%255B50%2525%255D.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1072" data-original-width="2800" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk_xktpCZeuKTNt3YPG8z8P6lJR1Hxhawx6x-LI_HJXWxACcZZd5Rw5dHGOfVpSp-MW2zsIQ1dROQGBk4dSX7CH6od2j0bwEFt1QYdvkzJYp49QgLTjM1kc-CPvRHLIi81ZSjKjRgkjeER/w640-h246/pano+1+%255B50%2525%255D.jpg" width="640" /></a></div><span style="font-family: arial;"><div style="text-align: center;"><span style="font-size: medium;">Vista desde el volcán Suchitán hacia la frontera con El Salvador </span></div><div style="text-align: center;"><span style="font-size: medium;">(foto 2010 : P. Costa)</span></div></span><p></p><p style="text-align: center;"><span style="font-size: medium;"></span></p><a name='more'></a><span style="font-family: arial;"><div style="text-align: left;"><span style="font-size: large;">La roca al aire libre, de 2,45 m de alto y de 1,75 m de ancho, acoge en su cara lisa un antropomorfo esquematizado de frente, de 1,66 de alto, acompañado por caras de animales de perfil, dispuestas simétricamente de cada lado de su cara y de su cintura. </span></div></span><span style="font-family: arial;"><div style="font-size: x-large; text-align: left;"><br /></div><div class="separator" style="clear: both; font-size: x-large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOfq2a31uzUXGSWB9at03-J7B7wZ8zn74mNN6bF-pU2Yydj56hHnpkPQhOdZYryIYPykvBsV5eJNGv2FdEfkj3aih7g_wWEtHCTDm1wQWiYIem7X-k8xF_2cllM9vmIaFPLoNDaHVsYgSy/s1111/IMG_5362+final+%255B50%2525%255D.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1111" data-original-width="1009" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOfq2a31uzUXGSWB9at03-J7B7wZ8zn74mNN6bF-pU2Yydj56hHnpkPQhOdZYryIYPykvBsV5eJNGv2FdEfkj3aih7g_wWEtHCTDm1wQWiYIem7X-k8xF_2cllM9vmIaFPLoNDaHVsYgSy/w290-h320/IMG_5362+final+%255B50%2525%255D.JPG" width="290" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKoSY1SUoxjwAFZ6FypXUtPRiQIOdoNFYY_pox-812r8qXbZ7ufmNgEHBLGbF8OYTiNasD5F6wkk1icgx83vpv1W5OBT0EVq60Ctq0i0sUASUMqj6LjBImTJ2oPk5aqn0M19bXN25_TZA9/s1756/el+obispo+final+%255B50%2525%255D.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1756" data-original-width="1244" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKoSY1SUoxjwAFZ6FypXUtPRiQIOdoNFYY_pox-812r8qXbZ7ufmNgEHBLGbF8OYTiNasD5F6wkk1icgx83vpv1W5OBT0EVq60Ctq0i0sUASUMqj6LjBImTJ2oPk5aqn0M19bXN25_TZA9/s320/el+obispo+final+%255B50%2525%255D.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;">Vista de El Obispo y dibujo (foto 2010 : P. Costa)</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: large;"><span>Los atributos del personaje permiten su identificación; debe ser un sacerdote pipil. Según la descripción del cronista García de Palacio, </span><span>llevaban una mitra labrada y se encargaban de todas las cosas espirituales. </span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpkwRd1FjuifgDrCk2RjS8ran7dQ3vRBxUelZXX4grheV5Z-K0wdiVNDy5dsSPftHNzti9NXivw6pdizBvZoT1eGvRcV3iyZc9YnH02Yiya7sthc1rilvo1GwVug-1iUUnsNrCxuYSl2PA/s1944/IMG_5354_yre+%255B50%2525%255D.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1296" data-original-width="1944" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpkwRd1FjuifgDrCk2RjS8ran7dQ3vRBxUelZXX4grheV5Z-K0wdiVNDy5dsSPftHNzti9NXivw6pdizBvZoT1eGvRcV3iyZc9YnH02Yiya7sthc1rilvo1GwVug-1iUUnsNrCxuYSl2PA/w320-h213/IMG_5354_yre+%255B50%2525%255D.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;">Detalle de la cara del antropomorfo (DStretch: yre)</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: large;">Las cabezas zoomorfas son todas diferentes y son partes de un bestiario de carácter beligerante que incluye representaciones de serpientes y jaguares. Un círculo representado abajo a la derecha podría ser una referencia al juego de pelota. </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5qVJHEVVT3rmMcx9uSIr41dism_Jx309AKLtE_QrhrZ2wAgjiPiVRISh8qJzbV79WCotUqzNpIu37IYWV_-xujyaag_BFdNQz3cBASX6MPq9SF9bIgZ0bVVai0MywyDNl758UYZTlzERQ/s1537/IMG_5371+final_lab+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1480" data-original-width="1537" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5qVJHEVVT3rmMcx9uSIr41dism_Jx309AKLtE_QrhrZ2wAgjiPiVRISh8qJzbV79WCotUqzNpIu37IYWV_-xujyaag_BFdNQz3cBASX6MPq9SF9bIgZ0bVVai0MywyDNl758UYZTlzERQ/w235-h226/IMG_5371+final_lab+2.jpg" width="235" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr8wKTxV0wKsIeb6UuMy7u3lOm8Cyd0cSMmOwrbfspm92zzOUoPNJE4dhHUtNlqHcqbjoTsa7_GjLkkWeaWocUUjJ8EcMg8PYCNklCd3Ol58BJsILABuqPn4o6M78Vqvtcf3FFJ3-vJc5L/s1306/IMG_5355+final_lds+%255B50%2525%255D.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1306" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr8wKTxV0wKsIeb6UuMy7u3lOm8Cyd0cSMmOwrbfspm92zzOUoPNJE4dhHUtNlqHcqbjoTsa7_GjLkkWeaWocUUjJ8EcMg8PYCNklCd3Ol58BJsILABuqPn4o6M78Vqvtcf3FFJ3-vJc5L/w269-h223/IMG_5355+final_lds+%255B50%2525%255D.jpg" width="269" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;">Detalles de una cabeza de jagua (izquierda, DStretch: lab) y </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;">de serpiente (derecha, DStretch: lds)</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: large;">La iconografía atestigua del estilo de las elites mexicanas del Posclásico (1000 a 1534 d.C.) que migraron en esta época por olas sucesivas desde el centro de México hasta El Salvador. Se propone el Posclásico Tardío (1200 a 1534 d.C.) para la realización de El Obispo. </span></div><div class="separator" style="clear: both; text-align: left;"><span face="Arial, sans-serif" style="background-color: white; font-size: 11.5pt; text-align: justify;"> </span></div><div class="separator" style="clear: both; text-align: left;">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span lang="ES-CR" style="background: white;">Bibliografía:</span><span lang="ES-CR" style="background: white;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 24pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: -24pt;"><span style="text-indent: -24pt;">Costa,
Philippe. 2018. “Las Influencias Mexicanas En La Iconografía Rupestre Del
Posclásico En El Salvador y Sus Alrededores.” </span><i style="text-indent: -24pt;">Mexicón</i><span style="text-indent: -24pt;"> XL (4): 104–10.</span></p><p class="MsoNormal" style="line-height: normal; margin-left: 24pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: -24pt;"><span lang="ES"></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 24.0pt; margin-right: 0cm; margin-top: 0cm; margin: 0cm 0cm 0cm 24pt; text-indent: -24pt;"><span lang="ES">García de
Palacio, Diego. 1861. “Carta Dirigida Al Rey de España , Por El Licenciado Dr .
Don Diego García.” <i>Gaceta Oficial</i>, 1861. <span style="font-family: Times New Roman, serif;"><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 24.0pt; margin-right: 0cm; margin-top: 0cm; margin: 0cm 0cm 0cm 24pt; text-indent: -24pt;"><span lang="ES"><br /></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 24.0pt; margin-right: 0cm; margin-top: 0cm; margin: 0cm 0cm 0cm 24pt; text-indent: -24pt;"><span lang="ES">Mata Amado, Guillermo. 2004. “Petroglifos En Las Faldas Del Volcán Suchitán, Jutiapa.” <i>Utz’ib</i>, III(6):1-3.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span lang="ES" style="font-family: "Times New Roman", serif;"> </span></p></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span style="font-size: large;"><br /></span></div><br /><span style="font-size: x-large;"><br /></span></div></span><span style="font-family: arial;"><br /><div style="font-size: x-large; text-align: center;"><br /></div></span><p></p>PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comtag:blogger.com,1999:blog-1079642572141086164.post-33145878362901967482021-02-20T03:49:00.003-08:002021-02-21T01:21:46.344-08:00Peña de la Sirica<p><span style="font-family: arial; font-size: large;">Anidado en los contrafuertes de la Cordillera de Nahuaterique, al extremo noreste del país, la Peña de la Sirica es un abrigo rocoso formado debajo de un peñasco inmenso ubicado en la cumbre de un cerro. </span></p><p style="text-align: center;"><span style="font-family: arial; font-size: x-large;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhyiV9PFgRqyvdrsCdij0BAHvihVRgxB0QjY8-Ga9R0kWelx4g9E8SaSWMR3wHDrG6vnsjl2Qa0QJ3ZYVsTLk2US2bW23nKUCW_Ntjtibsqbh2ANnSXVxhBSZFu_-rMeUT-Tv7zmW_1TNV/s2746/pano+qui+tue+2+%255B50%2525%255D.jpg" style="font-family: arial; font-size: x-large; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="896" data-original-width="2746" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhyiV9PFgRqyvdrsCdij0BAHvihVRgxB0QjY8-Ga9R0kWelx4g9E8SaSWMR3wHDrG6vnsjl2Qa0QJ3ZYVsTLk2US2bW23nKUCW_Ntjtibsqbh2ANnSXVxhBSZFu_-rMeUT-Tv7zmW_1TNV/w640-h208/pano+qui+tue+2+%255B50%2525%255D.jpg" width="640" /></a></p><p style="text-align: center;"><span style="font-family: arial;">Vista subiendo a la Peña de la Sirica (foto 2011 : Philippe Costa)</span></p><p style="text-align: center;"><span></span></p><a name='more'></a><span style="font-family: arial;"><div style="text-align: left;"><span style="font-size: large;">El abrigo mide 25 m de largo y hasta 5 m de profundidad. Las 20 pinturas están diseminadas a lo largo de más de 12 m, se encuentran al pie del abrigo, su altura promedia es de 2 m. </span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSFMnl2C1eKUs2PmRgqjOM7vdqNEaRfz2OaMdG2d5mGh1gQXgZh1JGjR5415vy9fpUS1nv83M59GdHln7i3-2_vikWFkl0Hg2dP0mFOUfocKpuwt4j4LUQf-MRSPznNXJEMvQfbZXF14CH/s1280/P1060115+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="960" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSFMnl2C1eKUs2PmRgqjOM7vdqNEaRfz2OaMdG2d5mGh1gQXgZh1JGjR5415vy9fpUS1nv83M59GdHln7i3-2_vikWFkl0Hg2dP0mFOUfocKpuwt4j4LUQf-MRSPznNXJEMvQfbZXF14CH/w300-h400/P1060115+%255B50%2525%255D.JPG" width="300" /></a></div><div class="separator" style="clear: both; text-align: center;">Vista del peñasco cuya base acoge el abrigo de la Peña de la Sirica </div><div class="separator" style="clear: both; text-align: center;">(foto 2011 : Philippe Costa)</div></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEtcmrMHMQA-CzVQf_kV73wmt3ibxNn-Uf0bf4E5KtAATS4U6QE7oNuldMc_SK5j0YZkbqbj0uJNUtv-C07VfaNATIyNn6THwcMQFFzAQq9aV9VNMqBKC_kQNyIZWA3e8pVvHgsyDLqpwv/s1280/P1060250+%255B50%2525%255D.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="960" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEtcmrMHMQA-CzVQf_kV73wmt3ibxNn-Uf0bf4E5KtAATS4U6QE7oNuldMc_SK5j0YZkbqbj0uJNUtv-C07VfaNATIyNn6THwcMQFFzAQq9aV9VNMqBKC_kQNyIZWA3e8pVvHgsyDLqpwv/w300-h400/P1060250+%255B50%2525%255D.JPG" width="300" /></a></div><div class="separator" style="clear: both; text-align: center;">Vista del abrigo de la Peña de la Sirica (foto 2011 : Philippe Costa)</div><div class="separator" style="clear: both; text-align: center;"><br /></div></div></span><div style="text-align: left;"><span style="font-family: arial; font-size: large;">Las grafías rupestres en promedio son inferiores a 30 cm. Las pinturas son rojas a la excepción de dos motivos en verde. Los pigmentos utilizados son respectivamente un ocre y una tierra verde. Se pueden observar motivos no-figurativos así que manos en negativo y un antropomorfo con un tocado.</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: large;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1kPf4fdzZUyPJtXredsUj-zjalZWjU8vh98Vy_1ppqxTyeF9sgkBSYf7usnk3oR3T5szjZr01Jjp0g_aFxwxoZV5TL4tq0zl0RREfu2AgodPTQldw75TNTDrtO7zEeQ3d8EVWj6Qrw88J/s1280/P1060154+%255B50%2525%255D.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1kPf4fdzZUyPJtXredsUj-zjalZWjU8vh98Vy_1ppqxTyeF9sgkBSYf7usnk3oR3T5szjZr01Jjp0g_aFxwxoZV5TL4tq0zl0RREfu2AgodPTQldw75TNTDrtO7zEeQ3d8EVWj6Qrw88J/w400-h300/P1060154+%255B50%2525%255D.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;">Cuadricula pintada en el grupo principal de la Peña de la Sirica (foto 2011: Philippe Costa)</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCTa0cF3d9XzNmtAyKSCHigvrbaOzjronzdKCsVFfN5PzBtbaFpQOdpKOEY4LuMO2D5lsklQboEsPQtzwyJrlroou8v33GaTrp0Fmci1vquxLqNIX1WUK4yAOv9n6aolHLDOksGEkPzkYN/s837/P1060167_lds+antrpo.tif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="837" data-original-width="582" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCTa0cF3d9XzNmtAyKSCHigvrbaOzjronzdKCsVFfN5PzBtbaFpQOdpKOEY4LuMO2D5lsklQboEsPQtzwyJrlroou8v33GaTrp0Fmci1vquxLqNIX1WUK4yAOv9n6aolHLDOksGEkPzkYN/s320/P1060167_lds+antrpo.tif" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;">Antropomorfo con tocado </span><span style="font-family: arial;">de la Peña de la Sirica (foto 2011: P. Costa, </span><span style="font-family: arial;">filtro DStretch lds</span><span style="font-family: arial;">)</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJTBbybOEqSzpHpz5X4AT-KadAqCZxPNnBvHitcAZcuPFIAzgU6r-PwiIYOKhyphenhypheneT9vHG9IKWNycJv4AvF5xI2kQxXHjWLP8XaltOMIf3YxzUDnlnxMcEHT-ooEv6u880sbxU1iFe-IDyyP/s1239/P1060142+cadr%25C3%25A9.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1022" data-original-width="1239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJTBbybOEqSzpHpz5X4AT-KadAqCZxPNnBvHitcAZcuPFIAzgU6r-PwiIYOKhyphenhypheneT9vHG9IKWNycJv4AvF5xI2kQxXHjWLP8XaltOMIf3YxzUDnlnxMcEHT-ooEv6u880sbxU1iFe-IDyyP/s320/P1060142+cadr%25C3%25A9.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;">Circulo y líneas paralelas en azul-verde (foto 2011 : P. Costa)</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial; font-size: large;">Tentativamente, en base al material encontrado en un sondeo en el abrigo, las pinturas se atribuyeron al Clásico Temprano (200-600 d.C.). Se propuso al grupo Cacaopera como productores del arte rupestre d</span><span style="font-family: arial;"><span style="font-size: large;">e la Peña de la Sirica.</span><span style="font-size: medium;"> </span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 24.0pt; margin-right: 0cm; margin-top: 0cm; margin: 0cm 0cm 0cm 24pt; text-indent: -24pt;"><span face="Arial, sans-serif" lang="ES"><b>Bibliografía <o:p></o:p></b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 24.0pt; margin-right: 0cm; margin-top: 0cm; margin: 0cm 0cm 0cm 24pt; text-indent: -24pt;"><span face="Arial, sans-serif" lang="ES"><o:p><b> </b></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 24.0pt; margin-right: 0cm; margin-top: 0cm; margin: 0cm 0cm 0cm 24pt; text-indent: -24pt;"><span face="Arial, sans-serif" lang="ES">Costa,
Philippe. 2020. “Propuesta Cronológica de La Producción Rupestre En El Salvador
y Definiciones de Los Territorios y de Las Fronteras Culturales En Tiempos
Prehispánicos.” <i>Cuadernos de Arte Prehistórico</i> 9 (enero-junio 2020):
115–59. <a href="http://www.cuadernosdearteprehistorico.com/Archivo/">http://www.cuadernosdearteprehistorico.com/Archivo/</a>.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 24.0pt; margin-right: 0cm; margin-top: 0cm; margin: 0cm 0cm 0cm 24pt; text-indent: -24pt;"><span face="Arial, sans-serif" lang="ES"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; margin-left: 24.0pt; margin-right: 0cm; margin-top: 0cm; margin: 0cm 0cm 0cm 24pt; text-indent: -24pt;"><span face="Arial, sans-serif" lang="ES">Escamilla,
Marlon. 2007. “Las Montañas Del Norte y Sus Manifestaciones Gráfico Rupestres.
