[Federal Register Volume 60, Number 47 (Friday, March 10, 1995)]
[Rules and Regulations]
[Pages 13352-13361]
From the Federal Register Online via the Government Publishing Office [www.gpo.gov]
[FR Doc No: 95-6122]
[[Page 13351]]
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Part IX
Department of the Treasury
_______________________________________________________________________
Customs Service
_______________________________________________________________________
19 CFR Part 12
Prehistoric Artifacts From El Salvador; Final Rule
Federal Register / Vol. 60, No. 47 / Friday, March 10, 1995 / Rules
and Regulations
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[[Page 13352]]
DEPARTMENT OF THE TREASURY
Customs Service
19 CFR Part 12
[T.D. 95-20]
RIN 1515-AB70
Prehispanic Artifacts From El Salvador
AGENCY: U.S. Customs Service, Department of the Treasury.
ACTION: Final rule.
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SUMMARY: This document amends the Customs Regulations to reflect the
imposition of import restrictions on certain prehispanic artifacts from
El Salvador. These restrictions are being imposed pursuant to an
agreement between the United States and the Republic of El Salvador
which has been entered into under the authority of the Convention on
Cultural Property Implementation Act in accordance with the United
Nations Educational, Scientific and Cultural Organization (UNESCO)
Convention on the Means of Prohibiting and Preventing the Illicit
Import, Export and Transfer of Ownership of Cultural Property. The
document also contains the Designated List of Archaeological Material
representing Prehispanic cultures of El Salvador which describes the
articles to which the restrictions apply.
EFFECTIVE DATE: March 10, 1995.
FOR FURTHER INFORMATION CONTACT:
Legal Aspects: Donnette Rimmer, Intellectual Property Rights Branch
(202) 482-6960.
Operational Aspects: Louis Alfano, Office of Trade Compliance (202)
927-0005.
SUPPLEMENTARY INFORMATION
Background
The value of cultural property, whether archaeological or
ethnological in nature, is immeasurable. Such items often constitute
the very essence of a society and convey important information
concerning a people's origin, history, and traditional setting. The
importance and popularity of such items regrettably makes them targets
of theft, encourages clandestine looting of archaeological sites, and
results in their illegal export and import.
The U.S. shares in the international concern for the need to
protect endangered cultural property. The appearance in the U.S. of
stolen or illegally exported artifacts from other countries where there
has been pillage has, on occasion, strained our foreign and cultural
relations. This situation, combined with the concerns of museum,
archaeological, and scholarly communities, was recognized by the
President and Congress. It became apparent that it was in the national
interest for the U.S. to join with other countries to control illegal
trafficking of such articles in international commerce.
The U.S. joined international efforts and actively participated in
deliberations resulting in the 1970 UNESCO Convention on the Means of
Prohibiting and Preventing the Illicit Import, Export and Transfer of
Ownership of Cultural Property (823 U.N.T.S. 231 (1972)). U.S.
acceptance of the 1970 UNESCO Convention was codified into U.S. law as
the ``Convention on Cultural Property Implementation Act'' (Pub. L. 97-
446, 19 U.S.C. 2601 et seq.). The spirit of the Convention was enacted
into law to promote U.S. leadership in achieving greater international
cooperation towards preserving cultural treasures that are of
importance not only to the nations whence they originate, but also to
greater international understanding of mankind's common heritage. The
U.S. is, to date, the only major art importing country to implement the
1970 Convention.
During the past several years, import restrictions have been
imposed on a emergency basis on archaeological and cultural artifacts
of a number of signatory nations as a result of requests for protection
received from those nations.
Now, for the first time, import restrictions are being imposed as
the result of a bilateral agreement entered into between the United
States and a signatory nation. This agreement has been entered into in
March 1995, pursuant to the provisions of 19 U.S.C. 2602. Accordingly,
the Customs Regulations are being amended to reflect the imposition of
the restrictions. Section 12.104g(a) is being amended to indicate that
restrictions have been imposed pursuant to the agreement between the
United States and the Republic of El Salvador.
This document contains the Designated List of Archaeological
Material representing Prehispanic cultures of El Salvador which are
covered by the agreement. Importation of articles on this list is
restricted unless the articles are accompanied by an appropriate export
certification issued by the Government of the Republic of El Salvador.
Because this agreement includes categories of objects from the Cara
Sucia Archaeological Region of El Salvador which have been subject to
emergency import restrictions, and because those restrictions are about
to expire, Customs is also amending paragraph (b) of this section by
removing the entry for El Salvador.
Designated List of Archaeological Material Representing Prehispanic
Cultures of El Salvador
Pursuant to an agreement between the United States and the Republic
of El Salvador, the following contains descriptions of the cultural
materials for which the United States imposes import restrictions under
the Convention on Cultural Property Implementation Act (P.L. 97-446),
the legislation enabling implementation of the 1970 UNESCO Convention
on the Means of Prohibiting and Preventing the Illicit Import, Export
and Transfer of Ownership of Cultural Property. The Designated List
below subsumes those categories of objects from the Cara Sucia
Archaeological Region of El Salvador for which emergency import
restrictions have been in place since 1987. With publication of the
Designated List below, protection of the Cara Sucia material continues
without interruption.
What follows immediately is a list of terms for time periods and
their subdivisions. Please note that some terms are overlapping and are
used to distinguish pivotal intervals in regional prehistory (these
terms are: Protoclassic, Terminal Classic, and Protohistoric).
Different references may vary slightly as to the beginning and end
dates for the periods listed here.
Archaic Period: circa 8000-1700 B.C.
Preclassic Period: 1700 B.C.-200 A.D.
Early Preclassic: 1600 B.C.-800 B.C.
Middle Preclassic: 800 B.C.-400 B.C.
Late Preclassic: 400 B.C.-200 A.D.
Classic Period: 200-900 A.D.
Protoclassic: 200 B.C.-200 A.D.
Early Classic: 200-600 A.D.
Late Classic: 600-900 A.D.
Terminal Classic: 800-900 A.D.
Postclassic Period: 900-1520 A.D.
Early Postclassic: 900-1200 A.D.
Late Postclassic: 1200-1520 A.D.
Protohistoric: circa 1400-1550 A.D.
The following Designated List is representational and may be
amended as appropriate.
1. Figurines
1a. Preclassic Figurines.
Most are solid ceramic figurines representing women with broad
torsos and thighs, and small or virtually flat breasts. These are
portrayed in a sitting or standing position. The eyes and mouth were
typically represented by jabbing small holes into the still wet clay
(punctation), many times with two [[Page 13353]] or three holes used to
depict each eye. Although the bodies are crafted without much detail,
elaborate coiffures are commonly shown.
Dating: Most Preclassic figurines date to the Late Preclassic
(corresponding to the Chul and Caynac Ceramic Complexes of western El
Salvador, and the Uapala Phase of eastern El Salvador).
