In the field season of May 2011, progress was made in documenting the petroglyphs found at Aguas Buenas, Nicaragua. This dataset serves as a backdrop onto which problems of rock art analysis and...Show moreIn the field season of May 2011, progress was made in documenting the petroglyphs found at Aguas Buenas, Nicaragua. This dataset serves as a backdrop onto which problems of rock art analysis and rock art documentation are placed. For the rock art analysis, several approaches are considered. First, the semiotic approach is looked at, through the use of theories constructed by Panofsky, Saussure and Pierce. Then, a contrasting way of looking at rock art is described, that also considers the landscape that these images are placed in. Both approaches have their merits and their weaknesses in application to the Aguas Buenas dataset. In the second half, documentation methods and techniques for petroglyphs are subjected to critical evaluation with the purpose of creating a method, that is easy, cost efficient and still provides a high quality. Photography has proven to fulfill these requirements, and instructions are given as to provide a handhold for (starting) rock art researchers to take accurate photographs of petroglyphs. Lastly, the database is explained and provided, and a comparison is made with other petroglyph datasets.Show less
The research of polychrome ceramics from northern Gran Nicoya, Nicaragua started in a classificatory and descriptive manner, had (and has) many concerns with chronology but has slowly but steadily...Show moreThe research of polychrome ceramics from northern Gran Nicoya, Nicaragua started in a classificatory and descriptive manner, had (and has) many concerns with chronology but has slowly but steadily evolved into a discipline that tries to explain the culture behind the pottery. In order to do so, many different techniques have been used. Decorations and forms are examined and compared to those of other culture areas from the very beginning. Also, the function of the ceramics are researched. In later times the clay of which the ceramics are made itself is also examined and conclusions about provenience and links between different areas can be made. Although the methods that each author applies are different, the common thought in all of the research on polychrome ceramics from northern Gran Nicoya is the hypothesis that it is influenced by the Mesoamerican culture area to the North, more than the Peruvian culture area to the South. The main influence is thought to come from the Maya area and apart from that Aztec influences can be seen. The Mixteca-Puebla stylistic tradition has also left its mark on Nicaraguan ceramic styles. Other authors stress the high level of resemblance with ceramic types from Honduras and El Salvador. In spite of the many examples of influence from the North, Gran Nicoya has still developed in a rather isolated fashion. Therefore I think Gran Nicoya belongs to the periphery of Mesoamerica, just like Honduras and El Salvador, instead of being in the centre of its cultural influence. It is also generally accepted that the Nicarao and Chorotega came to Nicaragua in different migration waves. This is supported by archaeological as well as ethnographic evidence. Furthermore, a general theory of the history of archaeology is discussed which leads us to the conclusion that the historical approach to the study of ceramics provides a special vantage point from which subjectivities from different authors can be filtered out so a higher level of objectivity is achieved.Show less