Temporada 2007 Proyecto Arte Rupestre de El Salvador.” In <i>II Congreso
Centroamericano de Arqueología En El Salvador</i>. San Salvador, El Salvador:
Museo Nacional de Antropología “Dr. David J. Guzmán.”<o:p></o:p></span></p><br /></div></div><p></p>PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comtag:blogger.com,1999:blog-1079642572141086164.post-22359091021326184052021-02-06T01:35:00.006-08:002021-02-06T01:48:09.209-08:00Rosas Coloradas<p> </p><p><span style="font-family: arial; font-size: large;">En lo alto de los acantilados que bordean la ribera este del río Lempa, marcando el límite entre el Oriente y el Centro del país, Rosas Coloradas constituye un sitio atípico, parte de los escasos yacimiento rupestre con pinturas de El Salvador. Por lo general, los sitios pictóricos se encuentran en las cadenas montañosas del norte, al contrario de Rosas Coloradas. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigwVIga4yvH6nx7coPhCofPvBEBmNIemVB3gTpuLGrzetkrA0hJVjnV2raGRt2-0VA2YXWYgVzG1BdTIk2_O2RUfvq0bYSa3uVv49YdIQMxsK78XLr3a3njaU61xlV72L4pCo8WDN8XsgJ/s2748/pano+paysage+%255B50%2525%255D.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1145" data-original-width="2748" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigwVIga4yvH6nx7coPhCofPvBEBmNIemVB3gTpuLGrzetkrA0hJVjnV2raGRt2-0VA2YXWYgVzG1BdTIk2_O2RUfvq0bYSa3uVv49YdIQMxsK78XLr3a3njaU61xlV72L4pCo8WDN8XsgJ/w640-h266/pano+paysage+%255B50%2525%255D.jpg" width="640" /></a></div><div style="text-align: center;"><span style="font-family: arial;">Vista de la cuenca del Río Lempa desde Rosas Coloradas (foto en 2011: Philippe Costa)</span></div><span><a name='more'></a></span><div><br /></div><p><span style="font-family: arial; font-size: medium;">El abrigo rocoso de basalto que alberga las pinturas mide 11 m de largo, 8 m de alto y 3 m de profundidad. La mayoría de las pinturas se encuentran en lo alto, inalcanzable por una persona de frente sobre el nivel del suelo actual. Las más altas se ubican a 3,80 m de alto. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuLaSCepBDhg_On93xgrJo5a0gTu6fnh1u7XZdNy27IJqy7rwmmR5Msos13qRW0ZyKlrXhhukYkpYkVzM643u4Mws26_e7a9_UhUbIcCmmusJhnHVFylpFgOGpmRANeYIS4QZmv2MfpTZa/s1755/pano+%255B50%2525%255D.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1751" data-original-width="1755" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuLaSCepBDhg_On93xgrJo5a0gTu6fnh1u7XZdNy27IJqy7rwmmR5Msos13qRW0ZyKlrXhhukYkpYkVzM643u4Mws26_e7a9_UhUbIcCmmusJhnHVFylpFgOGpmRANeYIS4QZmv2MfpTZa/w400-h399/pano+%255B50%2525%255D.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;">Abrigo rocoso donde se plasmaron las pinturas de Rosas Coloradas </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;">(foto en 2011: Philippe Costa)</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: medium;">Las 10 pinturas de Rosas Coloradas, miden menos de 30 cm, están distribuidas en 3 paneles donde el color predominante es el rojo y el motivo más repetido son los círculos concéntricos (8 ejemplos). Un ejemplo presenta círculos concéntricos en blanco y otro policromo en rojo y blanco. El pigmento rojo, sin sorpresa, es a base de ocre, mientras el blanco es a base cal. </span></div><div class="separator" style="clear: both;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim8crVJ7lPQn1Oa5au98QBhrxeUepRGPV5-BlaI2wBwUPOyEUnkelSsUu4SBZRtB4ZSiO15OsPlma_6MPdnT3G3KvkSdt_2lx86Hz8UltRuxCybkS0H_rQNd6gP-hBRLqZIULbqzaWNs0t/s1824/P1050435+%255B50%2525%255D.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1824" data-original-width="1216" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim8crVJ7lPQn1Oa5au98QBhrxeUepRGPV5-BlaI2wBwUPOyEUnkelSsUu4SBZRtB4ZSiO15OsPlma_6MPdnT3G3KvkSdt_2lx86Hz8UltRuxCybkS0H_rQNd6gP-hBRLqZIULbqzaWNs0t/w266-h400/P1050435+%255B50%2525%255D.JPG" width="266" /></a></div><div class="separator" style="clear: both;"><span style="font-family: arial;">Grupo de pinturas rojas, blancas y policromas (foto en 2011: Philippe Costa)</span></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip7KkdXC9MYkHhGDa2yYGpKCnKF2i7zM5zZ31a_bQaCi6pzuo1mg8TwuR8itqcV6k5DJQpAfob05Vf_RkiqX3ieFIuq0aFBI77B4IVpBGHHEonQGFFoHJw5hp5V1Gq0FHXcZUFvS0go2Uh/s2048/DSC_0341+%255B50%2525%255D.JPG" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1356" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip7KkdXC9MYkHhGDa2yYGpKCnKF2i7zM5zZ31a_bQaCi6pzuo1mg8TwuR8itqcV6k5DJQpAfob05Vf_RkiqX3ieFIuq0aFBI77B4IVpBGHHEonQGFFoHJw5hp5V1Gq0FHXcZUFvS0go2Uh/s320/DSC_0341+%255B50%2525%255D.JPG" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO3AaRadP72my4yCNeNeIwTD4U0zHx3caarjZGH5B66y785wapfZYYNbcAymAFCMgIPzgsPmfDcxF3rgnBNTujjUoiUJydus4apny7mOTJnyeoW8evb1djOAOwUgD_sNcy5CkXm1mv3rXn/s1973/P1050425_crgb+f.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1973" data-original-width="1216" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO3AaRadP72my4yCNeNeIwTD4U0zHx3caarjZGH5B66y785wapfZYYNbcAymAFCMgIPzgsPmfDcxF3rgnBNTujjUoiUJydus4apny7mOTJnyeoW8evb1djOAOwUgD_sNcy5CkXm1mv3rXn/s320/P1050425_crgb+f.jpg" /></a><br /></div><div class="separator" style="clear: both;"><span style="font-family: arial;">Círculos concéntricos policromo y motivo no-figurativo (filtro DStretch crgb) (foto izquierda: Edy Barrios en 2013 y derecha: Philippe Costa en 2011)</span></div><div class="separator" style="clear: both;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial; font-size: medium;">Tentativamente, se propone una cronología del Clásico Tardío (600 a 900 d.C.) hasta Terminal (900 a 1000 d.C.) para la realización de las pinturas por dos razones. La primera es la proximidad del asentamiento Salto El Coyote a 2,5 km al noreste que corresponde con este periodo, el segundo es el uso de cal, la cual no es atestiguada en los sitios del Oriente de El Salvador antes del Clásico Tardío.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><p><b><span style="background: white; color: #333333; font-family: arial; font-size: medium;">Bibliografía:</span></b><span face="Arial, sans-serif" lang="ES" style="font-size: 13.5pt;"><o:p></o:p></span></p><p><span lang="ES"><span><span style="font-family: arial;">Costa, Philippe. 2013. “Concentraciones de Sitios Rupestres En El Oriente de El Salvador: Análisis e Interpretaciones.” In <i>XXVI Simposio de Investigaciones Arqueológicas En Guatemala</i>, 2012:385–96. Ciudad de Guatemala: Museo Nacional de Arqueología y Etnología.</span></span></span></p><p><span lang="ES"><span><span style="font-family: arial;"></span></span></span></p><p><span lang="ES"><span><span style="font-family: arial;"><span lang="ES">Escamilla,
Marlon, Fabio Gonzáles, Ligia Manzano, Xenia Pérez, and Fabio Esteban Amador.
2006. “Avance Preliminar. Arte Rupestre de El Salvador. Informe Inédito, entregado a La Escuela de Artes de La Universidad de El Salvador y Al Consejo
Nacional Para La Cultura y El Arte (CONCULTURA).” </span>San Salvador, El Salvador.<span style="font-family: Arial, sans-serif;"><o:p></o:p></span></span></span></span></p><span lang="ES"><span><span style="font-family: arial;"><br /></span></span></span><p></p></div></div>PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comtag:blogger.com,1999:blog-1079642572141086164.post-78968483102336876112020-11-08T08:24:00.014-08:002020-11-08T09:01:16.740-08:00El Ermitaño<p> <span face="Arial, sans-serif" style="font-size: 18pt;">La altura y la blancura del acantilado donde se
encuentra El Ermitaño, sin dudas ha llamado la atención de los
productores del arte rupestre que se encuentra en su seno.</span></p><p><span face="Arial, sans-serif" style="font-size: 18pt;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMtxeXKGNVC3zBnnScS2d030-W39XNW6OrAQ1RVZ_m8af78fvqoe4EP7bzPy9vZp0J2skPDY5ZWtgw98hqeUm9vQZZInGtTiPgGU98sBzKh8mq-GUPPG_NHQtKyG31-26AGt2Sjb2Wftm_/s2048/DSC_0552+%255B50%2525%255D.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1356" data-original-width="2048" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMtxeXKGNVC3zBnnScS2d030-W39XNW6OrAQ1RVZ_m8af78fvqoe4EP7bzPy9vZp0J2skPDY5ZWtgw98hqeUm9vQZZInGtTiPgGU98sBzKh8mq-GUPPG_NHQtKyG31-26AGt2Sjb2Wftm_/w640-h424/DSC_0552+%255B50%2525%255D.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Vista del paisaje desde El Ermitaño (foto en 2013: Edy Barrios)</td></tr></tbody></table><div style="text-align: center;"><br /></div><div style="text-align: center;"><span face="Arial, sans-serif"><br /></span></div><div style="text-align: center;"><span><a name='more'></a></span><span face="Arial, sans-serif"><br /></span></div><div style="text-align: left;"><p class="MsoNormal"><span face=""Arial",sans-serif" lang="ES-CR" style="font-size: 18pt; line-height: 107%;">El sitio se ubica en los contrafuertes de la
Sierra Madre, en el norte del Centro de El Salvador, a 4 km de distancia de la
frontera con Honduras. Las pinturas están plasmadas en un abrigo poco profundo
ubicado a media altura del acantilado.<o:p></o:p></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGheRSfpJ42ycuyrjeB7q8dXlQFucCMK9s7bOWBGvVk2j00Ql-1oqXJrjdNrCGIB205T2cCVPEmbDxf6bUXt0fRZPdSRAlG3ZleL0AqtfR0EfRsdrEYn_Ctu3ky-XpCXxdh3iW0qdTKS_H/s2048/DSC_0549+%255B50%2525%255D.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1356" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGheRSfpJ42ycuyrjeB7q8dXlQFucCMK9s7bOWBGvVk2j00Ql-1oqXJrjdNrCGIB205T2cCVPEmbDxf6bUXt0fRZPdSRAlG3ZleL0AqtfR0EfRsdrEYn_Ctu3ky-XpCXxdh3iW0qdTKS_H/w265-h400/DSC_0549+%255B50%2525%255D.JPG" width="265" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face="Arial, sans-serif">Vista del abrigo El Ermitaño </span><span face="Arial, sans-serif">(foto en 2013: Edy Barrios)</span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large; margin-left: 1em; margin-right: 1em;"></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 18pt; text-align: left;"><br /></span></div></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><span style="font-size: 18pt; text-align: left;">Alrededor de 20 pinturas fueron contabilizadas,
donde predomina el motivo de las manos, la mayoría en negativo y de color rojo (16),
pero también se aprecian zoomorfos. Se pudo reconocer una mano al negativo de
color blanco, pero la pintura más grande, que cubre una mano roja en negativo, es de
color azul.</span></div></div></blockquote><div style="text-align: left;"><span face="Arial, sans-serif"></span></div><p></p><div class="separator" style="clear: both;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif0tXVf09LNX3oHv_EFvvFE92qkvZWlM3TPR0e7wCX08hU1gd-q4vp4M7vtRJdRyEk-Zq6cgXRzsCRLnaUVAg3kSHM9QhEQyb4dV33FStKGw2bFZQ2uIe3k7lj11abkksdiPf9KR9dywhB/s2048/DSC_0558+%255B50%2525%255D.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1356" data-original-width="2048" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif0tXVf09LNX3oHv_EFvvFE92qkvZWlM3TPR0e7wCX08hU1gd-q4vp4M7vtRJdRyEk-Zq6cgXRzsCRLnaUVAg3kSHM9QhEQyb4dV33FStKGw2bFZQ2uIe3k7lj11abkksdiPf9KR9dywhB/w400-h265/DSC_0558+%255B50%2525%255D.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div class="separator" style="clear: both;"><p class="MsoNormal" style="text-align: center;">Vista del panel principal de El Ermitaño (foto en 2013: Edy Barrios)</p></div></blockquote><div class="separator" style="clear: both; text-align: left;"></div></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkKmm_V1YzEBw0fVm2zaT51jp97pdo1nrXqWgftSjdP31HYj18nG0HAFGocnJoQmlVNuKUljOQyFA9b5Nyo2b-ynqlMtOROhYI1k-jlh2zjudqRE6dkZyhaxmbc-zGlEjxu_ccc222APTt/s2048/DSC_0558_yrd+%255B50%2525%255D.jpg" style="font-size: x-large; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1356" data-original-width="2048" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkKmm_V1YzEBw0fVm2zaT51jp97pdo1nrXqWgftSjdP31HYj18nG0HAFGocnJoQmlVNuKUljOQyFA9b5Nyo2b-ynqlMtOROhYI1k-jlh2zjudqRE6dkZyhaxmbc-zGlEjxu_ccc222APTt/w400-h265/DSC_0558_yrd+%255B50%2525%255D.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Vista del panel principal de El Ermitaño (Dstetch, filtro yrd)</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnQmRGn1M35Bn-rdzayHKo4UUBryK1Cx_EcpZhxo2KOewcIVNvFFbL8ORLd-e2v1tSHdGDCDazjsLO9F1D_VYjHXodXmC-lpoR4FOguN9faGmVZfKekMCCZltaSrnF5gXaFu8EL9qCEo6y/s2048/DSC_0567_lre+%255B50%2525%255D.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1356" data-original-width="2048" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnQmRGn1M35Bn-rdzayHKo4UUBryK1Cx_EcpZhxo2KOewcIVNvFFbL8ORLd-e2v1tSHdGDCDazjsLO9F1D_VYjHXodXmC-lpoR4FOguN9faGmVZfKekMCCZltaSrnF5gXaFu8EL9qCEo6y/w400-h265/DSC_0567_lre+%255B50%2525%255D.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div class="separator" style="clear: both;">Vista de un zoomorfo en El Ermitaño (foto en 2013: Edy barrios, Dstetch, filtro lre)</div><div class="separator" style="clear: both;"><br /></div></td></tr></tbody></table><p class="MsoNormal" style="text-align: center;"><br /></p></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;"><span style="font-size: 18pt;">Esta pintura define un marco azul, donde, en su
perímetro interior, se puede reconocer una serie de grecas
(Xicalcoliuhqui). Este motivo, en particular, ilustra influencias iconográficas
de los grupos Nahuas-Pipiles cuyo asentamiento en El Salvador es de, por lo menos, el Posclásico
Temprano (900-1350 d. C.).</span></div></div><p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfATYxEb6nvj4r9md1X1LOhqxZd_yrZ4DZ85N82EV1eoFh6DOEVsiluATYPaJQCrFlxw5GjB-qdO3NznSjsUuzZpU6X1KK4pBXfCd5abp01cYrEWv0cksfAhJQxbgmi1psvXkVsju-POBj/s2048/DSC_0563_crgb+%255B50%2525%255D.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1356" data-original-width="2048" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfATYxEb6nvj4r9md1X1LOhqxZd_yrZ4DZ85N82EV1eoFh6DOEVsiluATYPaJQCrFlxw5GjB-qdO3NznSjsUuzZpU6X1KK4pBXfCd5abp01cYrEWv0cksfAhJQxbgmi1psvXkVsju-POBj/w400-h265/DSC_0563_crgb+%255B50%2525%255D.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div class="separator" style="clear: both;"><span face="Arial, sans-serif">Vista del marco azul en El Ermitaño (foto en 2013: Edy barrios, Dstetch, filtro crgb)</span></div><div class="separator" style="clear: both;"><br style="text-align: left;" /></div></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium; margin-left: 1em; margin-right: 1em;"></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><b><span style="font-family: helvetica;">Bibliografía:</span></b></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><p class="MsoNormal"><span lang="ES-CR" style="font-family: Helvetica, sans-serif; font-size: 10pt; line-height: 107%;">Costa, Philippe. 2018. “Las
Influencias Mexicanas En La Iconografía Rupestre Del Posclásico En El Salvador
y Sus Alrededores.” <i>Mexicón</i> XL
(4): 104–10.</span><span lang="ES-CR" style="font-size: 10pt; line-height: 107%;"><br />
<br />
</span><span lang="ES-CR" style="font-family: Helvetica, sans-serif; font-size: 10pt; line-height: 107%;">Escamilla, Marlon. 2007. “Las Montañas Del
Norte y Sus Manifestaciones Gráfico Rupestres. Temporada 2007 Proyecto Arte
Rupestre de El Salvador.” In II Congreso Centroamericano de Arqueología En El
Salvador. San Salvador, El Salvador: Museo Nacional de Antropología “Dr. David
J. Guzmán.”<o:p></o:p></span></p><p class="MsoNormal">
</p><p><span lang="ES-CR" style="font-family: Helvetica, sans-serif; font-size: 10pt;">Lerma Rodríguez, Félix
Alejandro. 2014. “Presencias En La Roca: El Arte Rupestre de La Gruta Del
Espíritu Santo, El Salvador.” Universidad Nacional Autónoma de México.<o:p></o:p></span></p></div><div class="separator" style="clear: both;"><p></p><p class="MsoNormal"><span face=""Arial",sans-serif" lang="ES-CR" style="font-size: 18pt; line-height: 107%;"><br /></span></p><p class="MsoNormal" style="text-align: center;"><span face="Arial, sans-serif" lang="ES-CR" style="line-height: 107%;">