Appearance: Often cream to white, but may also be red or brown
(ranging from dark brown to tan). Usually of very fine textured clay.
Size: Most range between 4'' (10 cm) to 8'' (20 cm) in height.
Examples smaller than about 4'' may be perforated for use as pendants.
Rare figurines 16'' (40 cm) or more in height have been reported.
Important Variants: Some of the larger figurines are hollow rather
than solid. Very rare examples have movable arms, with sockets set into
the shoulders and separate arm pieces that were actuated by means of
strings. Some figurines depict women cradling infants. Whistle
mechanisms are very rarely present. Painted designs in black or other
colors are very rare on these figurines.
Formal Names: Bolinas figurines (Boggs 1973a); Kulil, Xiquin, and
Tat Complex figurines (Dahlins 1978); Quelepa Figurine Types 1 and 2
(Andrews 1976).
1b. Lepa Figurines
Most are solid ceramic figurines representing standing humans,
while others are animal effigies that function as whistles, whistle
flutes, or wheeled figurines incorporating whistle flutes.
Human figurines: These figurines have a generally flattened
appearance and heads are usually crowned by a broad and narrow headband
(or hairdo) resembling a long bar. Eyes are shown by a single
punctuation (to represent the pupil) between two ridges defining the
eye itself. Feet are usually split in a ``Y'' shape to help support the
figurine. The figurines may be adorned with necklaces shown by a series
of clay pellets. Rarely is enough detail included to determine which
sex is intended (in such cases women are usually represented).
Pelleted Tubular Whistle Flutes: Tubes with a whistle mechanism
(blow-hole) at one end and a rolling pellet within, that produces a
continuously varying tone when blown and tilted up and down. Simple
bird or monkey heads may be added to the instrument's body.
Wheeled Figurines: Human or animal effigies with four tabular legs,
each with a perforation to accept wooden sticks as axles for the front
and rear wheels (the wheels themselves were ceramic discs rarely found
together with these artifacts). Decoration is mostly through applique
using relatively thick strips and pellets of clay.
Animal Effigy Whistle flutes: Made from a small sphere of clay with
very simple (schematic) applique to represent humans, birds, turtles,
armadillos, opossums, and other animals. In addition to the whistle
mechanism, these have one or two finger holes in their bodies that vary
their tone when covered. The most elaborate examples may have punctate
and ridge eyes like those found in the Lepa human figurines. May be
perforated for suspension.
Dating: Late Classic Lepa Phase of central and eastern El Salvador,
represented in Quelepa, Tehuacan, and other sites.
Appearance: Usually reddish brown to brick red, with a rough or
only moderately smoothed surface. Some have a polished white slip that,
when well preserved, may have elaborate designs painted in black, red,
and/or yellow. Pelleted tubular whistle flutes have been noted with
fugitive (post-firing) white and/or blue paint.
Size: Most human figurines range in height between 5'' (12 cm) to
10'' (25 cm). Unusually large examples are known to reach 15'' (38 cm)
in height, and these tend to bear painted designs more often than the
normal sized figurines. The pelleted tubular whistle flutes known are
7'' (18 cm) or slightly shorter in length. The wheeled figurines known
range from about 3.5'' (9 cm) to 5'' (13 cm) in length. The animal
effigy whistle flutes measure about 2-3'' (5-8 cm) in maximum length.
Important Variants: Larger figurines may be hollow rather than
solid, and may either contain pellets to act as a rattle, or may be
equipped with holes for use as a flute (``ocarina'').
Formal Names: The human figurines have been classed as Lower Lempa
Culture figurines (Haberland 1961) and as Quelepa Figurine Type 3
(Andrews 1976). The wheeled figurines have been termed Oriental Type
(Boggs 1973b). The animal effigy whistle flutes have been referred to
as Lepa Phase whistles (Andrews 1976; see also Boggs 1974).
1c. Cotzumalhuapa Figurines and Molds
Ceramic figurines, usually hollow and typically mold made in part
(especially heads). About half the known examples represent women and
most of the remainder depict a variety of animals (men are rare). Some
representations of plants and furniture (litters) are known. Whistle
mechanisms were optional for all forms of Cotzumalhuapa figurines.
Pelleted tubular whistle flutes and recently identified Cotzumalhuapa
wheeled figurines are also included here.
Molds: The molds used to produce these figurines were press molds
made of coarse textured fired clay, usually brick red or reddish brown
in color. The working faces of these molds present a complicated
depressed area that produces the impression, while the opposite side of
the mold is usually rounded and carelessly finished. A sheet of wet
clay was pressed into the mold and then carefully extracted with the
impression of, for examples, the front half of a female figurine (the
other half was added by hand modeling, as were optional details like
headgear should these be absent from the mold used).
Female Figurines: The figurines representing women have been
referred to as ``bell-form'' due to the shape of their conical hollow
bases. They usually portray elaborately dressed women, adorned with
necklaces, earplugs, and large headgear of variable shape (but often
resembling a half moon). The uniformity in portrayal suggests that we
are dealing with a personage, and it is not too speculative to suggest
that she was an important Cotzumalhuapa goddess. Rare figurines exist
where the female's body is covered by cacao pods, indicating a
relationship to agricultural production and, in these latter example,
with the intensive production of cacao that has been documented as an
important Cotzumalhuapa economic focus. Whistle mechanisms, when
present, are usually worked into one shoulder (the larger female
figurines tend not to possess whistle mechanisms).
Male Figurines: The very rare male figurines are known to include
representations of warriors (with clubs and shields) and injured or
diseased individuals (one example shows an individual with patches of
flesh missing from the maxillary area and nose).
Animal Figurines: Among the animals present in Cotzumalhuapa
figurines are: parrots, vultures, owls, doves, monkeys, felines
(probably jaguars are intended), bats, dogs, deer, frogs or toads,
turtles, iguanas, snakes, crocodiles, fish, clams, crabs, and others.
These reflect the rich fauna of the Cotzumalhuapa area, which included
mangrove lined estuaries, the adjoining coastal plains, and nearby
mountain ranges. Monkeys and parrots are, however, the most common
animals depicted. Most animal figurines have whistle mechanisms.
Because of the complicated forms required for animals, use of molds may
sometimes be limited [[Page 13354]] to face areas, and some are
entirely hand modeled.
Plant Figurines: Representations of corn cobs and cacao pods have
been found.
Pelleted Tubular Whistle Flutes: Tubes with a whistle mechanism
(blow-hole) at one end and a rolling pellet within, that produces a
continuously varying tone when blown and tilted up and down. One
example is apparently a bat effigy, with a bat head and disk
(representing the wings?) added to the tubular body of the instrument.
Wheeled Figurines: Cotzumalhuapa wheeled figurines have recently
been identified. One has a tubular body with four tabular supports,
each with a perforation to accept the wooden sticks that acted as axles
for the front and rear wheels. A mold-made dog head was added to one
end of the tube, and a tail to the other.
