﻿Vol.2] 
  ARCHEOLOGY 
  OF 
  COLOMBIA 
  — 
  BENNETT 
  841 
  

  

  figurine 
  jars 
  which 
  resemble 
  in 
  many 
  respects 
  the 
  true 
  figurines 
  

   (pi. 
  171, 
  6). 
  These 
  include 
  figures 
  with 
  crossed 
  legs, 
  with 
  stub 
  legs, 
  

   seated 
  on 
  a 
  bench 
  (pi. 
  171, 
  a), 
  and 
  a 
  few 
  in 
  which 
  only 
  the 
  face 
  is 
  

   represented 
  on 
  the 
  jar. 
  

  

  The 
  graves 
  contain 
  many 
  monochrome 
  vessels, 
  but 
  for 
  the 
  most 
  

   part 
  only 
  decorated 
  pieces 
  have 
  been 
  selected 
  for 
  the 
  display 
  col- 
  

   lections. 
  Positive 
  painting 
  generally 
  employs 
  only 
  two 
  colors, 
  white 
  

   and 
  red 
  (fig. 
  94, 
  g), 
  although, 
  rarely, 
  black 
  may 
  be 
  added. 
  Both 
  two- 
  

   and 
  three-color 
  negative 
  painting 
  is 
  typical 
  of 
  Quimbaya, 
  again 
  

   utilizing 
  black 
  and 
  red, 
  or 
  black, 
  white, 
  and 
  red 
  (fig. 
  94, 
  a-d 
  ; 
  pi. 
  171, 
  b). 
  

   Other 
  design 
  techniques 
  are 
  the 
  modeling, 
  already 
  mentioned 
  in 
  the 
  

   discussion 
  of 
  Peruvian 
  influences, 
  some 
  relief 
  work, 
  particularly 
  face 
  

   collars, 
  incision, 
  and 
  cut-out 
  or 
  champleve 
  (fig. 
  94, 
  /). 
  Except 
  for 
  

   the 
  modeling, 
  practically 
  all 
  design, 
  irrespective 
  of 
  technique, 
  is 
  

   geometric. 
  Bands, 
  triangles, 
  parallel 
  lines, 
  cross-hatch, 
  circles 
  

   and 
  dots, 
  are 
  the 
  more 
  frequent 
  elements. 
  The 
  design 
  application 
  is 
  

   somewhat 
  careless 
  even 
  though 
  small 
  units 
  are 
  applied. 
  

  

  Clay 
  figurines 
  are 
  typical 
  of 
  Quimbaya. 
  The 
  three 
  major 
  cate- 
  

   gories 
  are 
  standing 
  figures, 
  those 
  seated 
  with 
  the 
  feet 
  out, 
  and 
  those 
  

   seated 
  with 
  the 
  knees 
  drawn 
  up. 
  They 
  are 
  usually 
  painted 
  in 
  two- 
  

   color 
  or 
  three-color 
  negative 
  designs. 
  

  

  Clay 
  spindle 
  whorls 
  are 
  numerous 
  in 
  the 
  Quimbaya 
  collections. 
  

   This 
  is 
  the 
  only 
  evidence 
  for 
  spinning 
  and 
  weaving 
  since 
  no 
  cloth 
  

   specimens 
  are 
  preserved. 
  The 
  majority 
  of 
  the 
  whorls 
  are 
  conical 
  

   or 
  double-conical 
  in 
  shape, 
  and 
  some 
  have 
  projecting 
  nubbins. 
  Many 
  

   are 
  incised 
  or 
  decorated 
  with 
  punctations, 
  frequently 
  filled 
  with 
  

   white 
  paint. 
  Clay 
  stamps 
  with 
  cut-out 
  relief, 
  for 
  decorating 
  cloth, 
  or 
  

   perhaps 
  for 
  body 
  designs, 
  are 
  also 
  characteristic 
  (pi. 
  171, 
  d). 
  Some 
  

   are 
  in 
  the 
  form 
  of 
  hollow 
  or 
  solid 
  cylinders. 
  Others 
  are 
  flat, 
  rectangu- 
  

   lar 
  stamps 
  with 
  conical 
  handles. 
  

  

  Stonework. 
  — 
  Quite 
  a 
  variety 
  of 
  stone 
  work 
  is 
  found 
  in 
  the 
  graves, 
  

   including 
  polished 
  stone 
  celts, 
  T-shaped 
  axes, 
  stone 
  beads, 
  and 
  many 
  

   grindstones. 
  Except 
  for 
  a 
  few 
  small 
  plaques, 
  presumably 
  for 
  deco- 
  

   rating 
  gold 
  objects, 
  stone 
  carving 
  is 
  absent. 
  

  

  4. 
  SINtJ 
  

  

  The 
  region 
  of 
  the 
  Sinu 
  River, 
  in 
  the 
  Department 
  of 
  Bolivar, 
  is 
  little 
  

   known 
  archeologically, 
  but 
  the 
  few 
  pieces 
  which 
  are 
  said 
  to 
  have 
  

   come 
  from 
  that 
  section 
  are 
  quite 
  distinctive. 
  Most 
  of 
  this 
  country 
  

   is 
  tropical, 
  and 
  consequently 
  excavation 
  is 
  difficult. 
  The 
  early 
  

   Spaniards 
  reported 
  the 
  discovery 
  of 
  high 
  earthen 
  mounds, 
  and 
  men- 
  

   tioned 
  cremation 
  burials. 
  They 
  were 
  also 
  impressed 
  by 
  the 
  quality 
  

   of 
  the 
  goldwork, 
  and 
  in 
  fact, 
  most 
  specimens 
  which 
  have 
  been 
  attrib- 
  

   uted 
  to 
  the 
  Sinu 
  culture 
  are 
  of 
  a 
  quality 
  comparable 
  to 
  the 
  Quimbaya. 
  

  

  