</span></p><p class="MsoNormal"><span face=""Arial",sans-serif" style="font-size: 18pt; line-height: 107%; mso-ansi-language: FR;"> <o:p></o:p></span></p></div><p class="MsoNormal"><br /><span face=""Arial",sans-serif" lang="ES-CR" style="font-size: 18pt; line-height: 107%;"><br /></span></p>PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comtag:blogger.com,1999:blog-1079642572141086164.post-88492074940487764022020-05-12T02:01:00.006-07:002020-11-08T08:29:08.879-08:00La Peña de Ayarza<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face=""helvetica", sans-serif" lang="ES-CR" style="font-size: 13.5pt;">La Laguna de Ayarza se encuentra en las
Tierras Altas del Oriente de Guatemala. Es una caldera cuyo origen remoto se
debe a la destrucción de dos volcanes gemelos hace unos 20000 años. Sus orillas
esconden numerosas cavidades, donde permanecen rituales actuales, y abrigos,
incluyendo la Peña de Ayarza, con sus pinturas policromas. </span></p>
<div><font face="helvetica" size="4"><br /></font></div><div><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGtBC1gZ4s5CTL_6bEwDp6_-6nxeoMrKeLY7eYaJNSUhmVu9TFQGVuPMlj0YgKVOiRjZAWJaqaGH6kPxeXs_Os_ykHzCS69thriRgOG0LfpiAgrpXzTI47HXvW2oVOIzLbjhiMWzZlRaXo/" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1511" data-original-width="4271" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGtBC1gZ4s5CTL_6bEwDp6_-6nxeoMrKeLY7eYaJNSUhmVu9TFQGVuPMlj0YgKVOiRjZAWJaqaGH6kPxeXs_Os_ykHzCS69thriRgOG0LfpiAgrpXzTI47HXvW2oVOIzLbjhiMWzZlRaXo/w640-h226/pano+final.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><font size="2"><span style="font-family: "helvetica";">Vista de la laguna de Ayarza (foto: Eric Gelliot)</span></font><br /></td></tr></tbody></table><br /></div><span><a name='more'></a></span><font face="helvetica" size="4"><!--[if gte mso 9]><xml>
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</font><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face=""helvetica", sans-serif" lang="ES-CR" style="font-size: 13.5pt;">La Peña de Ayarza se encuentra al pie de un
acantilado, a media altura de las laderas escarpadas del lago. Algunas pinturas se
encuentran a 3 m de alto y otras a altura de hombre. Las más accesibles aparecen rayadas, probablemente con machete.</span></p>
</div><div><font face="helvetica" size="4"><br /></font></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioJZxErVaw0vA_AbTkKkYUUUJwVdImq_C9Ls1TY5Nyy6pO1eIbKA7ZVgLsILysqYHmSOD75gLD6SNyBgcY0rwpvDYvao7Zct4IPSUYZb2rThc2Nk8w3IrCfynAlf8KD5wQiE12pPAeSMyw/" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1704" data-original-width="2272" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioJZxErVaw0vA_AbTkKkYUUUJwVdImq_C9Ls1TY5Nyy6pO1eIbKA7ZVgLsILysqYHmSOD75gLD6SNyBgcY0rwpvDYvao7Zct4IPSUYZb2rThc2Nk8w3IrCfynAlf8KD5wQiE12pPAeSMyw/w320-h240/P1010405final.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face=""helvetica", sans-serif" lang="ES-CR" style="font-size: 10pt;">Círculos concéntricos rayados con una
herramienta punzante (foto en 2005: Eric Gelliot)</span></p>
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menos de 20 motivos, distribuidos de ambos lados de una grieta vertical, sobre
las partes planas de la roca. Sus dimensiones son variables, la mayoría miden
menos de 30 cm, mientras algunas exceden los 50 cm. Se utilizaron los colores
rojo, azul y amarillo.</span></p>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
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<![endif]--> <br /></font></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV6JxagVbxDDT6wxG-RJzaJN4fUuenBMwrmRo1YAozHqsX5izw2PhQF_3dBN8F9O4rpNHsuoIs-M2OP9N_SlNnhisVC4Sbg5-u2PoRz4MjDApnkyFXzqwQu9MZ6KjPwRFpGchV4aBoE51q/" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1128" data-original-width="1446" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV6JxagVbxDDT6wxG-RJzaJN4fUuenBMwrmRo1YAozHqsX5izw2PhQF_3dBN8F9O4rpNHsuoIs-M2OP9N_SlNnhisVC4Sbg5-u2PoRz4MjDApnkyFXzqwQu9MZ6KjPwRFpGchV4aBoE51q/w400-h313/P1010408+final.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face=""helvetica", sans-serif" lang="ES-CR" style="font-size: 10pt;">Pinturas policromas ubicadas a 3 m de
altura (foto en 2005: Eric Gelliot)</span></p>
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sugiere la representación de escenas narrativas donde interactúan no solo personajes,
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
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<![endif]--> </font></font></div><div><font face="helvetica" size="4"><font face="helvetica" size="4"><br /></font></font></div><div><font face="helvetica" size="4"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3vyC5YEtwZ_87870IE28iSiagLH8521WQ_AIBRgjRXH6RiDxM_kmpjdDy59fmORNdwuP0yeMuLXniqndBMUkbC9RZf-AJ1vQyjKIbfPr4swcX86gf1C-_f2R_636YAt62jdEeNZ60uH_Q/" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1083" data-original-width="1047" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3vyC5YEtwZ_87870IE28iSiagLH8521WQ_AIBRgjRXH6RiDxM_kmpjdDy59fmORNdwuP0yeMuLXniqndBMUkbC9RZf-AJ1vQyjKIbfPr4swcX86gf1C-_f2R_636YAt62jdEeNZ60uH_Q/s320/P1010407+final_ldsfinal.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: center;"><span face=""helvetica", sans-serif" lang="ES-CR" style="font-size: 10pt;">Representación de una escena entre un
personaje, un zoomorfo (ave) abajo a la derecha, y la divinidad <i>Cipactli</i>
(monstruo de la tierra) arriba a la derecha (foto en 2005: Eric Gelliot, filtro
DStretch lds)</span></p>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
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</font></font><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face=""helvetica", sans-serif" lang="ES-CR" style="font-size: 13.5pt;">En las manifestaciones rupestres, se
reconoce el parecido con los códices de estilo Mixteca-Puebla, característicos
del Posclásico Tardío (1200-1524 d.C.). Además, varios asentamientos ocupados
durante todo el Posclásico (900-1524 d.C.) se ubican a proximidad, en
posiciones defensivas, a la orilla del lago</span><span lang="ES" style="color: black; font-family: "times new roman", serif; font-size: 13.5pt;"><font size="4"><font face="helvetica">.</font></font></span></p>
</div><div><font face="helvetica" size="4"><font face="helvetica" size="4"><br /></font></font></div><div><br /><font face="helvetica" size="4"><font face="helvetica" size="4"><b style="-webkit-text-stroke-width: 0px; color: black; font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; letter-spacing: normal; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Bibliografía:</b></font></font></div><div><font face="helvetica" size="4"><font face="helvetica" size="4"><b style="-webkit-text-stroke-width: 0px; color: black; font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; letter-spacing: normal; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><!--[if gte mso 9]><xml>
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</b></font></font><p class="MsoNormal" style="line-height: normal;"><span style="font-family: "helvetica";"><font size="2">Costa, Philippe. 2018. “Las Influencias Mexicanas En La Iconografía
Rupestre Del Posclásico En El Salvador y Sus Alrededores.” <i>Mexicón</i> XL
(4): 104–10. </font></span></p><span style="font-family: "helvetica";"><font size="2">
</font></span><p class="MsoNormal" style="line-height: normal;"><span style="font-family: "helvetica";"><font size="2">Ichon, Alain, and Rita Grignon. 2003. “Informe de Un Recorrido
Arqueológico En El Oriente de Guatemala.” Ciudad de Guatemala, Guatemala.</font></span></p>
</div><div><font face="helvetica" size="4"><font face="helvetica" size="4"><br /><br /></font></font></div>PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comtag:blogger.com,1999:blog-1079642572141086164.post-16278830381153433362020-04-16T10:03:00.000-07:002020-04-16T10:03:19.475-07:00Las Victorias<div class="separator" style="clear: both; text-align: justify;">
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">El arte rupestre salvadoreño nace probablemente en el Occidente del país, a proximidad de los primeros asentamientos prehispánicos conocidos. Esta primera obra rupestre lleva la huella iconográfica de sus orígenes mesoamericanos. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGEWtjot3bAATlOo-FG_Fp-DkJSDsc2myUeTdWRCXKk2kpfBXPFsroNHbvO6TT8P22rvegAh5_j8ydLQEisYLpheRcLYL7x4AAq-93wz9CWOcNTlGTFmMNmCxyLGzCE6mdiceNKsDNKHMY/s1600/Pano+tazumal+%255B50%2525%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="481" data-original-width="1600" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGEWtjot3bAATlOo-FG_Fp-DkJSDsc2myUeTdWRCXKk2kpfBXPFsroNHbvO6TT8P22rvegAh5_j8ydLQEisYLpheRcLYL7x4AAq-93wz9CWOcNTlGTFmMNmCxyLGzCE6mdiceNKsDNKHMY/s640/Pano+tazumal+%255B50%2525%255D.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Vista de la Zona Arqueológica de Chalchualpa, desde la pirámide principal de Tazumal <br />(foto en 2004: Philippe Costa)</span></td></tr>
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Hoy, la roca al aire libre de Las Victorias yace en el Parque Arqueológico Tazumal, a algunos kilómetros de donde fue encontrada. Sus 4 caras son grabadas con personajes en bajo relieve, donde es reconocible el estilo Olmeca. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkgwi58D2hjt7kv19ABL5FPS1sMG4zILKoz6ty1MSBy2D6L0-vI-ya5gznl_RDoO-E113CvTKixZPwPEWltPZ-9oYioBH44Yh1vGwTndlWZWbdwKINY-5avLHZvYaXfvwcijDbJ8Tk7e-y/s1600/Victorias+c+%255B50%2525%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="1220" data-original-width="1532" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkgwi58D2hjt7kv19ABL5FPS1sMG4zILKoz6ty1MSBy2D6L0-vI-ya5gznl_RDoO-E113CvTKixZPwPEWltPZ-9oYioBH44Yh1vGwTndlWZWbdwKINY-5avLHZvYaXfvwcijDbJ8Tk7e-y/s320/Victorias+c+%255B50%2525%255D.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Personaje con más detalle, sentado, en una de las caras principales (foto en 2013: Edy Barrios)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKaH5cgcCnv_I9b8eFb6ADEPQGtm6U6UV-oxJ23fGSksHZYdifU-JAvJoPoLaIkAAwtRojORrP2t3PhUuTLgmaN1Jw-MGxah2qX799YOjiDLjdYZU-SipQalIk4NGareqvEpxGvZ7ENSA4/s1600/Victorias+b+%255B50%2525%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="1555" data-original-width="1259" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKaH5cgcCnv_I9b8eFb6ADEPQGtm6U6UV-oxJ23fGSksHZYdifU-JAvJoPoLaIkAAwtRojORrP2t3PhUuTLgmaN1Jw-MGxah2qX799YOjiDLjdYZU-SipQalIk4NGareqvEpxGvZ7ENSA4/s320/Victorias+b+%255B50%2525%255D.jpg" width="257" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Personaje de pie en una de las caras principales (foto en 2013: Edy Barrios)</span></td></tr>
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Los personajes principales, con el mejor acabado, se encuentran en las 2 caras más grandes de la roca, mientras las caras laterales reciben 2 personaje de dimensiones inferiores.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigN_Q1fMY47fjgeahHVKzsFoB-LOcTsAnd-mf2fIoy8q9t-4K-NAS1x28hi0gRDORQnx71NfVdVTejB9nFb4dPRtiX2P2HetH0E18rvQCmCHbTG5hhJFVq6hHHlU_5hOxYCeh_dMakB_tx/s1600/Victorias+a+%255B50%2525%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="1533" data-original-width="1348" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigN_Q1fMY47fjgeahHVKzsFoB-LOcTsAnd-mf2fIoy8q9t-4K-NAS1x28hi0gRDORQnx71NfVdVTejB9nFb4dPRtiX2P2HetH0E18rvQCmCHbTG5hhJFVq6hHHlU_5hOxYCeh_dMakB_tx/s320/Victorias+a+%255B50%2525%255D.jpg" width="281" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Personaje en una cara lateral (foto en 2013: Edy Barrios)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-xF7BXoeNtgSrnJcGB0MAQ6Ub187ozUpaJd4ZQaRRPcbcICDlr9nEj_ZiZLRpbAHmRoiIizIjgccfyMvHmw6VaFxA0CQ-KWymgce0lXHd2nle2h-qwd6rkc9YoIBLTmvdl_ypEAQ_G1xJ/s1600/Victorias+d+%255B50%2525%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="1190" data-original-width="928" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-xF7BXoeNtgSrnJcGB0MAQ6Ub187ozUpaJd4ZQaRRPcbcICDlr9nEj_ZiZLRpbAHmRoiIizIjgccfyMvHmw6VaFxA0CQ-KWymgce0lXHd2nle2h-qwd6rkc9YoIBLTmvdl_ypEAQ_G1xJ/s320/Victorias+d+%255B50%2525%255D.jpg" width="248" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Personaje en una cara lateral (foto en 2013: Edy Barrios)</span></td></tr>
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La cronología avanzada para la producción de los grabados es el Preclásico Medio (900 a 500-400 a.C.), más precisamente el siglo VIII a.C., durante una segunda época de influencia olmeca en El Salvador.</div>
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<b><span lang="ES-CR" style="font-family: Arial, sans-serif; font-size: 12pt;">Bibliografía:<o:p></o:p></span></b></div>
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<span lang="ES" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: ES; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">Albarracín-Jordan,
Juan, and Fabricio Valdivieso. 2013. “Pasado, Presente y Futuro de La Arqueología
En El Salvador.” </span><i><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: FR; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">Identidades</span></i><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: FR; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">, 2013.<o:p></o:p></span></div>
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<span lang="ES" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: ES; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">Costa,
Philippe. 2020. “Propuesta Cronológica de La Producción Rupestre En El Salvador
y Definiciones de Los Territorios y de Las Fronteras Culturales En Tiempos
Prehispánicos.” <i>Cuadernos de Arte Prehistórico</i> 9 (enero-junio 2020):
115–59. http://www.cuadernosdearteprehistorico.com/Archivo/.<o:p></o:p></span></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comChalchuapa, El Salvador13.9896097 -89.676919313.958793700000001 -89.7172598 14.0204257 -89.6365788tag:blogger.com,1999:blog-1079642572141086164.post-11745367374149616202020-04-16T09:03:00.001-07:002020-04-16T09:03:23.130-07:00León de Piedra<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-size: large;">En las faldas fértiles del Volcán San Vicente, conocido también como Chinchontepec en náhuatl, por sus 2 puntas, </span><span style="font-size: large;">yace una roca de origen volcánica, de tamaño impresionante, en vista de la larga distancia que la separa del volcán. </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2BO4FcFEBtwqeZzgU7oNg7cMKQ6Fk_ODSx8yPKWgq1fM_IFgT2zL2TPiXFb5vrL52aOU3LyiMRDLHTEs5VH3B9aUR5uDlln4z1Y5SSqaDzI2Onv9HuHg8OpzeVc-op50xisPvInaXG1Y_/s1600/DSC_0168+final+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="762" data-original-width="1600" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2BO4FcFEBtwqeZzgU7oNg7cMKQ6Fk_ODSx8yPKWgq1fM_IFgT2zL2TPiXFb5vrL52aOU3LyiMRDLHTEs5VH3B9aUR5uDlln4z1Y5SSqaDzI2Onv9HuHg8OpzeVc-op50xisPvInaXG1Y_/s640/DSC_0168+final+%255B50%2525%255D.JPG" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Vista del volcán San Vicente (foto en 2013: Edy Barrios)</span></td></tr>
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La roca al aire libre mide 3,80 m de largo, 2,70 m de ancho y 1,50 m de altura. En su parte superior, acoge la representación de un zoomorfo en medio relieve, mientras una de sus esquinas recibe un grabado con surcos no muy profundos. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOQwyYpsfK9QFsQEcjWUp71X6yrTvOPtJybUe8Vvk2e62Enc8MZLZGEHRDmBF9Z4KcHsdqQr4ftPHVphHXVHuYe7UDBmydPkXabpmnSQGBEJzAhvi9zD16e708MxHgAwKYLONi6qC8n8-E/s1600/P1070015+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="960" data-original-width="1280" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOQwyYpsfK9QFsQEcjWUp71X6yrTvOPtJybUe8Vvk2e62Enc8MZLZGEHRDmBF9Z4KcHsdqQr4ftPHVphHXVHuYe7UDBmydPkXabpmnSQGBEJzAhvi9zD16e708MxHgAwKYLONi6qC8n8-E/s400/P1070015+%255B50%2525%255D.JPG" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Vista del León de Piedra de Tehuacán en 2011 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">El bajo relieve mide 1 m de largo, 0,90 m de ancho y 10 cm de alto. Esta tecnica necesita un esfuerzo importante ya que se trata de quitar toda la roca alrededor de la figura para que salga en relieve. Se conocen escasos ejemplos de esta técnica en el país. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQcEUbzKHuxsi0nn7vrka7NqvQD69sTEh7GgSv7j3isQEKmNZrTxbyjhnml1XlU4Yuy6YlPo6-lqSJnxnQSxaZuDJQu1FDnib8XChosxB-kf2z9-COzoOV3Ah06z87sq_oXMAWSh6JvILH/s1600/P1060979+final.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="1318" data-original-width="1600" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQcEUbzKHuxsi0nn7vrka7NqvQD69sTEh7GgSv7j3isQEKmNZrTxbyjhnml1XlU4Yuy6YlPo6-lqSJnxnQSxaZuDJQu1FDnib8XChosxB-kf2z9-COzoOV3Ah06z87sq_oXMAWSh6JvILH/s320/P1060979+final.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Vista desde arriba del motivo en medio relieve (foto en 2011: Philippe Costa)</span></td></tr>