Other Figurines: Two figurines have been documented representing
the litters that were probably used to transport Cotzumalhuapa elites.
They resemble a small rectangular box with a canopy, supported by four
spiked feet. A pair of holes at each extreme permitted two sticks to be
inserted to act as the carrying poles. On one example the canopy was
modeled to represent the stretched skin of a crocodile arranged with
the head at one extreme and the tail at the other, with a spiked crest
running between the two. Other Cotzumalhuapa modeled clay artifacts
that may be included as figurines include objects resembling scepters,
bells, lidded boxes, and plaques with human faces.
Dating: Late Classic products of the Cotzumalhuapa culture which in
El Salvador included the western coastal plain to the upper drainage of
the Paz River; trade brought examples into Payu Ceramic Complex
contexts elsewhere in western and central El Salvador.
Appearance: Most are brown (from tan through reddish brown) to red
(brownish red to brick red), with a coarsely finished to moderately
smoothed surface. Rare examples are of Tiquisate Ware (characterized by
a very smooth, lustrous, and hard surface, cream to orange in color),
and may be ancient imports from the Pacific coast of Guatemala. Traces
of paint may be present (blue, black, red, yellow, and white have been
documented); the paint was usually applied after firing and tends to be
easily eroded. Those parts of figurines made without the benefit of
molds tend to be rather carelessly modeled.
Size: Female figurines usually range in height from 4'' (10cm) to
12'' (30cm), but some rare specimens reach 24'' (60cm) and perhaps more
in height. Animal and plant figurines tend to be small, typically
ranging from 3'' (8cm) to 6'' (16cm) in their maximum dimension, though
larger examples occur. The pelleted tubular whistle flute mentioned
measures 6'' in length (16cm). A measurement for a wheeled figurine is
5.5'' (14cm) in length. The models of litters are approximately 9''
(23cm) in length.
Important Variants: Cotzumalhuapa use of clay was very creative and
the observer should expect figurine forms not mentioned here.
1d. Payu Figurine Flutes and Whistles
Most Payu ceramic figurines known are musical instruments that have
been classified as whistles, whistle flutes, and flutes (commonly
called ``ocarinas''). Although their decoration varies considerably,
important hallmarks (when present) are the decorative use of parallel
strips of clay (sometimes with longitudinal grooves), and applique of
clay pellets with a distinctive dimple in their center. Molds were
sometimes employed to render the faces of humans and monkeys. Human
faces may include details commonly associated with Classic Maya
conventions, including cheek decorations (from tatoos or
scarification), extension of the bridge of the nose to above eye level,
and/or a steeply inclined forehead (representing cranial deformation).
Globular Flutes (``ocarinas''): Payu figurine globular flutes have
a very distinctive construction. Three spheres of clay were joined
together in a column or in an ``L'' shape (and pierced at the
junctures). The uppermost sphere was equipped with a blow-hole. Clay
was then packed around this assembly and decorative elements added. All
the ``L'' shaped flutes known were decorated to represent a standing
quadruped animal whose open mouth forms the blow-hole. The other
(straight) flutes were almost always modeled to represent a human
(either full-body or just the head portion).
Tubular Whistle Flutes: Basically a tubular form with a whistle
mechanism (blow-hole) in one end and three to five finger holes along
the body of the tube. The appliqued head and arms or a monkey or human
are always present next to the blow-hole.
Whistle Flutes: A small, spherical body with a whistle mechanism
and one or two finger holes is hidden to a lesser or greater degree
under effigy decoration. This decoration tends to be notably more
carefully executed and detailed than Lepa or Cotzumalhuapa examples.
Examples include effigies of: humans (full-body or heads), monkeys,
dogs, birds, and reptiles. Smaller whistle flutes may be perforated for
suspension.
Dating: An artifact class belonging to the assemblage associated
with the Payu Ceramic Complex (Late Classic Period).
Appearance: Most Payu figurines are of medium textured clay with a
moderately smoothed surface (and almost always unslipped). Color is
usually reddish brown but may range from tan to brick red. Traces of
paint are rare and may include blue-green, white, yellow, red, or
black. Painted decoration, when present, was usually added after firing
and tends to easily wear away.
Size: Globular flutes=3-8'' (8-21 cm); tubular whistle flutes=6-8''
(15-21 cm); whistle flutes=2-8'' (5-20 cm).
Formal Names: None. Many examples are illustrated in Boggs 1974
(noted as Late Classic, from western and part of central El Salvador).
1e. Guazapa Figurines
Early Postclassic ceramic figurines whose style is derived from
central Mexico and form part of the Guazapa Phase of central and
western El Salvador. The Guazapa Phase has been interpreted as marking
the large-scale migration of Nahua speakers into this area, these being
the ancestors of the historical Pipil.
Mazapan-Related Figurines: Very flat figurines whose rendition of
the human figure has been compared to gingerbread cookies. These
objects were made by pressing a sheet of clay into a mold, obtaining a
thin (0.75-1'' or 2-3 cm) solid figurine. The rear portion of the
figurine is left unfinished and may exhibit finger marks from when the
clay was pressed into its mold. The front displays a woman with a
blouse with a triangular front, coming to a point in the middle of the
waist. This type of blouse was referred to as a quechquemitl in central
Mexico at the time of the Conquest, when its use was restricted to
images of goddesses and goddess impersonators. These figurines are so-
named for their close similarity to figurines of the Mazapan (Toltec)
Phase of central Mexico.
Toad Effigies: Hand modeled large hollow toad effigies. They are
usually shown as sitting as erect as possible for a toad, looking
upwards. The front and rear of the toad's body is decorated with strips
and buttons of clay meant to represent festive ribbons and bows. The
tongue may be shown hanging from the mouth. In Postclassic Nahua
mythology, toads were considered as Tlaloc's (the rain god) helpers,
and it was they who announced the coming of the rains (the
[[Page 13355]] extended tongues are probably meant to represent their
thirsty anticipation of rain). Due to this association, some examples
are known of toad effigies that include two rings around the eyes (a
diagnostic trait of Tlaloc himself).
Tlaloc Bottles: Bottles with a more or less spherical body crowned
by a straight tubular neck with a flat, flaring rim. The body is
decorated with the face of the rain god Tlaloc whose most distinctive
trait is a ring around each eye. Many Tlaloc Bottles are in fact
plugged in the neck or body and could not have actually functioned as
vessels. Tlaloc was considered to dwell in the mountain peaks and pour
out the rains from a bottle; these artifacts were probably household
votive images of that bottle.
