SKULPTUR EINES HÄUPTLINGS DER JAMA-COAQUE-KULTUR

1 385.-

14.09.2026

5600, Lenzburg

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Datierung:
355 v. Chr. bis 400 n. Chr.
Fruheste Phase der Jama-Coaque-Kultur in Ecuador.
Beschreibung:
Skulptur eines sitzenden Mannes, hohl aus Ton geformt. Es handelt sich um einen Häuptling der ecuadorianischen Jama-Coaque-Kultur, gezeigt mit markanter Kopfbedeckung und großen, tellerförmigen Ohrringen, sowie Halsschmuck. Dargestellt ist vermutlich das Ritual der Cocablatt-Zubereitung, für das der Häuptling diverse Utensilien in den Händen hält.
Maße:
Ca. 21.5 cm hoch.
JAMA COAQUE, Ecuador E
Jama-Coaque, the name originally given to the prehistoric culture occupying northern Manabí Province, Ecuador, during the Regional-Developmental period, (500 bce- Manabí Province, Ecuador, during the Regional-Developmental period, (500 bce-
500). More recent research Ens O established that the Jama-Coaque tradition represents four phases of occupation beginning around 550 bce and continuing until the Spanish conquest in 1531. Although its territory may have fluctuated over time, it minimally extended along the northern Manabí coast from Bahía de Cojimíes in the north to Bahía de Caráquez in the south. To the east, limited archaeological evidence suggests that Jama-Coaque influence extended to the Andean foothills.
Jama-Coaque was originally defined by the Ecuadoran archaeologist Emilio Estrada in the late 1950s, on the basis of limited test excavations at the littoral type sites of Coaque and Jama. The culture is best known for its tradition of elaborate ceramic figurines and modeled vessels depicting a wide range of anthropomorphic and zoomorphic imagery. It shares many characteristics with the Bahía culture to the south, such as ceramic house models and neck rests, suggesting shared Asiatic influences. Also common to both cultures are several vessel forms and decorative techniques, such as negative painting, postfire multicolored painting, and nicked or cutout flattened rims on shallow polypod bowls, but enough differences exist to differentiate the two styles les clearly. Jama-Coaque ficurine,
are
umonly mold-made, and ever the argel
hollow, modeled figurines depicting elite personages or dragonlike animals typically exhibit detailed ornamentation assembled from standardized mold-made pieces. Other typical pottery artifacts include both flat and cylindrical stamps or seals, incised spindle whorls, zoomorphic whistles and flutes, and anthropomorphic masks that may have functioned as pendants. A number of these ceramic objects, as well as specific costumes and ornamentation depicted on figurines, have stylistic parallels in
Mesoamerica, suggesting maritime contacts with western Mexico PI.
By the time of Pizarro's march through Coaque and Pasao in 1531, the Jama-Coaque peoples may have been coming under the progressive domination of the Manteño polity to the south. Although not conclusive, the presence of Manteño burnished black pottery in several Late Integration sites suggests the establishment of enclave communities that perhaps administered tribute payments from the local Jama-Coaque populations.