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<span style="font-size: large;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">El zoomorfo se parece más a un lagarto que a un felino, quizás la representación de un <i>Ctenosaura Similis, </i>la especie más grande de las 4 que existen en El Salvador, y la más rápida del planeta. Hoy, es aún parte de la gastronomía salvadoreña. </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKY3-3eKmAcCvjyUSgGKnEggWfO9H4TajzSU0cKxN_D2HhJoYIkdPo4vNtMdUK6fwo2NzKcbdoaCHpVbK4ink18hDj8_kd9w0PSHnSTKgjPKwkIhnYMlDny9Fr8jYaw72CnSV5WE-Gzi_V/s1600/P1070009+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="1280" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKY3-3eKmAcCvjyUSgGKnEggWfO9H4TajzSU0cKxN_D2HhJoYIkdPo4vNtMdUK6fwo2NzKcbdoaCHpVbK4ink18hDj8_kd9w0PSHnSTKgjPKwkIhnYMlDny9Fr8jYaw72CnSV5WE-Gzi_V/s320/P1070009+%255B50%2525%255D.JPG" width="240" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Vista del grabado en la esquina de la roca (foto en 2011: Philippe Costa)</span></td></tr>
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<span style="font-size: large;">El segundo grabado es más difícil de identificar. El León de Piedra se encuentra a menos de 500 m del asentamiento prehispánico de Tehuacán. Un sondeo llevado a cabo en 2013 al pie de la roca permitió evidenciar principalmente material del Clásico Tardío (625-900 d.C.). </span></div>
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<b><span lang="ES-CR" style="font-family: Arial, sans-serif; font-size: 12pt;">Bibliografía:<o:p></o:p></span></b></div>
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Philippe. 2020. “Propuesta Cronológica de La Producción Rupestre En El Salvador
y Definiciones de Los Territorios y de Las Fronteras Culturales En Tiempos
Prehispánicos.” <i>Cuadernos de Arte Prehistórico</i> 9 (enero-junio 2020):
115–59. http://www.cuadernosdearteprehistorico.com/Archivo/.<o:p></o:p></span></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comTecoluca, El Salvador13.5378226 -88.775850313.5069481 -88.8161908 13.5686971 -88.7355098tag:blogger.com,1999:blog-1079642572141086164.post-14649730277209403592020-04-16T07:44:00.000-07:002020-04-16T07:44:36.016-07:00El Melonal<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">La cercanía y las faldas del volcán Conchagua constituye una de las mayores concentraciones de arte rupestre del Oriente de El Salvador. Destacan las rocas al aire libre y los grupos de rocas al aire libre, dentro de los cuales, El Melonal es intrigante. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYvl7szA4su9iyO_7n9NgWbKn6P9sgGpI4ON5tN5Woj_QPBXiu0AkPVOAhiHFU9uAGgPoic-zCuH1VfP8lQQLNKKP67iXCNE5Ar220Yt-Mq1lEkYY6YoQO60ayCz-Ayj16AR4MLdeSz8IV/s1600/P1060869+final.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="722" data-original-width="1600" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYvl7szA4su9iyO_7n9NgWbKn6P9sgGpI4ON5tN5Woj_QPBXiu0AkPVOAhiHFU9uAGgPoic-zCuH1VfP8lQQLNKKP67iXCNE5Ar220Yt-Mq1lEkYY6YoQO60ayCz-Ayj16AR4MLdeSz8IV/s640/P1060869+final.JPG" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Vista del grupo de rocas al aire libre de El Melonal en 2011 (foto: Philippe Costa)</span></td></tr>
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<a name='more'></a><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-size: large;">Un total de 19 rocas grabadas fueron registradas, con unos 60 motivos en total. El grupo de rocas se extiende en una superficie de 10,50 m de largo, por 8 m de ancho. La gran mayoría de las rocas no sobre pasan 2 m de largo. </span><span style="font-size: large;">Algunas rocas llevan un único grabado, cuando otras son completamente cubiertas. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhidH6C_k-K2uXitLUhoDiJ_QnA6-aSVTvSl9lAF0p2RxUGrNtgXtnAyWas1cGuWAE6uQ_Jz1MTmV_jsh_Rs6pkZQnVIxPFg3PPKiRKZQGItOpIwz6h4cVRy26_jFWUMi4Mt2zJPxUoKQ38/s1600/P1060818+final.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="1439" data-original-width="1600" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhidH6C_k-K2uXitLUhoDiJ_QnA6-aSVTvSl9lAF0p2RxUGrNtgXtnAyWas1cGuWAE6uQ_Jz1MTmV_jsh_Rs6pkZQnVIxPFg3PPKiRKZQGItOpIwz6h4cVRy26_jFWUMi4Mt2zJPxUoKQ38/s320/P1060818+final.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Roca cubierta de grabados en todas sus caras (foto en 2011: Philippe Costa)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsXt8gFZJXI8aHDqPOGDz3nHD-JBgsUWo4WInvCvWlO5ZJGZC6zchTmJrBm3arRCOjShWVpXTFYR-KmVwGdbmoHtJaku2g3_Dogev0pPf8WWXDi4YdPWjNbZpEggYo91ZzsuUDjdvTScuo/s1600/P1060826+final.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="1220" data-original-width="1600" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsXt8gFZJXI8aHDqPOGDz3nHD-JBgsUWo4WInvCvWlO5ZJGZC6zchTmJrBm3arRCOjShWVpXTFYR-KmVwGdbmoHtJaku2g3_Dogev0pPf8WWXDi4YdPWjNbZpEggYo91ZzsuUDjdvTScuo/s320/P1060826+final.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Roca con un único motivo (foto en 2011: Philippe Costa)</span></td></tr>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">El motivo más repetido se compone de los círculos concéntricos, con o sin punto en el centro. Los demás motivos son no-figurativos en su mayoría, aunque existe algunas representaciones que podrían ser interpretadas como zoomorfos o antropomorfos muy estilizados. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrnnRPD2dRQljcqokDJniydATIaJIbm8pNCK736h31XE4bo7QSj12-D4SCyNQlKBvLKbRyc8Xarvsiry02A8J3P4IXUeNspc2CRCpjn9DYSDzV0YIopG1dg83y0_VDMPAVVYtz1WrTrKg8/s1600/P1060816+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="960" data-original-width="1280" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrnnRPD2dRQljcqokDJniydATIaJIbm8pNCK736h31XE4bo7QSj12-D4SCyNQlKBvLKbRyc8Xarvsiry02A8J3P4IXUeNspc2CRCpjn9DYSDzV0YIopG1dg83y0_VDMPAVVYtz1WrTrKg8/s320/P1060816+%255B50%2525%255D.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Posible representación estilizada de la cara de un zoomorfo (foto en 2011: Philippe Costa)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs3bDQ586CoYlvY83hokeAXO8piWiV3R9nG4iazByAptqmuYH_w98QK-LSgaCptk3BFmWpniKKNiOy-B0cfrSlMvK_oGKOlIZVVvCI_594P-qmX_10uhsjiQuu7hjSYgPGuuHPmBqP9y-8/s1600/P1060801.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs3bDQ586CoYlvY83hokeAXO8piWiV3R9nG4iazByAptqmuYH_w98QK-LSgaCptk3BFmWpniKKNiOy-B0cfrSlMvK_oGKOlIZVVvCI_594P-qmX_10uhsjiQuu7hjSYgPGuuHPmBqP9y-8/s320/P1060801.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Posible representación de un antropomorfo con la mano levantada (foto en 2011: Philippe Costa)</span></td></tr>
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<b><span lang="ES" style="font-family: Arial, sans-serif; font-size: 12pt;">Bibliografía:</span></b><span lang="ES" style="font-family: Arial, sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
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<span lang="ES" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: ES; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">Costa,
Philippe. 2013. “Concentraciones de Sitios Rupestres En El Oriente de El
Salvador: Análisis e Interpretaciones.” In <i>XXVI Simposio de Investigaciones
Arqueológicas En Guatemala</i>, 2012:385–96. Ciudad de Guatemala: Museo
Nacional de Arqueología y Etnología.<o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span>PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comLa Unión, El Salvador13.3323464 -87.850064413.2705449 -87.930745399999992 13.3941479 -87.7693834tag:blogger.com,1999:blog-1079642572141086164.post-8652849479287153562020-04-15T09:35:00.001-07:002020-04-15T10:31:23.981-07:00Cerro Corobán<div class="separator" style="clear: both; text-align: justify;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">En el Oriente de El Salvador, antes de llegar a los confines del norte del país y la cordillera de Nahuaterique, una primera cadena montañosa se compone del Cerro Corobán. En la cumbre, a 930 msnm, yace un asentamiento prehispánico y un sitio rupestre.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9ho7sYHC8svXiyjlP0_xbtyoyE0c7WVJ92H3lSfLgSPOY0kg0cxZSfYcZZOPAIhuWGCn1u8D-aC8B_g-D_NWFyAkcADMEPc2OwcHHKjm5rXgpAAzte9uqZ8bcFDUr1bada2zEYSxqpva-/s1600/P1050631+final.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="644" data-original-width="1600" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9ho7sYHC8svXiyjlP0_xbtyoyE0c7WVJ92H3lSfLgSPOY0kg0cxZSfYcZZOPAIhuWGCn1u8D-aC8B_g-D_NWFyAkcADMEPc2OwcHHKjm5rXgpAAzte9uqZ8bcFDUr1bada2zEYSxqpva-/s640/P1050631+final.JPG" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista de las laderas escarpadas del Cerro Corobán (foto en 2011: Philippe Costa)</span></td></tr>
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<a name='more'></a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">El yacimiento rupestre se ubica debajo del asentamiento, en una meseta intermedia. Desde el cerro se puede ver el abrigo pintado, pero la distancia no permite apreciar los motivos. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguO0t0xs0UCfsojCCwVTYmabOaBz80UXpBhyphenhyphenYXkfkFmUivIRQ5wmOXoR0s08Qc9pOnjXbiOKY6EK9kBQGv0ScKKQZw2831CaH9ZgeohVeH6Gbj6DWFLHS_T1gu9w5a7P6rN_GbqRZ03AKD/s1600/P1050579+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1280" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguO0t0xs0UCfsojCCwVTYmabOaBz80UXpBhyphenhyphenYXkfkFmUivIRQ5wmOXoR0s08Qc9pOnjXbiOKY6EK9kBQGv0ScKKQZw2831CaH9ZgeohVeH6Gbj6DWFLHS_T1gu9w5a7P6rN_GbqRZ03AKD/s320/P1050579+%255B50%2525%255D.JPG" width="240" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">La pared pintada está protegida por un techo natural reducido (foto en 2011: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Enfrente de la pared, al nivel del suelo, 5 depresiones fueron esculpidas, quizás para recibir algún liquido. En cuanto al panel, acoge 13 motivos y el color que predomina es el rojo, pero existe </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">también</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">una pintura policroma en rojo y azul. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRNG_x7rMIidf4d4WwwfJvqRRQzFmvtNDZIf_bdLt9xY813Jmp5NCuKgy0cA63p2GG2A2Ae_BLNJPZjaLDpqCyaNNvV8QRB8x07NJ8F1qBWBSX9-VFsPUjPNqIvNU0JjOxjEHBrWos85Ps/s1600/P1050551+final_yrd.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1600" data-original-width="1093" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRNG_x7rMIidf4d4WwwfJvqRRQzFmvtNDZIf_bdLt9xY813Jmp5NCuKgy0cA63p2GG2A2Ae_BLNJPZjaLDpqCyaNNvV8QRB8x07NJ8F1qBWBSX9-VFsPUjPNqIvNU0JjOxjEHBrWos85Ps/s320/P1050551+final_yrd.jpg" width="217" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Motivo complejo pintado en rojo, filtrado con DStretch yrd (foto en 2011: Philippe Costa)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvgcg24gNIVO4RfnvgnEVTPE4026n-mDL9bdgALJSA8obUo_2T0ZhC42wtaosBDSa5xfg1mmbPV_yRB5P5CBQknGEPfRrxfFan0pGjW6DStjjncaSLAR-GH5KadzwPtVXYpjgpetDrtnxU/s1600/P1050537+final.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="837" data-original-width="1318" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvgcg24gNIVO4RfnvgnEVTPE4026n-mDL9bdgALJSA8obUo_2T0ZhC42wtaosBDSa5xfg1mmbPV_yRB5P5CBQknGEPfRrxfFan0pGjW6DStjjncaSLAR-GH5KadzwPtVXYpjgpetDrtnxU/s320/P1050537+final.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Motivo en azul y rojo (foto en 2011: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Las pinturas fueron pintadas con pincel, aunque no se puede descartar el uso de los dedos para ciertos motivos. Se observan además dos impresiones de manos en negativo, de las cuales una es muy difícil de apreciar. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTvTNUnTvXP4F6E2QjJFKyIyGIrJihq4_H5FmUXhnsFbFIjYFgrepRR18DgzweVYyePh3xdfWofJtaP-9qeDk4qiB5xL6dEfewckQ6mmaw0NlOM5pWT71QtjtTtUEc4e8o7fZMd9ooWl5R/s1600/P1050554+final.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1600" data-original-width="909" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTvTNUnTvXP4F6E2QjJFKyIyGIrJihq4_H5FmUXhnsFbFIjYFgrepRR18DgzweVYyePh3xdfWofJtaP-9qeDk4qiB5xL6dEfewckQ6mmaw0NlOM5pWT71QtjtTtUEc4e8o7fZMd9ooWl5R/s320/P1050554+final.JPG" width="181" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Motivo complejo pintado con pincel (foto en 2011: Philippe Costa)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj16mRvhax4vc8TKtd3qp35-efQM0dFpcdPYGChQ3kS_WTjMpnl2Eujj-30CSIkxEUMIUxGXaw3MtpsgnmFUKHusRBls9ylxuc3UXoA31Ch45U0-scMdkKJxs6kR-B3g2vcuXPP2imEslJN/s1600/P1050539+final_crgb.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1600" data-original-width="965" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj16mRvhax4vc8TKtd3qp35-efQM0dFpcdPYGChQ3kS_WTjMpnl2Eujj-30CSIkxEUMIUxGXaw3MtpsgnmFUKHusRBls9ylxuc3UXoA31Ch45U0-scMdkKJxs6kR-B3g2vcuXPP2imEslJN/s320/P1050539+final_crgb.jpg" width="192" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Mano izquierda en negativo, filtrado con DStretch crgb (foto en 2011: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Analisis en laboratorio han permitido determinar la naturaleza fisico-quimica de los pigmentos utilizados. El pigmento rojo es un ocre (arcilla rica en óxido de hierro) y el azul es Azul Maya (pigmento orgánico a base añil). El uso de este pigmento en esta región no puede ser anterior al Clásico Tardío (625-900 d.C.). Por la ubicación defensiva del Cerro Corobán, se propuso el Clásico Terminal (900-1000 d.C.) para la producción de las pinturas. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt; text-align: left;">Costa, Philippe. 2020. “Propuesta Cronológica de La
Producción Rupestre En El Salvador y Definiciones de Los Territorios y de Las
Fronteras Culturales En Tiempos Prehispánicos.” Cuadernos de Arte Prehistórico
9 (enero-junio 2020): 115–59. http://www.cuadernosdearteprehistorico.com/Archivo/.</span><br />
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<span lang="ES"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Touron, Stéphanie. 2016. “Resultados de Los Análisis de Pigmentos En Los Sitios Rupestres : Corobán (Morazán) y La Sirica (La Unión).” San Salvador, El Salvador.</span></span></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comLolotiquillo, El Salvador13.7259109 -88.088854913.7104859 -88.1090249 13.741335900000001 -88.068684900000008tag:blogger.com,1999:blog-1079642572141086164.post-36980683459793536562020-04-14T09:21:00.000-07:002020-04-15T02:21:26.530-07:00La Cueva del Duende (Piraera)<div class="separator" style="clear: both; text-align: justify;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">En la ladera de un cerro, la Cueva del Duende de Piraera domina el valle del Río Negro (Guarajambala), un afluente del Río Lempa, donde se conoce una especial concentración de yacimientos rupestres pocos estudiados. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista del cerro frente a la Cueva del Duende (foto en 2012: Simon Mercier)</span></td></tr>