Very Large Effigy Figurines or Statues: Hand modeled hollow
figurines representing jaguars and gods or god impersonators. The
larger examples reach life size and may truly be considered as ceramic
statuary (in any case, they have been included under ``Figurines'' to
facilitate discussion). Known examples of gods or god impersonators
represent the gods Tlaloc (identifiable by the rings around his eyes),
Mictlantecutli (represented as a skeletal personage) and Xipe Totec
(portrayed as wearing a flayed human skin). The largest figures may be
crafted in several mating parts (for example, a Xipe Totec effigy was
made in two large halves joining at the waist, with a separate head).
Seventeen jaguar effigies were found in one excavation at Cihuatan; all
of these portray a jaguar sitting on its haunches decorated with
necklaces and a few bulbous objects placed on different parts of the
body.
Small Solid Figurines: Hand modeled figurines of humans that are
usually solid or mostly so, and that occasionally employed molds to
form the face. Most appear to represent males who may carry war
equipment (such as a dart thrower or atlatl) and large headgear. These
figurines tend to be relatively small and crudely modeled.
Wheeled Figurines: Small wheeled figurine, consisting in a tubular
hollow body with four tabular supports, each with a hole to accept
wooden sticks acting as axles for the front and rear wheels. The wheels
are flat ceramic disks. A tail was added to one end of the tubular body
and a head to the other. Examples are known with deer heads with
antlers, and dog heads with tongue extended over the lower lip.
Dating: Artifacts of the Early Postclassic Guazapa Phase of central
and western El Salvador (at Cihuatan, Igualtepeque, El Cajete, Ulata,
Santa Maria, Pueblo Viejo Las Marias, and other sites).
Appearance: Generally reddish brown to brick red, but may be as
light as tan in color. The surface may be smoothed but not polished and
has a sandy texture. Many give the impression of having been hastily
made. Traces of white, black, blue, yellow, and/or red fugitive paint
have been found on some figurines.
Size: Height of Mazapan-related figurines=6-10'' (15-25 cm); height
of toad effigies=6-9'' (15-23 cm); height of Tlaloc bottles=4-10'' (10-
25 cm); height of very large effigy figurines or statues=24-55'' (61-
140 cm); height of small solid figurines=6-18'' (15-30 cm); length of
wheeled figurines=5.5-8.5'' (14-22 cm).
Formal Names: Encompassed by the Guazapa Phase, the type site of
which is Cihuatan (see Boggs 1944, 1963, 1973b, 1976; Bruhns 1980;
Fowler 1981, 1990).
2. Other Small Ceramic Artifacts
2a. Spindle Whorls or Malacates
Small ceramic disc-shaped artifacts with a central perforation. As
viewed in section, these are thicker toward the center. They may have
incised or mold-made decoration. These are often mistaken for ceramic
beads and many may be strung together for transport or display.
Dating: Late Classic to Protohistoric Periods. Different varieties
are documented in relation to Late Classic Phases and ceramic complexes
(Lepa, Payu, Tamasha) through the Postclassic (Guazapa, Cuscatlan, and
others).
Appearance: Carefully formed and smoothed. Many were slipped, and
run the full range of black through brown through red. Fugitive white
paint has been noted as a rare filler for incised designs.
Size: 0.8-1.2'' (2.1-3.2cm) in diameter. Holes are always close to
0.25'' (0.6cm) in diameter.
Formal Names: Referred to as spindle whorls or malacates (see for
example Longyear 1944; Sharer 1978; Andrews 1976).
2b. Ceramic Seals
Ceramic seals present a high-relief pattern on clay surface and are
thought to have been used with paint to stamp designs for body and/or
textile decoration. Some were used to impress designs on still-wet
pottery objects. Some seals have been found still covered with red
pigment.
Seals may be flat, with a spike handle on the rear, or cylindrical
and used by rolling. Cylinder seals usually have a central perforation
that would have allowed a stick to be passed through and facilitate
their use like rolling pins.
Dating: To date, seals have been found in El Salvador in contexts
ranging from the Late Preclassic and Late Classic Periods (in relation
to the Chul, Caynac and Payu Ceramic Complexes and the Tamasha Phase).
Appearance: Well-smoothed and sometimes slipped surfaces. Color
ranges from black-brown through reddish-brown and red.
Size: Flat seals=1.2-5'' (3-13cm) in diameter; cylinder seals may
be 2.4-5'' (6-12cm) in length.
Formal Names: Usually referred to as seals or stamps, flat or
cylindrical (see Sharer 1978; Demarest 1986; Amaroli 1987).
2c. Miniatures
Very small ceramic objects made in the form of jars or flasks.
Often made of a very fine cream colored ceramic. These may be modeled
to resemble squash effigies, or may include stamped designs include
Maya glyphs, humans forms, or animals. Miniature vessels often contain
residuals of red pigment. Late Classic Period.
Size: 1.5-4'' (4-10cm) in height.
Formal Names: None.
2d. Spools
This category includes several varieties of spool-shaped artifacts
that functioned as earspools and as labrets. Often a short tab extends
from one side, while the other may have modeled (and sometimes mold
made) decoration. Alternatively, the spool sides may have incised
decoration. Early Preclassic through Postclassic Periods (Sharer 1978;
Amaroli 1987).
Size: Normally do not exceed 1.3'' (3.4cm) in their maximum
dimension.
3. Ceramic Vessels
3a. Polychrome Vessels
Copador Polychrome Vessels: Hemispherical bowls, bowls with
composite walls, cylindrical vases, and jars with painted designs in
red, black and optionally yellowish orange on a cream to light orange
base. The red paint used is almost always specular (small flecks of
crystals flash as the vessel is moved in strong light). Copador paste
is cream colored (or sometimes very light brown) and is not very hard
or dense. Designs (usually on the exterior) may include bands of motifs
derived from Maya glyphs, seated individuals, individuals in a swimming
position, melon-like stripes, birds or other animals, and others. Rare
examples have excavated lines or [[Page 13356]] patterns. Copador
Polychrome may usually be distinguished on the basis of its specular
red paint and cream colored paste.
Dating: Late Classic Period (defined as a member of the Payu
Ceramic Complex, also found commonly in Tamasha Phase deposits (Cara
Sucia)).
Size: Bowl diameter may vary from 4-12'' (10-30 cm), the height of
cylindrical vases may range from 6-12.5'' (15-32 cm), and jar height
ranges from approximately 5-11'' (12-28 cm).
Formal Names: Referred to as the Copador Ceramic Group (Sharer
1978).
Gualpopa Polychrome: This type is closely related to Copador
Polychrome, with which it shares a cream colored paste and the
hemispherical bowl form (rarer forms in Gualpopa are: flat bottomed
bowls with vertical walls, and composite walled bowls). Designs in
Gualpopa are painted in red (which unlike Copador is not specular) and
black on a cream-orange base. Gualpopa motifs are simpler than Copador.
Most common are geometric designs (spirals, ``melon'' bands, chevrons,
and others), but repeating birds, monkeys, or designs derived from Maya
glyphs may be found.
Dating: Late Classic, especially the first part of this period.
Defined as a member of the Payu Ceramic Complex.
