Arqueología histórica de Buenos Aires by Daniel Schavelzon

By Daniel Schavelzon

Shávelzon ha realizado excavaciones en antiguos pozos y fondos de casas de San Telmo, en Buenos Aires y en otras zonas poco vulneradas de los angeles ciudad. A través de pequeños objetos, imágenes y otros fragmentos de civilización que halló, pudo reconstruir un aspecto casi desconocido de l. a. historia argentina, relegado al olvido: los angeles presencia de una importante población negra, esclava o liberta, que tuvo su propia cultura,lengua, costumbres, religión, asentamientos, música, vestimentas y danzas. En este libro describe los angeles vida y l. a. cultura de los negros de Buenos Aires, aportando los angeles evidencia arqueológica hallada. Schávelzon, investigador del CONICET, lleva adelante el programa de Arqueología urbana de l. a. Dirección normal de Patrimonio de l. a. Secretaría de Cultura del Gobierno de los angeles Ciudad.

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3 in the order of the total number of sherds (not vessels) assignable to each form. The definition of each numbered form exclusively by the rim means that some forms, such as Form 1, include a variety of vessel types, volumes, and uses. These numbers probably exaggerate the dominance of the jar forms (1, 2, 4) since the jars are notable for their thin walls and would have broken easily and left a larger number of sherds per vessel than the smaller forms. Form 5, on the other hand, may be underrepresented, since its walls were usually thicker than in other forms.

The Red-and-Black ware had the same oxidizing firing, emerging from the fire with a cream or buff body decorated with areas of red slip-paint. The areas to be left cream or red were covered, probably with a liquid clay, and the pot was then exposed to a smoky fire to deposit carbon. The final steps were washing off the unfired clay masking the red and cream areas and in some cases burnishing the black areas. While the basic firing for the first two wares was in an oxidizing fire (with access to oxygen), Burnished Black was fired in a reducing fire in a sealed kiln, like that used to make charcoal, to make a black body with a black surface.

The exploitation of those opportunities took time, so we are obliged to look for some at least tentative ways to divide this mass of material into phases or periods. Summary and Comparisons of Pottery Morphology Challuabamba pottery forms began with a few closely related forms. Globular containers (Forms 1, 2, and 4), varying mainly in size and rim elaborations, were presumably for cooking or storage. Forms 3, 5, 6, 7, 8, and 9 were presumably used for serving food or beverages. Form 3, usually in an oxidized ware, appears to have been the common service form, probably for both liquids and solids.

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