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<a name='more'></a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">El abrigo rocoso que acoge las 5 pinturas de la Cueva del Duende se caracteriza por una pared vertical de 10 m de largo, 7 m de alto y apenas 2,30 m de profundidad; el techo del abrigo es muy reducido. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbotPYyMh5guqRodW6TwlfDPKHMFYmQ0jnsJRA-kDRwgQPBiFzkSI9LFewWSUTebqVeBPtWrHcDtYW3ADkVjYnIxG1MEEcANzsvkpnl0eZMJM2SjGIT8BTf7K9U9HiHLl3VDl6alfzPPIn/s1600/Cueva+Duende+1+final.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="938" data-original-width="1523" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbotPYyMh5guqRodW6TwlfDPKHMFYmQ0jnsJRA-kDRwgQPBiFzkSI9LFewWSUTebqVeBPtWrHcDtYW3ADkVjYnIxG1MEEcANzsvkpnl0eZMJM2SjGIT8BTf7K9U9HiHLl3VDl6alfzPPIn/s640/Cueva+Duende+1+final.JPG" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista de la pared vertical de la Cueva del Duende (foto en 2012: Éric Gelliot)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Las 5 pinturas, plasmadas a una altura promedia de 2,80 m, no miden más de 30 cm. Solo dos están representadas una a la par de la otra, las demás siendo repartidas por diversos lugares. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Grupo de 2 pinturas (foto en 2012: Éric Gelliot)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">El único color empleado es el rojo. La gran similitud entre las pinturas, tanto al nivel de la técnica, como del tema, ya que 4 de las 5 son zoomorfas, hacen pensar en un único momento de producción rupestre. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Representación de un zoomorfo (foto en 2012: Éric Gelliot)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Representación de un zoomorfo, filtrado con DStretch yrd (foto en 2012: Éric Gelliot)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Los análisis en laboratorio de la naturaleza físico-química del pigmento rojo permitió determinar que se trata de ocre (arcilla rica en óxido de hierro). </span></div>
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Gelliot, Éric, Philippe Costa, Didier Fautsch, Soizic Gibeaux, Simon Mercier,
Sébastien Perrot-Minnot, and Stéphanie Touron. 2014. “Informe Final Del
Proyecto Arqueológico Lempira 2012.” Tegucigalpa, Honduras.</span><o:p></o:p></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comErandique, Honduras14.2376109 -88.46703219999999114.2068289 -88.507372699999991 14.2683929 -88.426691699999992tag:blogger.com,1999:blog-1079642572141086164.post-17292755974164047262020-04-14T08:31:00.001-07:002020-04-15T02:21:00.795-07:00La Cueva Pintada (San Francisco)<div class="separator" style="clear: both; text-align: justify;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Las Montañas del Sur del departamento de Lempira, en los confines meridionales de Honduras, esconden numerosas riquezas arqueológicas escasamente estudiadas, en particular, espectaculares yacimientos rupestres. Es el caso la Cueva Pintada de San Francisco, con sus pinturas ostentando motivos de los códices Mixteca-Puebla. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista de las Montañas del Sur, a la frontera con El Salvador (foto en 2012: Éric Gelliot)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">El abrigo rocoso mide 35 m de largo, 8 m de profundidad y 3,50 m de alto. Las pinturas se concentran en la parte central del abrigo, pero otros paneles fueron aprovechados a lo largo de 15 m. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista del abrigo rocoso (foto en 2012: Éric Gelliot)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Unas 40 pinturas fueron plasmadas, aunque la cantidad exacta es difícil de determinar por su estado de conservación. El rojo predomina, pero se utilizó también el color amarillo, anaranjado, negro y azul.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Cabeza de serpiente policroma (rojo, amarillo y azul) (foto en 2012: Éric Gelliot)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Entre las pinturas, se pudieron observar superposiciones; pinturas zoomorfas, de tamaño inferior a 30 cm, están cubiertas por otras pinturas más grandes, con motivos mesoamericanos característicos (serpiente emplumada, jaguar). </span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Motivo zoomorfo amarillo, parcialmente cubierto por un motivo más tardía, filtrado con DStretch yrd <br />(foto en 2012: Éric Gelliot) </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Motivo de serpiente emplumada, los cambios de orientaciones de los paneles fueron aprovechados<br />para dar movimiento a la representación (foto en 2012: Éric Gelliot)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">El motivo central, y el más detallado, en el centro de la concentración mayor de manifestaciones rupestres, es un jaguar. Denota la influencia del estilo Mixteca-Puebla, difundido durante el Posclásico Tardío (1200-1537 d.C.).</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Motivo de jaguar, filtrado con DStrectch yrd (foto en 2012: Éric Gelliot)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Análisis en laboratorio, de la naturaleza físico-química de los pigmentos, permitieron determinar la presencia de ocre (arcillas ricas en óxido de hierro) para los colores rojo y amarillo, óxido de manganeso para el color negro y Azul Maya (pigmento orgánico a base de añil) para el azul. Este último pigmento se utilizaba también en lo códices Mixteca-Puebla. </span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span lang="ES" style="font-family: "arial" , sans-serif;">Bibliografía:</span></b><b><span lang="ES"><o:p></o:p></span></b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="ES" style="font-family: "arial" , sans-serif;">
Gelliot, Éric. 2019. “Las Serpientes y El Jaguar, Influencias Mixteca-Puebla En
El Arte Rupestre Hondureño: La Cueva Pintada de San Francisco Lempira.” </span><span style="font-family: "arial" , sans-serif;">Mexicón 41 (5): 133–39.</span><o:p></o:p></span></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comErandique, Honduras14.2376109 -88.46703219999999114.2068289 -88.507372699999991 14.2683929 -88.426691699999992tag:blogger.com,1999:blog-1079642572141086164.post-77666629855947617932020-04-13T05:01:00.001-07:002020-04-15T02:20:26.633-07:00El Letrero (Ahuachapán)<br />
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<span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Al pie de un cerro, a proximidad de un río y con un manantial saliendo de un hoyo, en medio de la pared, el grandioso abrigo del Letrero combina varios elementos naturales destacados por los grupos prehispánicos. </span></span></div>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista del Río Iztaguapa en 2008 (foto: Ligia Manzano)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">La superficie y la altura del abrigo, de toba volcánica, son impactante, al entrar en el espacio rodeado de vegetación; 44 m de largo, 12 m de profundidad y 14 m de alto. </span></div>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista de la pared del abrigo en 2008 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Los grabados se encuentran hasta una altura de 4 m; para alcanzar esta altura, los ejecutantes se subieron a rocas desprendidas del techo del abrigo. La parte más densamente grabada se desarrolla a proximidad del manantial.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdwdXegBtTRwYTTIiwpPBx7a0Zh4YdORHvuQYcZ2P6JiIevsoacRxf44peVf1BOC8hK_-896uRMkPRAriEjKbg9mtwsZgr53IzvbAks_tL6XYtaHeI8o56Kl9edmz9tUKbaKCl4kmb2AA2/s1600/PICT0439+final.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="678" data-original-width="1600" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdwdXegBtTRwYTTIiwpPBx7a0Zh4YdORHvuQYcZ2P6JiIevsoacRxf44peVf1BOC8hK_-896uRMkPRAriEjKbg9mtwsZgr53IzvbAks_tL6XYtaHeI8o56Kl9edmz9tUKbaKCl4kmb2AA2/s640/PICT0439+final.JPG" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Parte central del panel grabado en 2008 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Los motivos son variados y parece haber, por lo menos, dos grandes etapas en la producción rupestre; una primera con un conjunto de grabados figurativos y no-figurativos, inferiores a 30 cm. La segunda etapa consiste en motivos figurativos de tamaño superior a 80 cm. Dentro de ellos, se reconocen figuraciones de Tlaloc, de la serpiente emplumada y una posible escena de sacrificio. </span></div>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Representaciones de vulvas, asociación con la fertilidad (foto en 2008: Philippe Costa)</span></td></tr>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Círculos concéntricos (foto en 2008: Philippe Costa)</span></td></tr>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Cabeza de serpiente emplumada (foto en 2008: Philippe Costa)</span></td></tr>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Personaje de perfil realizando un sacrificio (foto en 2008: Philippe Costa)</span></td></tr>
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<span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">La iconografía de las grabados de tamaño superior es posterior a la primera etapa de producción rupestre. En estos motivos, denota la influencia de los grupos Nahuas-Pipiles instalados en El Salvador desde el Posclásico Temprano (900-1200 d.C.).</span></span></div>
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Costa, Philippe. 2018. “Las Influencias Mexicanas En La Iconografia Rupestre
Del Posclásico En El Salvador y Sus Alrededores.” Mexicón XL (4): 104–10.
https://www.academia.edu/38511603/Las_influencias_mexicanas_en_la_iconografía_rupestre_del_Posclásico_en_El_Salvador_y_sus_alrededores.</span></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comDépartement d'Ahuachapán, El Salvador13.9259486 -89.84113819999998913.8643016 -89.921819199999987 13.9875956 -89.760457199999991tag:blogger.com,1999:blog-1079642572141086164.post-23114558250568707662020-04-13T03:26:00.001-07:002020-04-20T08:04:58.309-07:00Corinto (Cueva del Espiritu Santo)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">En la cordillera de Nahuaterique, en los confines noreste de El Salvador, el paisaje montañoso esconde numerosos tesoros arqueológicos. Al acercarse de Corinto, nada anuncia, ni se puede esperar, descubrir tan impresionante formación geológica. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista del paisaje al llegar a Corinto en 2010 (foto: Stéphanie Touron)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">La belleza natural de Corinto debe haber impactado profundamente las poblaciones prehispánicas. El abrigo mide más de 32 m de largo, 10,5 m de alto y 22 m de profundidad; estas dimensiones permitía acoger grupos grandes de individuos para fines rituales. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista del abrigo de Corinto en 2010 (foto: Stéhanie Touron)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Es un yacimiento rupestre único en el país, por la cantidad de pinturas, cerca de 200, de las cuales 14 miden más de 1 m. El color predominante es el rojo, pero se observan también pinturas de color amarilla, </span><span style="font-size: large;">anaranjada, </span><span style="font-size: large;">negra, </span><span style="font-size: large;">blanca, y verde. Algunos grabados fueron plasmados en la época Colonial, como cruces latinas. </span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Vista de un grupo de pinturas de colores rojo y amarillo en 2010 (foto: Stéphanie Touron)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Cruz latina incisa de la época Colonial (foto en 2010 : Stéphanie Touron)</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Todas las técnicas de pinturas rupestres conocidas en El Salvador fueron utilizadas, el delineado, la tinta plana, manos en positivo, en negativo. Se utilizaron pinceles, y no se puede descartar el uso directo de los dedos. Se observan superposiciones entre algunas pinturas y algunas están realizadas en policromía. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Pareja de personaje en amarillo pintados sobre un personaje en rojo, filtrado con DStrectch lab</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">(foto en 2010: Stéphanie Touron)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Mano en negativo roja y mano en positivo amarilla en 2010 (foto: Stéphanie Touron)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Tradicionalmente, se atribuye las pinturas de Corinto a grupos nomadas del periodo Paleoindio (11500-8000 a.C.), sin embargo, en Centra América, no se pudo atribuir formalmente ningún sitio rupestre a épocas tan antiguas. En cambio, el resultado de sondeos arqueológicos, llevado a cabo dentro del abrigo de Corinto, permitió encontrar material cerámico de varias épocas, con una clara predominancia del Clásico Tardío (600-900 d.C.). Por la difusión muy localizada de esta tradición rupestre, hemos propuesto de atribuir las pinturas de Corinto a los grupos Cacaopera que llegaron en la zona durante el Clásico Tardío. </span></div>
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<b><span lang="ES" style="font-family: "arial" , sans-serif;">Bibliografía:</span></b><b><span lang="ES"><o:p></o:p></span></b></div>
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<span lang="ES" style="font-family: "arial" , sans-serif;"><br />
Costa, Philippe. 2020. “Propuesta Cronológica de La Producción Rupestre En El
Salvador y Definiciones de Los Territorios y de Las Fronteras Culturales En
Tiempos Prehispánicos.” Cuadernos de Arte Prehistórico 9 (enero-junio 2020):
115–59. http://www.cuadernosdearteprehistorico.com/Archivo/.</span><span lang="ES"><o:p></o:p></span></div>
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Lerma Rodríguez, Félix Alejandro. 2014. “Presencias En La Roca: El Arte
Rupestre de La Gruta Del Espíritu Santo, El Salvador.” </span><span style="font-family: "arial" , sans-serif;">Universidad Nacional Autóno
de México.</span><o:p></o:p></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comCorinto, El Salvador13.8089313 -87.969007413.7935118 -87.989177399999988 13.8243508 -87.9488374tag:blogger.com,1999:blog-1079642572141086164.post-38310891820346539592020-04-12T08:05:00.004-07:002020-04-15T02:19:32.361-07:00Bombil Pec<div style="text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">En las Tierras Altas de Guatemala, se conocen pocas cuevas con manifestaciones rupestres, quizás debido a un interés más pronunciado de los investigadores, en trabajar en las Tierras Bajas. Bombil Pec es un ejemplo de estas escasas cuevas con pinturas.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrnBX2hpggvqpoegNBrpA6UcXlhjdnAOVpJAo5Lpyk1HvTkGM8rm-0A4eDFh0uu19lBTeCFag6Ah8SgJ6vOXZqKR1I0slTmm5HpiRK4yz5MTzUKxi3QZKd8PGa7kyOoOsrglDTH46YSyFu/s1600/PICT5763.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrnBX2hpggvqpoegNBrpA6UcXlhjdnAOVpJAo5Lpyk1HvTkGM8rm-0A4eDFh0uu19lBTeCFag6Ah8SgJ6vOXZqKR1I0slTmm5HpiRK4yz5MTzUKxi3QZKd8PGa7kyOoOsrglDTH46YSyFu/s640/PICT5763.JPG" width="480" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Entrada de la cueva de Bombil Pec (foto en 2004: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Al entrar en la cueva, con sus más de 50 m de alto, se siente una cierta humildad frente a tanta grandeza. El acceso a las pinturas no es menos impresionante; se tiene que cruzar dos gateras.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista de una de las gateras (foto: Rocio Araujo)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Las pinturas se componen de 4 figuras muy esquématicas, 2 monos, 2 felinos y otra figura dificil de reconocer, de unos 20 cm. Se pueden observar desde un balcón natural en altura, </span><span style="font-size: large;">donde caben a penas 3 personas sentada,</span><span style="font-size: large;"> </span><span style="font-size: large;">en la entrada de una sala subterránea inmensa.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista de las pinturas del Bombil Pec (foto en 2004: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">El uso más importante de las cuevas de la zona es durante el Clásico Temprano (300-600 d.C.). </span><br />
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<b><span lang="ES" style="font-family: "arial" , sans-serif;">Bibliografía:</span></b><b><span lang="ES"><o:p></o:p></span></b></div>
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<span lang="ES" style="font-family: "arial" , sans-serif;">
Carot, Patricia. 1989. Arqueología de Las Cuevas Del Norte de Alta Verapaz.