Size: Diameters range from 6-15'' (16-38 cm).
Formal Names: Termed as the Gualpopa Ceramic Group (Sharer 1978).
Arambala Polychrome: Formerly referred to as ``false Copador'' due
to its close resemblance to Copador Polychrome. Arambala may be
differentiated from Copador by its reddish paste (contrasting with
Copador's cream paste) and the use of a dull red paint (rather than
Copador's specular red paint). Apart from these two differences,
however, Arambala closely duplicates Copador's repertoire of vessel
forms, dimensions, and decoration (please refer to the description for
Copador Polychrome for this information). A cream-orange slip was added
over Arambala's reddish paste to approximate Copador's base color, but
this slip often has a streaky appearance.
Dating: Late Classic Period. A member of the Payu Ceramic Complex
and present in the Tamasha Phase of Cara Sucia.
Size: (See the description for Copador Polychrome)
Formal Names: Defined as the Arambala Ceramic Group (Sharer 1978).
Campana Polychrome Vessels: Flat bottomed bowls with flaring walls,
usually large. Provided with 4 hollow supports that may take the form
of pinched cylinders or cylinders with human or animal effigies.
Intricate painted designs were executed in black-brown, dull red, and
orange, on a cream to cream-orange base. A large portrayal of a human
or animal is featured on the interior center of these vessels, and the
rims often have a distinctive encircling twisted rope and dot design.
Some examples have a few curving lines of broad (up to 0.5'' or 1.3 cm)
Usulutan negative decoration. Campana Polychrome paste is dense, hard,
and brick red. Other forms include small bowls without supports, with
flat bottoms and flaring walls, and cylindrical vases with bulging and
sometimes faceted midsections and occasionally short ring bases. The
cylindrical vases usually feature panels on opposing side of the vessel
with human or animal designs, and may have very short and wide tabular
supports.
Dating: Late Classic Period. Present in association with the Payu
Ceramic Complex (Sharer 1978), the Lepa Phase (Andrews 1976), and the
Tamasha Phase (Amaroli 1987).
Size: The large bowls with supports range from 10-20'' (25-50 cm)
in diameter. The small bowls without supports are usually 6-9'' (16-22
cm) in diameter. Cylindrical vases range in height from 7-10'' (18-25
cm).
Formal Names: Termed as the Campana Polychrome Ceramic Group
(Sharer 1978).
Salua Polychrome: Mostly cylindrical vases, usually with very short
and wide tabular supports. The larger examples may have two opposing
modeled head handles just below the rim representing monkeys or other
animals. Bold designs are painted on a cream to orange base, using
different combinations of black, dull red, dark orange, and yellow. The
normally invisible paste is brick red. Black was often used to create
ample panels (or even to cover almost the entire vessel) as a backdrop
for featured designs. The principal designs are strikingly displayed
and can include: mat patterns (petates), twisted cord patterns, animals
(jaguars, parrots, owls, and others), humans, sea shells, ballcourts
(represented by a two or four colored ``I''-shaped drawing) and other
motifs. Humans are often arrayed in finely detailed costumes and may be
represented playing musical instruments, sowing with a digging stick,
armed for battle, seated within a structure, or in other attitudes. A
decorative option was to excise or stamp designs in panels or
registers.
The remainder of the vessel (or, if a featured motif is lacking,
all of the vessel) is decorated with panels and registers with
circumferencial bands near the rim and geometric patterns elsewhere.
Other vessel forms known for Salua are short cylinders ranging grading
into bowls, convex walled bowls (i.e., with bulging sides), composite
walled bowls, and jars. Strangely enough, despite their exceptional
decoration, colored stucco was sometimes used to cover areas of Salua
vessels (when eroded this stucco leaves chalky traces). Salua vessels
have rarely been found filled with red pigment.
Dating: Late Classic (associated with the Payu Ceramic Complex and
the Lepa Phase).
Size: The cylindrical vessels grade into vertical walled bowls over
a range of heights from 3.5-12.5'' (9-32 cm). Bowl diameters range from
6-12'' (15-30 cm).
Formal Names: The name Salua is a local term employed in the
National Museum of El Salvador. It has been long recognized that
probably several different ceramic groups are lumped under this term,
and that at least some of these groups probably correspond with the so-
called Ulua or Sula Valley Polychromes of neighboring Honduras (which
in recent years have been divided among several ceramic groups). Sharer
(1978) cites Salua as a special group of the Payu complex, termed
Special: Polychrome B, and he also mentions the name Salua Polychrome.
At Quelepa it was noted as an unnamed ceramic group referred to as Dark
Orange and Black on Orange (Andrews 1976). Several examples are
illustrated in Longyear 1944 and 1966. It is interesting to note the
relative abundance of Salua Polychrome in national and private
collections in El Salvador in comparison with Honduran collections.
Quelepa Polychrome: Hemispherical and composite wall bowls, and
jars; bowls may have basal flanges or slight angle changes near the
rim. Bowls may have small solid or larger hollow supports. Quelepa
Polychrome has a hard and very white base (slip) over a fine red paste.
On this white base were painted designs in orange (often applied as a
wash over most of the vessel), red and black; very rarely a purple
paint may be present. Designs include ``checkerboards'', sunbursts,
circles, bands, wavy lines, and others. Animals may be depicted on the
interior or exterior (jaguars, birds, and monkeys have been noted).
Dating: Late Classic (a member of the Lepa Ceramic Complex).
Size: Bowls may measure from 4.5-15'' (11-38 qcm) in diameter.
[[Page 13357]]
Formal Names: Termed as the Quelepa Polychrome Ceramic Group in
Andrews 1976.
Los Llanitos Polychrome: Flaring walled bowls, most or all with
solid tabular supports (supports may have effigy decoration). A cream
colored slip was applied a red paste. Orange paint was applied to the
entire interior of the bowl and in small areas bordered by black on the
exterior. In addition to orange and black, colors may include dull red,
sepia, and rarely purple. Two designs diagnostic of Los Llanitos
Polychrome are a ``five-fingered flame'' and stacks of three or four
horizontal bars of decreasing length.
Dating: Late Classic (a member of the Lepa Ceramic Complex).
Size: 7-12.5'' (18-32 cm) in diameter.
Formal Names: Termed Los Llanitos Polychrome by Longyear (1944) and
as the Los Llanitos Polychrome Ceramic Group by Andrews (1976).
``Chinautla'' Polychrome: Flaring walled bowls with flat bases and
3 or 4 hollow conical supports with simple applique. Red and black-
brown designs were painted over a cream slip in registers, including
spirals, stepped frets, bars, and dots.
Dating: Late Postclassic (a member of the Ahal Ceramic Complex).
Size: 6.5-10'' (17-26 cm) in diameter.
