On the provenience of wood used in the manufacture of snuff trays from San Pedro de Atacama (Northern Chile)

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• 作者：Hermann M. Niemeyer ; ^{niemeyer@abulafia.ciencias.uchile.cl}
• 关键词：Hallucinogenic substances ; Snuff trays ; San Pedro de Atacama ; Tiwanaku ; Northwestern Argentina ; Wood density ; Snuff tray style ; Wood provenience
• 刊名：Journal of Archaeological Science
• 出版年：2013
• 出版时间：January, 2013
• 年：2013
• 卷：40
• 期：1
• 页码：398-404
• 全文大小：624 K

文摘

The consumption of hallucinogenic substances is a long-standing tradition in the Americas. San Pedro de Atacama (SPA) in Northern Chile is the archaeological zone with the highest incidence of snuffing implements in the world. Snuff trays from SPA have been studied under a variety of prisms but their provenience, in particular that of the wood used in their manufacture, has not yet been addressed. The delicate nature of trays and their excellent state of preservation call for the use of non-invasive analytical methods. Wood density was used to demarcate a possible range of species and hence as a broad provenience marker, and its value determined for 169 trays from the museum at San Pedro de Atacama. The results showed that although some of the SPA snuff trays studied may have been manufactured with local wood, most of them used exogenous wood as raw material. At this point, it is not possible to ascertain the precise origin of such wood, but Bolivia and NWA appear as likely candidates. Three distinct styles have been defined for SPA trays: Tiwanaku, San Pedro, and Circumpune?o (encompassing the area around the Puna de Atacama and including SPA). The effect of style on density points to different sources of wood in Tiwanaku style trays and trays in San Pedro and Circumpune?o styles. As expected from geographically and temporally dynamic patterns of interaction of SPA with neighboring regions, diachronic differences in wood density distributions were found. Tray manufacturing technique was not dependent on wood density, suggesting that the skill of artisans and the quality of their tools allowed them to use any type of wood for their art work, independent of its complexity.