Cuadernos de Estudios Guatemaltecos. México D.F.: CEMCA. https://books.openedition.org/cemca/5620.</span><span lang="ES"><o:p></o:p></span></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comCobán, Guatemala15.4650586 -90.3842526999999915.4038441 -90.464933699999989 15.526273100000001 -90.303571699999992tag:blogger.com,1999:blog-1079642572141086164.post-72255141660929067662020-04-12T01:32:00.000-07:002020-04-20T07:48:44.153-07:00Naj Tunich<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Si las cuevas jugaban, y todavía juegan, un papel mayor en la cosmovisión Maya, la gruta de Naj Tunich debe haber sido lo que más encarnaba Xibalbá para ellos; el inframundo, el mundo subterráneo. Muchas cuevas son conocidas en el área Maya, con vestigios de rituales y a veces de arte rupestre, pero hasta el día, ninguna como Naj Tunich. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Vista de la entrada de Naj Tunich, con los "Balcones", terrazas artificiales, dentro de la cueva (foto en 2008: Philippe Costa)</span></td></tr>
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<a name='more'></a>Naj tunich se compone de una entrada monumental, de 150 m de largo, 50 m de ancho y 10 m de alto. La amplia parte baja servía para acoger rituales públicos mayores y en la parte superior, se arreglaron dos terrazas, con muros de mampostería, que podían recibir cientos de personas. Allí se encuentran además los vestigios de 7 tumbas. Este espacio conoció un uso ritual intensivo desde el Preclásico Tardío (500 a.C.-200 d.C.).<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Representación de los personajes principales del Popol Vuh, Hunahpu y Xbalanque en el sistema de túneles de Naj Tunich (foto en 2008: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: large; text-align: justify;">Por el último nivel del Balcón, se accede por una entrada al sistema de túneles donde se encuentra la mayoría de las manifestaciones rupestres. El corpus de Naj Tunich es, hasta la actualidad, la más grande colección de representaciones rupestres del Clásico Tardío (600-900 d.C.) del área Maya. Se contabilizarón 94 motivos, los cuales incluyen pinturas, grabados, huellas de manos y de pies. </span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Texto jeroglífico con más de 30 glifos (foto en 2013: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Entre las pinturas, las inscripciones jeroglíficas son la mayoría; según los investigadores, unas 50 inscripciones incluían un total de 500 jeroglíficos. Se conocen también 7 grabados, incluyendo antropomorfos, zoomorfos y glifos. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Grabado de dos rostros (foto en 2013: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Algunos motivos presentan un nivel de detalle remarcable, en comparación con el tamaño de las representaciones. Los ejecutantes eran artistas confirmados, se adelantó la idea que eran escribanos. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Personaje realizando un ritual, el ancho de la pintura es de 10 cm (foto en 2013: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">En uno de los lugares más profundos de la cueva, en un charco casi-seco de arcilla, un personaje dejó las huellas de sus pies. No hace duda que estas huellas son antiguas y fueron hechas a propósito. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Huellas de pie dibujando un camino en un charco de arcilla (foto en 2008: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Después de actos de vandalismos que ocurrieron en 1988, el sistema de túneles está cerrado al público. Sin embargo, una copia de algunas de las pinturas se puede visitar en otra cueva a proximidad de la original. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Copias las pinturas presentadas en una cueva a proximidad de la original (foto en 2008: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Los estudios más recientes permitieron determinar, por medio de análisis en laboratorio, que los pigmentos de las pinturas originales son compuestos de negro de hueso (hueso calcinado molido) y ocres (arcillas ricas en óxido de hierro). </span></div>
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<b><span style="font-family: "arial" , sans-serif;">Bibliografía:</span><o:p></o:p></b></div>
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<a href="https://es.wikipedia.org/wiki/Naj_Tunich">https://es.wikipedia.org/wiki/Naj_Tunich</a></span><o:p></o:p></div>
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<span lang="ES" style="font-family: "arial" , sans-serif;"><br />
Brady, James E. 1991. “La Arqueología de La Cueva de Naj Tunich: Patrones de
Utilización Ritual.” In II Simposio de Investigaciones Arqueológicas En
Guatemala En 1988, 179–86. Ciudad de Guatemal: Museo Nacional de Arqueología y
Etnología.</span><span lang="ES"><o:p></o:p></span></div>
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<span lang="ES" style="font-family: "arial" , sans-serif;"><br />
Costa, Philippe. 2009. “Diagnóstico Del Estado de Conservación de Las
Manifestaciones Gráficas Rupestres De la Cueva de Naj Tunich, Poptún, Petén,
Guatemala.” </span><span lang="EN-GB" style="font-family: "arial" , sans-serif;">Guatemala Ciudad.</span><span lang="EN-GB"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "arial" , sans-serif;"><br />
Stone, Andrea. 1995. Images from the Underworld: Naj Tunich and the Tradition
of Maya Cave Painting. </span><span lang="ES" style="font-family: "arial" , sans-serif;">Austin, USA: University of Texas Press.</span><span lang="ES"><o:p></o:p></span></div>
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<span lang="ES" style="font-family: "arial" , sans-serif;"><br />
Stone, Andrea. 1991. “Las Pinturas y Petroglifos de Naj Tunich, Petén.” In II
Simposio de Investigaciones Arqueológicas En Guatemala, 187–201. </span><span style="font-family: "arial" , sans-serif;">Guatemala Ciudad, Guatemala:
Museo Nacional de Arqueología y Etnología.</span><o:p></o:p></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comPoptún, Guatemala16.3279338 -89.422196716.2669828 -89.5028777 16.3888848 -89.3415157tag:blogger.com,1999:blog-1079642572141086164.post-64628595312053934852020-04-04T10:11:00.000-07:002020-04-15T02:18:20.516-07:00El Obispo<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">En las faldas del volcán Suchitán, en la Tierras Altas del Oriente, con vista al lago de Güija en El Salvador ubicado a 30 km al sureste, la roca al aire libre del Obispo presenta un antropomorfo de frente, de tamaño humano, en una postura solemne las manos hacia arriba.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista desde las faldas del volcán Suchitán hacia el lago de Güija en 2010 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; text-align: justify;">La roca escogida ofrece una superficie vertical, plana y amplia, propicia para el motivo que se queria plasmar en ella. Las dimensiones del panel grabado son de 1,75 m por 2,45 m de alto y el tamaño del personaje es de 1,66 m de alto por 1,05 m de ancho.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdKecUMdqSXqQU83ziwumYoydGH44vs6lX2gl0k5kg11eDYvnBY7sxSf9VbP65nYIry99BjwsdkZne9lcQIQLJ6KiO2d84jbCXE5V1Lvozc_0YPzbAzSrtH5vgZhrs7rQ_pV5Y0vrX4mIM/s1600/IMG_5362+final+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1111" data-original-width="1009" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdKecUMdqSXqQU83ziwumYoydGH44vs6lX2gl0k5kg11eDYvnBY7sxSf9VbP65nYIry99BjwsdkZne9lcQIQLJ6KiO2d84jbCXE5V1Lvozc_0YPzbAzSrtH5vgZhrs7rQ_pV5Y0vrX4mIM/s400/IMG_5362+final+%255B50%2525%255D.JPG" width="362" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista del Obispo en 2010 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Según la descripción del cronista Garcia de Palacio en el siglo XVI, los sacerdotes pipiles (Tecti) traian en la cabeza una diadema y a veces mitra labrada con manojos de plumas de quetzales. El nombre del yacimiento proviene de la asociación del personaje a un obispo, con mitra. En realidad, se trata sin duda de un sacerdote pipil. Por esta razón, se puede atribuir la escultura al Posclásico (1000 - 1524 d.C.).</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Parte superior del Obispo filtrado con DStretch (yre) (foto en 2010: Pihlippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">El sacerdote lleva 4 cabezas de perfil de animales diferentes, 2 en ambos lados de la cabeza y 2 en ambos lados de las caderas. En estos motivos, se reconocen jaguares y serpientes. El estado de conservación de la roca es crítico, numerosas incisiones (grafiti) cubren el grabado.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Motivo de cabeza de serpiente, a la derecha de la cabeza del sacerdote, filtrado con DStretch (lds)<br />(foto en 2010: Philippe Costa)</span></td></tr>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Motivo de cabeza de jaguar, a la izquierda de la cadera del sacerdote, filtrado con DStretch (lab)<br />(foto en 2010: Philippe Costa)</span></td></tr>
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<b><span lang="ES" style="color: black; font-family: "Arial",sans-serif; mso-ansi-language: ES;">Bibliografía:</span></b><b><span lang="ES" style="color: black; mso-ansi-language: ES;"><o:p></o:p></span></b></div>
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<span lang="ES" style="color: black; font-family: "Arial",sans-serif; mso-ansi-language: ES;"><br />
Costa, Philippe. 2018. “Las Influencias Mexicanas En La Iconografia Rupestre
Del Posclásico En El Salvador y Sus Alrededores.” Mexicón XL (4): 104–10.
https://www.academia.edu/38511603/Las_influencias_mexicanas_en_la_iconografía_rupestre_del_Posclásico_en_El_Salvador_y_sus_alrededores.</span><span lang="ES" style="color: black; mso-ansi-language: ES;"><o:p></o:p></span></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comJutiapa, Guatemala14.2744501 -89.87857650000000814.151345099999999 -90.039938 14.3975551 -89.71721500000001tag:blogger.com,1999:blog-1079642572141086164.post-13718870952324401172020-04-04T05:24:00.001-07:002020-04-15T02:17:53.630-07:00El Pedregal<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Esta sabana de casi 100 hectáreas, ubicada en las faldas del volcán Orosí, con vista al lago de Nicaragua por un lado y al océano Pacifico por el otro, con sus miles de rocas tiradas al azar de erupciones volcánicas, ofrece un escenario espectacular donde cientos de rocas fueron grabadas. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista del volcán Orosí con las innumerables rocas en sus faldas en 2019 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; text-align: justify;">Las rocas escogidas para acoger las manifestaciones rupestres son de tamaño variados, una de las más grandes mide 5,20 m de largo, 4,30 de ancho y 2,10 m de alto; sin embargo, la mayoría no sobrepasa 2 m de largo, 1 m de ancho y 1 m de alto. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdBa7Fs0beJHi04iNo-uqJFWZSVaZSbCsI-k8AGjHy1NJI9yE93x8S919e_XaJ8XCJ0YRaNAoWarRgq4NZ6rybA-tzGAVFouJFgLHpqjFkwC2SvqQhaUrofS8KAJNgvRlIrcdA7Jh7K2c3/s1600/DSC04087+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdBa7Fs0beJHi04iNo-uqJFWZSVaZSbCsI-k8AGjHy1NJI9yE93x8S919e_XaJ8XCJ0YRaNAoWarRgq4NZ6rybA-tzGAVFouJFgLHpqjFkwC2SvqQhaUrofS8KAJNgvRlIrcdA7Jh7K2c3/s400/DSC04087+%255B50%2525%255D.JPG" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista de la roca con grandes dimensiones, en el centro de la concentración más importante de rocas del Pedregal<br />(foto en 2019: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">El sitio Pedregal parece representa la mayor concentración de rocas grabadas al aire libre de Costa Rica, y una de las principales en Centroamérica. La iconografía indica una larga producción de manifestaciones rupestres, quizás desde el periodo Tempisque (500 a.C. - 300 d.C.) hasta los periodos Ometepe (800 - 1530 d.C.). Algunos motivos aislados atestiguan de una influencia mesoamericana, correspondiente con los periodos más recientes, en embrago, la mayoría llevan una iconografía local, sin duda más antigua. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3qAkfgV0lDvd5h4t2q8APEhUusnpkxk_D5j6Yoerm7V3MWhukUBs-u2rw2w_yrrbDZOw-VZM6Ht_UO91qTMp_IXAhRm0BjklEyJSpvS6EztB-oJz1TxVkIyEBXTExv0kTZn4cI0eOUilw/s1600/DSC01612+final+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3qAkfgV0lDvd5h4t2q8APEhUusnpkxk_D5j6Yoerm7V3MWhukUBs-u2rw2w_yrrbDZOw-VZM6Ht_UO91qTMp_IXAhRm0BjklEyJSpvS6EztB-oJz1TxVkIyEBXTExv0kTZn4cI0eOUilw/s320/DSC01612+final+%255B50%2525%255D.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Roca esculpida con una serpiente emplumada en 2019 (foto: Philippe Costa)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Grabados con iconografía local en 2019 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">La mayor parte de las manifestaciones rupestres representan motivos no-figurativos sin embargo, es posible observar también antropomorfos, zoomorfos y incluso un caso único de fitomorfo (planta de maíz). Todas las técnicas de grabados fueron utilizadas, aunque la más común es el picoteado asociado al raspado, el cual da como resultado un acabado liso al surco, existen ejemplos de incisiones.</span></div>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Antropomorfo de cuerpo entero en 2019 (foto: Philippe Costa)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiysjLRTzfeES40NMfnt01npjaTUGJqG7xPmImizMqprfNTg8iDh5l54fjRqteY7SUh_5PO5a91Lzl0FF2Eku_fLFOCw2m3900tZiUJ7Z28BI_ZF1FmySl6T8oC5lNqYRGYihpH0xD0D0aF/s1600/DSC_0361+final+%255B50%2525%255D+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1000" data-original-width="1504" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiysjLRTzfeES40NMfnt01npjaTUGJqG7xPmImizMqprfNTg8iDh5l54fjRqteY7SUh_5PO5a91Lzl0FF2Eku_fLFOCw2m3900tZiUJ7Z28BI_ZF1FmySl6T8oC5lNqYRGYihpH0xD0D0aF/s320/DSC_0361+final+%255B50%2525%255D+%255B50%2525%255D.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Ejemplo de grabado donde coexiste la técnica del picoteado-raspado y de la incisión <br />(foto en 2018: Philippe Costa)</span><br />
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<b><span style="font-family: "arial" , sans-serif;">Bibliografía:</span></b><o:p></o:p></div>