Formal Names: First defined in Chalchuapa as the Chinautla Ceramic
Group in Sharer (1978) due to its similarities with the ``Chinautla
Polychrome tradition'' found mostly in the Guatemalan highlands. Most
would probably now agree that this tradition may be subdivided into
several distinct and locally distributed ceramic groups, of which the
Chalchuapa variety would be one.
Machacal Purple Polychrome: Bowls (hemispherical, composite walled,
or vertical walled with convex bases). With the exception of vertical
walled bowls, these may be supported by ring bases, pedestal bases or 4
hollow cylindrical supports. Possesses an orange base slip with red and
dark purple designs. Purple designs in the form of an horizontal ``S''
on the vessel exterior are common. Vessel bottoms usually have a simple
purple design that some people have considered to vaguely resemble a
bird. The generous use of purple paint on an orange base slip is a
distinctive characteristic of this variety.
Dating: End of the Early Classic and beginning of the Late Classic.
Size: 5-11.5'' (13-29 cm) in diameter.
Formal Names: Termed Red and Purple on Orange by Boggs (in Longyear
1944), and Machacal Purple-polychrome by Sharer (1978).
Nicoya Polychrome: Hemispherical bowls, bowls with rounded to
almost flat bases and flaring walls (these may have three hollow
cylindrical or conical supports with effigy decoration as an option,
often in the form of bird heads), cylindrical vases with ring bases,
jars. Red, black, and yellow paint was applied over a very smooth white
slip with a ``soapy'' texture. Usually over half of the vessel was left
white. Designs include registers with geometric designs, human figures,
and others. Rare vessels may have unusual forms and appendages.
Dating: Early Postclassic.
Size: Bowls range from 6-11'' (15-28 cm) in diameter; cylindrical
vases range from 6.5-12'' (17-30 cm) in height.
Formal Names: Long called Nicoya Polychrome due to its relationship
with the different varieties grouped under that name first defined for
Nicaragua and Costa Rica. The variety found in El Salvador differs
sufficiently from those varieties in forms and decoration to be
considered as an additional type.
Chancala Polychrome: Hemispherical bowls, often slightly flaring
from just under the rim. A cream base slip (often streaky in
appearance) was painted with designs in brown-black and red. Animals
rendered in a distinctive silhouette style were painted on opposing
sides of the exterior (monkeys, lizards, and birds seem to be
represented), with large solid circles, squares or cross-hatch designs
between the two. The upper portion of the exterior body is divided by
bands in a register holding step frets, circles, and/or other designs.
Dating: Late Classic.
Size: 6-8'' (15-20 cm) in diameter.
Formal Names: Termed Chancala Polychrome by Boggs (1972).
Salinitas Polychrome: Known in bowl forms with a streaky cream to
orange base slip. Black circumferencial bands define registers that
usually enclose alternating spirals and stylized animals outlined in
black with orange infilling.
Dating: Late Classic Period.
Formal Names: Termed Salinitas Polychrome by Boggs.
3b. Vessels With Usulutan Decoration
Here are included several different varieties of ceramics that
prominently feature Usulutan decoration as their distinctive trait.
Usulutan decoration is a negative technique, resulting in light-colored
lines against a darker background. The light lines were achieved by
applying a resist substance and then covering the vessel with a slip
that fired a darker color. Since this failed to adhere to the areas
with resist, these maintained their lighter shade (a simplified
explanation). In its most elaborate version, the resist substance was
applied with a multiple brush with as many as seven small brushes
fastened in a row, allowing the creation of swirling parallel lines.
The base color on these vessels ranges from salmon pink to dark yellow,
with the lines being a lighter shade of the same. Some varieties have
red paint added as rim bands or (in the case of the Chilanga Ceramic
Group) simple designs. Formal names for the ceramic groups considered
here are: Jicalapa, Puxtla, Izalco, and Chilanga (Sharer 1978, Demarest
1986, Andrews 1976).
3c. Plumbate Vessels
Unpainted vessels with a glazed appearance. Surface color ranges
from dark brown-black to lead-colored to salmon-orange, and sometimes
all are found on a single vessel. Some areas may be iridescent. This is
an extremely hard ceramic and ``rings'' when tapped. Vessel forms
include a variety of forms of jars, bowls, cylindrical vases, and may
even include figurines. Effigy decoration is common.
Dating: Terminal Classic (San Juan variety) and Early Postclassic
(Tohil variety).
Formal Names: Both San Juan and Tohil varieties are found in El
Salvador (Sharer 1978). It is interesting to note that approximately
one third of all Tohil vessels recorded in the only pan-Mesoamerican
inventory to date were from El Salvador (Shepard 1948).
3d. Olocuilta Orange and Santa Tecla Red Vessels
These two distinctive varieties of Late Preclassic ceramic vessels
share many forms and types of decoration. Forms include a variety of
bowls that may have very wide everted rims with scalloped and incised
designs (in extreme cases the rims may be extended to form fish or
other animal effigies when viewed from above). Bowls may also include
faceted flanges. Some bowls may take the form of toad effigies.
Usulutan decoration (very often poorly preserved) may be present. The
Santa Tecla Red variety is distinguished by its dense dark red slip,
while Olocuilta Orange has a light orange slip (often with a powdery
texture when slightly eroded). Santa Tecla Red may have graphite rubbed
into grooves.
Dating: Late Preclassic (Chul and Caynac Ceramic Complexes).
Formal Names: Santa Tecla and Olocuilta Ceramic Groups (Sharer
1978; Demarest 1986). Please note that in these sources ``Olocuilta''
(which is the name of a Salvadoran town) was misspelled ``Olocuitla''.
[[Page 13358]]
3e. Incised or Excised Vessels
Here are considered different varieties of ceramic vessels whose
salient visual trait is decoration based on incision or excision.
Pinos: Pinos vessels have a smooth streaky black to brown slip with
(post-slip) incisions on the exterior forming geometric designs. These
incisions are sometimes filled with red or white pigment. Forms include
a variety of bowl forms. Defined as part of the Chul and Caynac Ceramic
Complexes of the Late Preclassic Period (Sharer 1978; Demarest 1986).
Lolotique: A variety of bowl forms of a dark and dull red color
with fine post-slip incised geometric patterns. Defined as part of the
Chul and Caynac Ceramic Complexes of the Late Preclassic Period (Sharer
1978; Demarest 1986).
Chalate Carved: Cylindrical vessels with a band of false glyphs or
geometric designs carved below the rim. Details within this excavated
band may be emphasized with incision. Vessel bodies are usually tan
colored, and cream slip was sometimes added over the exterior, avoiding
the carved band which sometimes was painted with red slip. When the
cream slip is present, negative designs of dots, circles, water lilies,
or egrets may be barely visible on the vessel body. The name of this
Late Classic type is provisional and was proposed by Boggs based on its
abundance in the Chalatenango area.
Red Excised: Cylindrical vessels with a band of false glyphs or
geometric decoration excised below the rim and vertical excised grooves
usually covering the rest of the exterior, sometimes with two opposing
excised panels representing animal heads or other designs. Slipped with
a dark red-orange color. Short solid tabular or nubbin supports may be
present. Provisional name for a Late Classic type common in central El
Salvador.
Cotzumalhuapa Incised Cylindrical Vases: Cylindrical vases, orange
to brown in color, with fine incision including geometric motifs and
monkeys. The rim area is distinguished by a band or groove. Late
Classic Period.
3f. Vessels With Red Decoration
Here are grouped together varieties of ceramic vessels whose
principal decoration was executed in red paint.
Marihua Red on Buff: Forms include: hemispherical bowls, bowls with
rounded bases and flaring walls (these usually have three hollow or
cylindrical supports, sometimes in the form of bird heads), and jars
with three handles. Broad red lines form geometric designs on the buff
colored interior of bowls and the exterior of jars. Designs include
arcs, crosses, step frets, ehecatcozcatl (split snail shell motif), and
others. Very rare are finely incised designs in a band on the exterior
of bowls. Postclassic Period (Haberland 1964).
Guarumal: Almost all known examples are jars. Part of the jar
exterior (reddish brown in color) is painted with a dense and hard red
paint that is finely crazed. The paint may cover the upper portion of
vessels, or may be distributed as panels, large dots or arcs. Rarely
the entire vessel exterior is covered in red. A decorative option was
to apply white paint in circles (applied with a hollow cane) and/or
zigzagging lines. This white paint is also very hard and was applied
over red painted areas. A small rabbit applique may appear on the
vessel body. Late Classic Period (Beaudry 1983).
Delirio Red on White: Hemispherical bowls (sometimes made into an
armadillo effigy by means of a shingled exterior and appliqued head and
tail), bowls with flat or slightly rounded bottoms and flaring walls
(these may have hollow cylindrical supports), jars (which may have a
pair of effigy head handles below the rim), and other minor forms. A
hard white slip was painted in red with very intricate geometric
designs. Naturalistic forms are very rare. Late Classic Period (Lepa
Ceramic Complex--Andrews 1976).
Cara Sucia Red Painted: Jars with dull red-orange paint over a
cream-orange slip. The lower body is divided by vertical pairs of
bands. Birds or other motifs may be painted on the shoulder of the
vessel. Late Classic Period.
3g. Jars With Modeled Effigy Faces
Here are grouped together different varieties of ceramic jars that
sharing the presence of effigy faces or heads applied to the vessel
neck. Motifs include: old man, man with goatee and closed eyes, monkey,
bird, and schematic humans.
3h. Tiquisate Vessels
Tiquisate vessels are entirely orange (ranging from light cream-
orange to deep orange in color). Their surface is very hard and may
``ring'' when tapped. Vessel forms include hemispherical bowls and
cylindrical vases. Decoration may take the form of rows of bosses,
incised geometric designs, or stamped scenes of humans, animal heads,
twisted bands, or other designs. Late Classic.
3i. Fine Paste Vessels
Forms include small flat bottomed bowls with vertical walls and
hollow rattle supports, and piriform vessels with ring bases. Vessels
walls are very thin and ``ring'' when tapped. An orange may be applied
to the vessel with the exception of the base. Fine incising may be
found on the exterior of bowls and may retain white and blue post-fire
paint. Terminal Classic Period.
3j. Cara Sucia Pedestal-based Bowls
A distinctive type of bowl with a tall pedestal base. The bowls
often have a basal flange, and red painted zones are sometimes found on
the interior. Late Classic Period.
3k. Stuccoed Vessels
Here are grouped a variety of vessel forms and types whose common
denominator for the purposes at hand is the presence of stuccoed
decoration. The stucco involved is usually a white kaolin clay with
blue, blue-green, red, yellow, or brown pigment mixed in, and probably
had (originally) an organic binder or agglutinate. Since that binder
long since ceased to function, the stuccoed decoration tends to be very
fragile. Designs are usually simple bands or geometric motifs, but
occasionally human or animal figures may be represented. Entirely
stuccoed vessels seem to be most common in the Late Classic, and
perhaps especially so in the Terminal Classic.
3l. Guazapa Scraped Slip Vessels
Jars with a brown body, over which was applied a cream colored slip
that was finger dragged (like finger painting) while it was still wet,
creating curving or wavy designs. A reddish-orange wash was sometimes
applied over the scraped slip. Early and Late Classic Periods.
3m. Ancient Imports: Late Classic Palmar and Other Lowland Maya
Ceramics
Several vessels of so-called ``Peten Glossware'' have been found in
El Salvador that include the formally defined Palmar Ceramic Group, and
may also include examples of the Saxche Ceramic Group and others
(Sharer 1978). To date, three such vessels have been found in
scientific excavation (one in a Tazumal tomb in the 1940's, a Palmar
vessel in an offering with an eccentric flint in San Andres in the
1970's, and a Palmar vessel in a grave on the outskirts of San Salvador
in 1993). Several others have been documented in looting situations,
including three recorded by Sharer (1978), and in private collections.
Although these vessels were not made in the territory of El Salvador,
they were definitely ancient imports and as such form part of
Salvadoran cultural heritage, providing important testimony
[[Page 13359]] relative to long-distance social and economic
relationships.
Forms include bowls with flat or slightly rounded bottoms and walls
ranging from slightly flaring (nearly vertical) to broadly flaring
walls; shallow simple bowls; tecomates (spherical forms with a small
orifice); and cylindrical vases. Bowls may have ring bases, hollow
cylindrical supports, or other forms of supports. Decoration consists
of an orange or cream base slip over which were painted designs in
black, red, and sometimes yellow. Designs include: glyph bands; humans
standing, seated, dancing, or in other attitudes; heads (human, animal,
God K, and others); animals in different positions; and other themes
rendered in Late Classic Lowland Maya style.
4. Ceramic Drums
Ceramic drums comprise a globular body with a short rim on one
extreme (over which the drum surface was stretched) and a long open
shaft on the other extreme (which served as a stand). The body may have
incised decoration. Surfaces are usually slipped and well polished, and
may range from dark brown-black to brown to brownish red in color. Late
Classic Period.
5. Incense Burners
5a. Ladle Censers
This category groups together a variety of different spoon or ladle
shaped incense burners. These have a handle (which may be a hollow tube
or a flattened loop) which supports the ``spoon'' or ``ladle'' that
actually held the embers over which incense was sprinkled. The ladle
portion may have holes perforated to facilitate the circulation of air,
and in the taller, more cup-like versions these holes may take the form
of crosses or step frets (these are the so-called ``Mixteca-Puebla''
style censers). Animal heads, claws, or other effigies may be added to
end of the handle.
5b. Three-pronged Censers
Standing cylinders with three vertical prongs at the top and two
long vertical flanges on the sides. Effigy faces may be added to the
vessel bodies (bats have been noted). Post-fire paint added in red,
orange, and white. Late Preclassic and Early Classic Periods (Sharer
1978).