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<span style="font-family: "arial" , sans-serif;"><a href="https://es.wikipedia.org/wiki/El_Pedregal_(Costa_Rica)">https://es.wikipedia.org/wiki/El_Pedregal_(Costa_Rica)</a></span><o:p></o:p></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comGuanacaste, La Cruz, Costa Rica11.0708272 -85.630639611.0396607 -85.6709801 11.1019937 -85.5902991tag:blogger.com,1999:blog-1079642572141086164.post-82927811950063556522020-04-04T02:39:00.002-07:002020-04-20T08:15:30.547-07:00Piedra El Encanto<div style="text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">El tamaño impresionante de esta roca al aire libre, y el azar de la naturaleza que la dejó en equilibrio encima de las aguas cristalinas del río Góngora, no deja de impactar y de extrañar. A la vez, el panel inclinado, del lado opuesto al río, ofrecía una superficie idónea para acoger manifestaciones rupestres. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1bH0c9xnb2_v6ntN-VIoXtcsjrEJvfAk4dtbsYoapQaxnhvmeKRixrrYEYxDFNRJdXlljqyHcyeVRxToz9cwMbXhfvE7niwUTdm3Ip27h30LtlsLM6QS9kPHAUPRgrRFJg4MyA2RnytpH/s1600/Pano+1+%255B50%2525%255D+final+%255B50%2525%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="651" data-original-width="1600" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1bH0c9xnb2_v6ntN-VIoXtcsjrEJvfAk4dtbsYoapQaxnhvmeKRixrrYEYxDFNRJdXlljqyHcyeVRxToz9cwMbXhfvE7niwUTdm3Ip27h30LtlsLM6QS9kPHAUPRgrRFJg4MyA2RnytpH/s640/Pano+1+%255B50%2525%255D+final+%255B50%2525%255D.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista de la Piedra El Encanto en 2019 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; text-align: justify;">Las dimensiones del peñasco, de 6 m por 4,50 m de ancho y 4,50 de alto, destaca a lo largo de las riberas del río. Los grabados son profundos (hasta 3 cm) y anchos (hasta 4 cm). La parte alta de la roca es la más densamente grabada.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXKVB7PFNy8XHkdjD7R2aqjxC4Y5nZIw8VVy8hv0TS9np4KJo2huPlnP2-FEGTDv9ExzQIn8AC_Tb6TQ2cIzZiM4DWigUaAcL3dVbzOIYT-WuLxMN7GV39bT3xZOWJOngCss4K-an8iES0/s1600/DSC05072+final+%255B50%2525%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXKVB7PFNy8XHkdjD7R2aqjxC4Y5nZIw8VVy8hv0TS9np4KJo2huPlnP2-FEGTDv9ExzQIn8AC_Tb6TQ2cIzZiM4DWigUaAcL3dVbzOIYT-WuLxMN7GV39bT3xZOWJOngCss4K-an8iES0/s400/DSC05072+final+%255B50%2525%255D.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Principal panel grabado de la Piedra El Encanto en 2019 (foto: Philippe Costa)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0hZ_Fg3NjJAPqfDLnZnDYzObJLV6l1jbTir-YzR_JqU2GfGWLd5ahzEHzIQ6zFj8126a8_tw58w7tkcVg7AzZZPoG4L255NuC-c3T9lBqTdKGIUjM-DxOlyNJoRoNN4-mxi8bX43l7GUd/s1600/DSC05050+final+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0hZ_Fg3NjJAPqfDLnZnDYzObJLV6l1jbTir-YzR_JqU2GfGWLd5ahzEHzIQ6zFj8126a8_tw58w7tkcVg7AzZZPoG4L255NuC-c3T9lBqTdKGIUjM-DxOlyNJoRoNN4-mxi8bX43l7GUd/s400/DSC05050+final+%255B50%2525%255D.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Grabados de la parte superior en 2019 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Las manifestaciones rupestres incluyen motivos geométricos, pero también antropomorfos y una cruz concéntrica (cruz de Venus o cruz Kan), motivo que se conoce en Mesoamérica hasta en Venezuela. </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp-MTejd0f4CJeiVS-TzeKwFStMoWlM69ZCK5Pp6zOsCBzXBm70MSTFLxizdQ3skz6vXI-5J_T3nGpA4eZWkCU6Xhb5udruaZiJI9W0CNVdfjrRkcnG5cj4Z4mmLO1Fibk1yNn9caw2wYD/s1600/DSC05039+final+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp-MTejd0f4CJeiVS-TzeKwFStMoWlM69ZCK5Pp6zOsCBzXBm70MSTFLxizdQ3skz6vXI-5J_T3nGpA4eZWkCU6Xhb5udruaZiJI9W0CNVdfjrRkcnG5cj4Z4mmLO1Fibk1yNn9caw2wYD/s320/DSC05039+final+%255B50%2525%255D.JPG" width="240" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Representación de un antropomorfo con tocado en 2019 (foto: Philippe Costa)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT0onTltlCtimcGpMwH9ZymCqSTZQk3B23ux6YFUmfpqtF5QFlSjtK2WLlZh3wRHXYevy5UurN0KkMhFQ3IW9vDLrgBKr_sD3Tbp_6nUgG5BVVDq3TYtEda2rfqNp5f5vpI6a1A3EKUTrV/s1600/DSC05034+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT0onTltlCtimcGpMwH9ZymCqSTZQk3B23ux6YFUmfpqtF5QFlSjtK2WLlZh3wRHXYevy5UurN0KkMhFQ3IW9vDLrgBKr_sD3Tbp_6nUgG5BVVDq3TYtEda2rfqNp5f5vpI6a1A3EKUTrV/s320/DSC05034+%255B50%2525%255D.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Cruz concéntrica en 2019 (foto: Philippe Costa)</span></td></tr>
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<b><span lang="ES" style="font-family: "arial" , sans-serif;">Bibliografía:</span></b><b><span lang="ES" style="font-size: 13.5pt;"><o:p></o:p></span></b></div>
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<span lang="ES" style="font-family: "arial" , sans-serif; font-size: 7.5pt;"><br />
</span><span lang="ES" style="font-family: "arial" , sans-serif;">Herrera, Anayensis, and Dominique Ballereau. 2009. “El
Encanto: Retorno de Un Conjunto Rupestre (Costa Rica).” In Crónicas Sobre La
Piedra: Arte Rupestre En Las Américas, edited by Marcela Sepúlveda R., Luis
Briones M., and Juan Chacama R., 313–30. </span><span style="font-family: "arial" , sans-serif;">Arica.</span><span style="font-size: 13.5pt;"><o:p></o:p></span></div>
PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comGuanacaste, La Cruz, Costa Rica11.0708272 -85.630639611.0396607 -85.6709801 11.1019937 -85.5902991tag:blogger.com,1999:blog-1079642572141086164.post-21568826546314615762020-04-03T07:38:00.000-07:002020-04-15T02:16:38.648-07:00La Pintada de San José Villanueva<div style="text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">El yacimiento más emblemático de la Costa del Bálsamo de El Salvador, se encuentra a 6 km del mar Pacifico, al norte del parque Walter Deninger. La densidad y la calidad de los grabados reflejan la importancia del lugar para las poblaciones prehispánicas de la zona. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7ifh9yD4aT8timU47NhiHpJLY8vdmt6kzx92CvxPvmspMa99uBW6npuKXZuRPZxOVVJcnMHnqSf9SUWnkiK7Gl-JjoGAJsZypZcujFhL6ycswWXXiNQKeGJ6LKrNW1SH7TrSavFZ34f8w/s1600/La+pintada+San+Jos%25C3%25A9+Villanueva+final.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="671" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7ifh9yD4aT8timU47NhiHpJLY8vdmt6kzx92CvxPvmspMa99uBW6npuKXZuRPZxOVVJcnMHnqSf9SUWnkiK7Gl-JjoGAJsZypZcujFhL6ycswWXXiNQKeGJ6LKrNW1SH7TrSavFZ34f8w/s640/La+pintada+San+Jos%25C3%25A9+Villanueva+final.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista de la Pintada de San José Villanueva en 2007 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; text-align: justify;">El panel grabado de 4 m por 4 m está cubierto por grabados cuyos surcos son de un grosor y una profundidad muy similar. A pesar de la densidad, no se observan superposiciones lo que podría indicar que la obra fue realizada en una sola etapa de producción rupestre.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAMWksvFQ2bACl1ijzfaolC_WfPy2-q6claS9RO0leqozEipGVwDF25GbB1bC7-nBOHFUXPCLh4NJQ0ChWZ00vLSdekdyQ4Ux1ne0-BgRNc8hHDddtTaZo11t6WrOCT_MlG34DrrzX4tM7/s1600/PICT8469+final.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1179" data-original-width="1600" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAMWksvFQ2bACl1ijzfaolC_WfPy2-q6claS9RO0leqozEipGVwDF25GbB1bC7-nBOHFUXPCLh4NJQ0ChWZ00vLSdekdyQ4Ux1ne0-BgRNc8hHDddtTaZo11t6WrOCT_MlG34DrrzX4tM7/s400/PICT8469+final.JPG" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Los surcos son pintados regularmente para resaltar los motivos <br />(foto en 2007: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">La parte grabada es lisa y cóncava, lo que debió llamar la atención de los productores de los grabados, tanto parecía una superficie propicia, como un cuadro natural que solo esperaba la mano del hombre para recibir sus manifestaciones artísticas. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfhsdgMGFhIG0kmTuKPbVbizx2Z-NFH6VSDevYGJQbikHm9hL_cl-2QYJDtDPoC5gCrIVbMlKT-As6f9Y8iKlM7qF9LzZVwVqp4qx_URQ20uvylfRRG2MbyTRYAcQAngVsOjhHx0r09tXz/s1600/PICT8509+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1296" data-original-width="972" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfhsdgMGFhIG0kmTuKPbVbizx2Z-NFH6VSDevYGJQbikHm9hL_cl-2QYJDtDPoC5gCrIVbMlKT-As6f9Y8iKlM7qF9LzZVwVqp4qx_URQ20uvylfRRG2MbyTRYAcQAngVsOjhHx0r09tXz/s400/PICT8509+%255B50%2525%255D.JPG" width="300" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">El panel tiene una forma ligeramente cóncava, protegida por un saliente de la roca <br />(foto en 2007: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Es casi imposible afirmar indudablemente reconocer un solo motivo figurativo dentro del enredo de grabados. Sin embargo, el autor salvadoreño Barón Castro reconoció eventuales antropomorfos y un zoomorfo (pelicano) en 1942. Solo la identificación de los antropomorfos nos parece eventualmente acertada. Por lo demás, cada quien puede dejar volar su imaginación.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKvPPGdjE-CKtkElZa6LJRxC3qQRqOthKc7MfpTvNLhNEvIEuhwRXVfTr0JJIyPPewGtdGQ5wU0AdDr65_N2L29v8J2O6h4HIqFisrY3x6sY71zt6vyVNHNK53PeRVu9iswc3UMaV3uviT/s1600/A3b+total.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="502" data-original-width="793" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKvPPGdjE-CKtkElZa6LJRxC3qQRqOthKc7MfpTvNLhNEvIEuhwRXVfTr0JJIyPPewGtdGQ5wU0AdDr65_N2L29v8J2O6h4HIqFisrY3x6sY71zt6vyVNHNK53PeRVu9iswc3UMaV3uviT/s320/A3b+total.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Posibles antropomorfos (foto en 2007: Philippe Costa)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglsaBp4L53elWdhxYVysmlgU60I7Rkp96cg_nQVj7s1vNCm08JEPaYl6tXJ8TdchbCVdnYxgHFApc9Be_Cfs4fQX6hwi_vxa5rAAd6_bcZKozSPc2FMKKE6-tgY8ZXmgztys08kHZObpd6/s1600/PICT8504+final.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1076" data-original-width="1600" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglsaBp4L53elWdhxYVysmlgU60I7Rkp96cg_nQVj7s1vNCm08JEPaYl6tXJ8TdchbCVdnYxgHFApc9Be_Cfs4fQX6hwi_vxa5rAAd6_bcZKozSPc2FMKKE6-tgY8ZXmgztys08kHZObpd6/s320/PICT8504+final.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista de la parte central del panel grabado (foto en 2007: Philippe Costa)</span></td></tr>
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<span style="font-size: large;">La iconografia densa y no-figurativa recuerda otros sitios atribuidos a grupos Lencas de El Salvador, ubicados en el Centro y una parte del Oriente del país, durante el Clásico Tardío (625-900 d.C.).</span><br />
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<b><span lang="ES" style="color: black; font-family: "Arial",sans-serif; mso-ansi-language: ES;">Bibliografía:</span></b><span lang="ES" style="color: black; mso-ansi-language: ES;"><o:p></o:p></span></div>
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<b><span lang="ES" style="color: black; font-family: "Arial",sans-serif; font-size: 13.5pt; mso-ansi-language: ES;"><br />
</span></b><span lang="ES" style="color: black; font-family: "Arial",sans-serif; mso-ansi-language: ES;">Costa, Philippe. 2020. “Propuesta Cronológica de La
Producción Rupestre En El Salvador y Definiciones de Los Territorios y de Las
Fronteras Culturales En Tiempos Prehispánicos.” Cuadernos de Arte Prehistórico
9 (enero-junio 2020): 115–59.
http://www.cuadernosdearteprehistorico.com/Archivo/.</span><span lang="ES" style="color: black; mso-ansi-language: ES;"><o:p></o:p></span></div>
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<span lang="ES" style="color: black; font-family: "Arial",sans-serif; mso-ansi-language: ES;"><br />
Costa, Philippe, and Sébastien Perrot-Minnot. 2007. “Los Petrograbados de San
José Villanueva (Departamento de La Libertad, El Salvador).” In II Congreso
Centroamericano de Arqueología. San Salvador, El Salvador.</span><span lang="ES" style="color: black; mso-ansi-language: ES;"><o:p></o:p></span></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comSan José Villanueva, El Salvador13.5599587 -89.260975513.498222199999999 -89.341651 13.6216952 -89.1803tag:blogger.com,1999:blog-1079642572141086164.post-13897763047783737742020-04-02T03:01:00.001-07:002020-04-15T02:15:59.839-07:00El Farallón<div style="text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Impresionante acantilado, producto de la erosión del río Cabuyo sobre una toba volcánica muy friable, ubicado en las Llanuras del Norte, es el único yacimiento rupestre declarado Monumento Nacional en Costa Rica. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Pared grabada de El Farallón con su color blanco característico (foto en 2018: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">El Farallón es un paredón de 90 m de largo y 18 m de alto, donde los grabados cubren una porción de más de 22 m y se encuentran hasta una altura de más de 6 m. La cantidad aproximada de motivos es de 250. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Concentración de los grabados en la parte central en 2018 (foto: Philippe Costa)</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Las manifestaciones rupestres son muy variadas y existen superposiciones. Destacan depresiones profundas, caras de antropomorfos, zoomorfos, motivos geométricos, en particular cuadriculas rayadas, y la representación de un posible sol muy complejo.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNF3tJg-SKneDppvOx6RSGKUFCsH5_UP8HszwQ_qHtX948j_4vLyDxfvf4BXqbVhIbhqL_0DM2z_lp0WmDiXrzIWfJyoTXFFsym1zoIs9ZcgwfRUejvoNj73R9xdG_4yUgg2ZGAMlfm-vZ/s1600/DSC01969+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNF3tJg-SKneDppvOx6RSGKUFCsH5_UP8HszwQ_qHtX948j_4vLyDxfvf4BXqbVhIbhqL_0DM2z_lp0WmDiXrzIWfJyoTXFFsym1zoIs9ZcgwfRUejvoNj73R9xdG_4yUgg2ZGAMlfm-vZ/s320/DSC01969+%255B50%2525%255D.JPG" width="240" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Cara de un antropomorfo en 2018 (foto: Philippe Costa)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Dos zoomorfos en 2018 (foto: Philippe Costa)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Representación de un posible sol en 2018 (foto: Philipe Costa)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Cuadrículas rayadas en 2018 (foto: Philippe Costa)</span></td></tr>
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<b><span lang="ES" style="color: black; font-family: "Arial",sans-serif; mso-ansi-language: ES;">Bibliografía:</span></b><b><span lang="ES" style="color: black; mso-ansi-language: ES;"><o:p></o:p></span></b></div>
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<span lang="ES" style="color: black; font-family: "Arial",sans-serif; mso-ansi-language: ES;"><br />
Rojas Rojas, María Fernanda. 2010. “Propuesta de Interpretación Para El
Monumento Nacional El Farallón de Sandillal, Guanacaste, Costa Rica.” </span><span style="color: black; font-family: "Arial",sans-serif;">Université du Costa Rica.</span><span style="color: black;"><o:p></o:p></span></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comGuanacaste, Liberia, Costa Rica10.6345964 -85.440674710.5721744 -85.5213502 10.6970184 -85.3599992tag:blogger.com,1999:blog-1079642572141086164.post-59711856367972623902020-04-01T10:22:00.001-07:002020-04-20T08:09:05.359-07:00Cueva Pintada (Erandique)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Disimulado en los contrafuertes de la Cordillera del Sur de Honduras, en la cercanía de los pueblos Lencas de las montañas de Erandique, la Cueva Pintada interroga sobre la vida ritual de los pueblos prehispánicos de la región. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Acantilado de toba volcánica donde se encuentra la Cueva Pintada (foto en 2011: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; text-align: justify;">El acantilado de 15 m de altura y 20 m de largo se abre en su centro dando lugar a un manantial que tiene agua todo el año. La presencia de esta fuente perpetua, insertada en un paisaje grandioso, impacto sin dudas los pobladores antiguos. Todavía, la gente tiene respeto al sitio y se aconseja no pasar por allí de noche. Cuentan que es un lugar sagrado que era secreto donde había ceremonias. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Vista de la fuente en medio del acantilado, las pinturas están alrededor de la falla en 2011 </span><br style="font-family: "helvetica neue", arial, helvetica, sans-serif;" /><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">(foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: large; text-align: justify;">Las 4 pinturas en tono rojo representan un zoomorfo, un posible sol, y otros motivos menos bien conservados, quizas circulos concentricos y otro zoomorfo. Las manifestaciones rupestres se encuentran aisladas a una altura de 5 m. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Fotografía de un zoomorfo filtrado por DStretch (crgb) (foto en 2011: Philippe Costa)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Posible representación de un sol en 2011 (foto: Philippe Costa)</span></td></tr>
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<b><span style="font-family: "arial" , sans-serif;">Bibliografía:</span><o:p></o:p></b></div>
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<span style="font-family: "arial" , sans-serif;">Gelliot, Éric, Philippe Costa, Simon Mercier, and Sébastien
Perrot-Minnot. 2011. “Informe Final Del Proyecto Arqueológico Lempira 2011.”
Tegucigalpa, Honduras.</span><o:p></o:p></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comErandique, Honduras14.2376109 -88.46703219999999114.2068304 -88.5073697 14.2683914 -88.426694699999985tag:blogger.com,1999:blog-1079642572141086164.post-27865423184902648412020-04-01T07:51:00.001-07:002020-04-15T02:15:00.020-07:00Piedras Pintadas<div style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Numerosos afloramientos rocosos </span><span style="font-size: large;">prominentes</span><span style="font-size: large;"> están diseminados sobre cerca de 25 hectáreas, al borde este de la cordillera Chontaleña. El conjunto es uno de los sitios rupestres más relevantes de Nicaragua por la cantidad de grabados.</span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl64Xr9L3aBzuXjqBvnzO3HRdFFR0JCs0ROlTdAuTwnbKqd14Q1vRsf2-vKIAjQJItByCRJAwNJAGADpoxjhH82liz5V5tlf0gTygZLhKXbdrbahq_FiSVMSfHZecbQiemIeZGuMBLpSxT/s1600/P1030849+final+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="659" data-original-width="1280" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl64Xr9L3aBzuXjqBvnzO3HRdFFR0JCs0ROlTdAuTwnbKqd14Q1vRsf2-vKIAjQJItByCRJAwNJAGADpoxjhH82liz5V5tlf0gTygZLhKXbdrbahq_FiSVMSfHZecbQiemIeZGuMBLpSxT/s640/P1030849+final+%255B50%2525%255D.JPG" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Afloramiento rocoso grabado de Piedras Pintadas en 2010 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Los afloramientos son de toba volcánica y la mayor concentración forma parte del Parque Arqueológico Piedras Pintadas. Algunas de las formaciones rocosas están protegidas por techos cuya construcción se realizó con el apoyo del pueblo y del gobierno de Finlandia. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-dSfLrt_ZqnfjKoHqvfeop9-wu-DOAGflZi1PHN9bAe0caEl036wQUMLKhnQaQchSMEYS2U2hI-QKeQlPQWhSAvJ37pFa6JS5dhOE9TraB-Gz_M822XVqcjrE56FGcYMqjxAtY0Ui5U0J/s1600/DSCN2165+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-dSfLrt_ZqnfjKoHqvfeop9-wu-DOAGflZi1PHN9bAe0caEl036wQUMLKhnQaQchSMEYS2U2hI-QKeQlPQWhSAvJ37pFa6JS5dhOE9TraB-Gz_M822XVqcjrE56FGcYMqjxAtY0Ui5U0J/s400/DSCN2165+%255B50%2525%255D.JPG" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Afloramiento rocoso protegido en 2010 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Los grabados representan antropomorfos, zoomorfos y motivos geométricos variados. Una roca en particular, con una depresión profunda (<span lang="ES-CR" style="line-height: 19.26px;">¿</span>articial ?, <span lang="ES-CR" style="line-height: 19.26px;">¿</span>natural ?), tuvo que haber jugado un papel ceremonial particular. </span></div>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Afloramiento con una profunda depresión en su centro en 2010 (foto: Philipe Costa)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Antropomorfo con una espiral al lado en 2013 (foto: Philippe Costa)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGgb2VidMvSMMyqfuR5-e48bME6vhVTjMTc82GZZX9Yzb_jryYbIdCRxZHDAiNIpbolVa80J4VfUjhNAC4mXVu5hKmCuIRpeLC7PdGEiA2QrxqNkEKGfnMHegZj2VYV3W_gBPMD2sj_sAx/s1600/DSCN2169+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGgb2VidMvSMMyqfuR5-e48bME6vhVTjMTc82GZZX9Yzb_jryYbIdCRxZHDAiNIpbolVa80J4VfUjhNAC4mXVu5hKmCuIRpeLC7PdGEiA2QrxqNkEKGfnMHegZj2VYV3W_gBPMD2sj_sAx/s320/DSCN2169+%255B50%2525%255D.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Zoomorfo con el cuerpo decorado de puntos en 2010 (foto: Philippe Costa)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd6zyIYiGMNx97h8K0ba3sq6BiRNF89y1GXeOpayQOKzrneB2BYHVctesvT6mjv-vMSwvm0AfDV4WOkBFEAOGrRwkVs3nXjgUbREnTcq2Sj2mqWrfRkv5FVKqJZ1MFYwOBv1ZAmEx8BmVe/s1600/DSCN2186+final+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1172" data-original-width="1034" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd6zyIYiGMNx97h8K0ba3sq6BiRNF89y1GXeOpayQOKzrneB2BYHVctesvT6mjv-vMSwvm0AfDV4WOkBFEAOGrRwkVs3nXjgUbREnTcq2Sj2mqWrfRkv5FVKqJZ1MFYwOBv1ZAmEx8BmVe/s320/DSCN2186+final+%255B50%2525%255D.JPG" width="281" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Motivo compuesto de curvas asociadas en 2010 (foto: Philippe Costa)</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs7lTkZGIaH00y_POw-cOUpBfdXgmMhb10mRdd09wsqubLh8n_-86gNUqKMLbIsmTRe1B1E3qLRRoUgIoHKBQT7U3MDoBNJuaDFqv4cxcooIwPQ1Zo8U2K_cjcR4inrr6luRuuAT-Ut-kY/s1600/P1030850+%255B50%2525%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1280" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs7lTkZGIaH00y_POw-cOUpBfdXgmMhb10mRdd09wsqubLh8n_-86gNUqKMLbIsmTRe1B1E3qLRRoUgIoHKBQT7U3MDoBNJuaDFqv4cxcooIwPQ1Zo8U2K_cjcR4inrr6luRuuAT-Ut-kY/s320/P1030850+%255B50%2525%255D.JPG" width="240" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Motivo enigmático (foto: Philippe Costa 2010)</span></td></tr>
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</span></b><b><span style="font-family: "arial" , sans-serif;">Bibliografía:</span></b></div>
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<span style="font-family: "arial" , sans-serif;"><br />
Costa, Philippe, and Stéphanie Touron. </span><span lang="ES" style="font-family: "arial" , sans-serif;">2012. “Taller de
Conservación Del Arte Rupestre En Nicaragua: El Sitio de Piedras Pintadas.
Villa Sandino, Chontales.” Revista de Historia y Ciencias Sociales, no. 19:
17–21.</span><span lang="ES"><o:p></o:p></span></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comVilla Sandino, Nicaragua12.048465 -84.993454912.032936 -85.0136249 12.063994000000001 -84.97328490000001tag:blogger.com,1999:blog-1079642572141086164.post-28724767681749399412020-03-31T08:25:00.000-07:002020-04-20T07:55:51.235-07:00Cueva de las Pinturas<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">La escenografía dramático de esta cueva, con su entrada monumental, sin duda impactó las poblaciones prehispánicas, quienes pintaron y grabaron dentro de este recinto sagrado. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhiGrYkpqMn1y1Q4stkOaeJv_3Ig0pSDEsaYM0PIb9J-zslBHdIld0arC89VOUIml8pyd4PbLj9mVqxXAOV7qVzDX5eq2MkP1rnuyEOV7nP7kl2c4PVBltqqy8FpuG9noK81p5VQCNv6Aj/s1600/Pano+1+%255B50%2525%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="479" data-original-width="1600" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhiGrYkpqMn1y1Q4stkOaeJv_3Ig0pSDEsaYM0PIb9J-zslBHdIld0arC89VOUIml8pyd4PbLj9mVqxXAOV7qVzDX5eq2MkP1rnuyEOV7nP7kl2c4PVBltqqy8FpuG9noK81p5VQCNv6Aj/s640/Pano+1+%255B50%2525%255D.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Entrada de la Cueva de las Pinturas en 2014 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">En la cueva, se identificaron 7 espacios donde se encuentran tanto pinturas, grabados y depósitos de cerámica, al modo de ofrendas. Sin embargo, la cueva ha sido muy saqueada al través del tiempo y solo los motivos rupestres y la abundancia de los tiestos de cerámica en el piso revela la importancia que ha tenido antiguamente.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXO721mSpFQgJGUjYZ2m2y4uEareWCA8dbSyUv5Zsd40gsemq_rlyAbvRtaguzoNIA1vuUkVe_tJZLNMKe924_WJqykC4J_i768c0Fe8f2gp0lV1ylM5ziqyygCmfSem607OEjdnyWlu2X/s1600/pano+4+%255B50%2525%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="493" data-original-width="1600" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXO721mSpFQgJGUjYZ2m2y4uEareWCA8dbSyUv5Zsd40gsemq_rlyAbvRtaguzoNIA1vuUkVe_tJZLNMKe924_WJqykC4J_i768c0Fe8f2gp0lV1ylM5ziqyygCmfSem607OEjdnyWlu2X/s640/pano+4+%255B50%2525%255D.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Larga inscripción jeroglífica maya sin descifrar por su estado de conservación en 2014 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Por los glifos mayas que se encuentran pintados en la cueva, se puede afirmar que fue utilizada por los Mayas durante el Clásico (300 a 900 d.C.). Los grabados, vestigios más discretos de la actividad ritual, no son menos impresionantes, aprovechando de las formas naturales para representar caras humanas y de zoomorfos. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Estalagmita grabada con algunas depresiones y líneas simples en 2014 (foto: Philippe Costa)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Cara de un posible sapo en 2014 (foto: Philippe Costa)</span></td></tr>
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Costa, Philippe, and Mélanie Forné. </span><span lang="ES" style="font-family: "arial" , sans-serif;">2013. “Chequeo Previo a La
Adecuación de La Cueva de Las Pinturas Para Visitantes, San Benito, Petén.” </span><span lang="EN-GB" style="font-family: "arial" , sans-serif;">Ciudad de Guatemal.</span><span lang="EN-GB"><o:p></o:p></span></div>
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Brady, James E., Gene A. Ware, Barabara Luke, Allan Cobb, John Fogarty, and
Shade Beverly. </span><span style="font-family: "arial" , sans-serif;">1997.
“Preclassic Cave Utilization near Cobanerita, San Benito, Peten.” Mexicón 14
(5): 91–96. </span><o:p></o:p></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comFlores, Guatemala16.9181251 -89.892606516.857356600000003 -89.9732875 16.9788936 -89.8119255tag:blogger.com,1999:blog-1079642572141086164.post-63757731922947750252020-03-31T07:32:00.000-07:002020-04-20T08:07:46.934-07:00Cerquín<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Lugar de las últimas batallas llevadas por el cacique Lempira en contra de los conquistadores, el peñol de Cerquín, </span><span style="font-size: large;">con sus barrancos,</span><span style="font-size: large;"> aparece como una fortaleza indomable. Su cumbre acoge petroglifos.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Peñol de Cerquín en 2011 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">La cumbre del peñol es estrecha, pero tiene 300 m de largo en los cuales se pueden descubrir más de 10 motivos grabados en rocas y afloramientos rocosos. Los motivos representados no son figurativos.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Afloramiento rocoso grabado en 2011 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">La técnica que predomina es el uso de pequeños puntos para definir formas geométricas. Sin embargo, una espiral es reconocible sobre una roca en medio del sitio.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;">Espiral esculpida en 2011 (foto: Philippe Costa)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Roca al aire libre con grabados en 2011 (foto: Philippe Costa)</span></td></tr>
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<b><span style="font-family: "arial" , sans-serif;">Bibliografía:</span></b><o:p></o:p></div>
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<b><span style="font-family: "arial" , sans-serif;"><br />
</span></b><span style="font-family: "arial" , sans-serif;">Gelliot,
Éric, Philippe Costa, Didier Fautsch, Soizic Gibeaux, Simon Mercier, Sébastien
Perrot-Minnot, and Stéphanie Touron. </span><span lang="ES" style="font-family: "arial" , sans-serif;">2014. “Informe Final Del
Proyecto Arqueológico Lempira 2012.” Tegucigalpa, Honduras.</span><span lang="ES"><o:p></o:p></span></div>
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<span lang="ES" style="font-family: "arial" , sans-serif;">Gelliot, Éric, Philippe
Costa, Simon Mercier, and Sébastien Perrot-Minnot. </span><span style="font-family: "arial" , sans-serif;">2011. “Informe Final Del
Proyecto Arqueológico Lempira 2011.” Tegucigalpa, Honduras.</span><o:p></o:p></div>
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PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comGracias, Honduras14.5874782 -88.58310259999998914.5567447 -88.623443099999989 14.6182117 -88.54276209999999tag:blogger.com,1999:blog-1079642572141086164.post-39311676537136993012020-03-30T02:53:00.000-07:002020-04-20T08:14:22.036-07:00La Española<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Las orillas del río Colorado reservan numerosas sorpresas dentro de un entorno natural cautivador. El canyon donde se encuentra los petroglifos de La Española es una de estas. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vista del canion del río Colorado donde se encuentran La Española en 2018 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Cinco paneles fueron grabados en ambos lados de las riberas del río. Algunos grabados son muy profundos y anchos lo que permite verlos estando en la orilla opuesta.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Panel 3 de la Española desde el lado opuesto del río en 2018 (foto: Philippe Costa)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">La conservación y pues la visibilidad de un panel a otro cambia mucho. El mejor conservado es el Panel 1 con su antropomorfo en forma de "reloj de arena". Otros antropomorfos son presentes. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Panel 1 de La Española en 2018 (foto: Philippe Costa)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Detalle del Panel 3 de La Española en 2018 (foto: Philippe Costa)</span></td></tr>
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<b><span lang="EN-GB" style="font-family: "arial" , sans-serif;">Bibliografía:</span></b><b><span lang="EN-GB"><o:p></o:p></span></b></div>
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<b><span lang="EN-GB" style="font-family: "arial" , sans-serif;"><br />
</span></b><span lang="EN-GB" style="font-family: "arial" , sans-serif;">Meighan, Clement W. 1995. “Central American Rock Art
as Viewed from Costa Rica.” In Symposium B of the AURA Congress, edited by Jack
Steinbring, 99–104. </span><span style="font-family: "arial" , sans-serif;">Darwin: Oxbow Monograph.</span><o:p></o:p></div>
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<b><br /></b></span>PhilippeC14http://www.blogger.com/profile/17698529237237280525noreply@blogger.comGuanacaste, Liberia, Costa Rica10.6345964 -85.440674710.5721714 -85.5213557 10.697021399999999 -85.3599937