5c. Lolotique Spiked Censers
The bowl-shaped censer body is supported by a tall pedestal base
with perforations in the form of two large squares or circles, or
slits. Short spikes cover the base and body. May retain remnants of
post-fire red or white paint. Late Classic Period (Andrews 1978).
5d. Las Lajas Spiked Censers
Large hourglass-shaped censer covered by short spikes. Incised or
modeled decoration may be found on the everted rims found at top and
bottom. An internal shelf may be present to hold the large clay dish
that supported the embers. Early Postclassic Period (Fowler 1981).
5e. San Andres Stone Censers
Squat barrel-shaped censers of hard volcanic stone with columns of
spikes on part of the exterior. The upper part of these censers have a
dish-like depression to contain embers. Late Classic Period.
5f. Large Effigy Censers
Different varieties of censers whose common traits are their
relatively large size and the prominent presence of elaborate effigies
covering much or all of the censer body. In extreme cases, the censer
is entirely concealed within a virtual ceramic sculpture. As an
alternative to a single large effigy, some present several figures on a
single censer, or a single element (like a head) repeated several
times. Recorded effigies have included: the god Tlaloc (identifiable by
a large ring around each eye); an individual with bulbous protruding
eyes; the god Xipe Totec (appearing as an individual wearing a flayed
human skin); jaguars; monkeys; iguanas; large saurians (so-called Earth
Monsters), GIII (a manifestation of the Sun god identifiable by a
twisted cord extending vertically between the eyes and catfish-like
barbels curling from the sides of the mouth); and others. Mostly Late
Classic and Postclassic Periods.
5g. Cotzumalhuapa Goblet Censers
Large goblet shaped vessel forms (essentially a large bowl with
walls that begin as vertical and midway to the rim moderately flare
outward, with a pedestal base), usually with signs of burning on the
interior base. These censers may be unadorned, or may have two or three
hollow head effigies rising directly from the rim, or they may have
many small effigy heads attached in a row around the vessel just below
its rim (monkey and iguana heads have been documented). Lids, when
present, may appear as inverted bowls, with or without an effigy figure
on top (one example has a large seated monkey). Late Classic Period.
6. Mushroom Effigies
Though some regard these as phallic effigies, most agree that
mushrooms are represented. Two varieties are presented here.
6a. Ceramic Mushroom Effigies
Tall hollow bases rise from a flaring base and taper upwards to
support the mushroom ``cap''. The body may be plain or may carry red
paint and fine incisions (usually in the form of rows of triangles).
Probably Late Preclassic and Early Classic Periods.
6b. Stone Mushroom Effigies
Usually made of fine-grained volcanic stone. The shaft of the
mushroom rises from a base that may be cylindrical or square, and
occasionally has short supports. Near the ``cap'' may often be found
two raised bands representing the point from which the cap separates
from its stem as it opens. Late Preclassic and Early Classic Periods.
7. Stone Sculpture
7a. Preclassic Animal Head Sculptures
Monumental sculptures in volcanic stone representing very stylized
animal heads (Demarest 1986). These have usually been interpreted as
jaguar heads, but reptilian elements may also be present. These were
apparently architectural elements associated with Late Preclassic
Period pyramids.
7b. Cotzumalhuapa Sculpture
Monumental sculptures in volcanic stone in the Cotzumalhuapa style
(see Parsons 1967, 1969). Themes known from El Salvador include: a
snake emerging from the ground, a skeletal figure with a hat resembling
a derby, a coiled snake, and a disk with a jaguar face. Some of these
are made from two stones which connect by means of a hidden tenon. Late
Classic Period.
7c. Tenoned Head Sculptures
Long sculptures of volcanic stone with an animal head at one end
and an undecorated tenon at the other, intended to be mounted in
monumental architecture. The heads usually represent a bird or reptile.
Late Classic Period.
7d. Balsamo Sculpture
These portable sculptures are usually made of vesicular volcanic
stone and represent a human form in a squatting position. The vertebrae
are usually indicated as a notched ridge on the individual's back.
Although this form predominates, a grasshopper sculpture is also
documented. Postclassic Period.
7e. Yugos
``U''-shaped ballgame yugos (yokes) made of dense volcanic stone.
Very rare examples may carry carved decoration. Late Classic Period.
[[Page 13360]]
7f. Hachas
Thin ballgame hachas usually representing animal or human heads (a
variety of other designs are also found, such as a coiled snake and a
skull). Made of fine-grained volcanic stone. Some examples have iron
pyrite ``eyes'' and traces of red paint. Late Classic Period.
7g. Effigy Metates
Metates with a thin and slightly curving body, with an animal head
at one end. A tail may be present at the other end. These are usually
supported by three tall supports. Made of dense volcanic stone. Late
Classic and Early Postclassic Periods.
8. Small Stone Artifacts
8a. Jade or Similar Greenstone Artifacts
Lustrous and hard green-colored stone crafted into: beads
(spherical, globular, tubular, discoidal); pendants (plain or with
human or animal effigies, including so called ``axe gods'' and canine
tooth effigies); plaques (or pectorals) with elaborate designs; masks;
mosaics; earspools; animal or human effigies (heads or full figure); or
schematic squatting human forms (similar to examples from the El Cajon
area of Honduras).
8b. Eccentric Chipped Stone
Flint, chert, or obsidian flaked into eccentric forms. These may
include: a zigzag lance point form, a disc with three prongs or spike
on one side, and elaborate large effigy eccentrics apparently meant to
serve as scepters (similar to those found in caches at Copan, Quirigua,
and other sites). Late Classic Period.
8c. Obsidian Artifacts in General
Prismatic blades, bifacial artifacts (lance points, arrow points,
``knives''), cores, and other objects made from obsidian (a black
colored volcanic glass).
8d. Pyrite Mosaic ``Mirrors''
A mosaic of carefully fitted plaques of iron pyrite placed on a
thin disc-shaped backing made of stone or clay that may have designs on
one side. When new, the pyrite reflected light brilliantly, but
archaeological specimens have often lost their shine due to oxidation
(the pyrite may convert to a brownish black crust). Late Classic and
perhaps other periods.
8e. Paint Pallets
Small artifacts of vesicular volcanic stone with a dish shaped or
squared depression on one surface. Some pallets are simple, being
essentially natural cobbles of a flattened oblong shape with the
depression worked on one surface, or sometimes two depressions on
opposing surfaces. Others are elaborately carved and may include four
supports and animal or human head effigies. Traces of red pigment have
been found on some pallets. Late Classic and possibly other periods.
8f. Translucent Stone Bowls
Thin bowls carved from light colored translucent stone (which in
different cases has been labeled as marble, alabaster, and onyx). At
least some of these may be ancient imports from the territory of
Honduras. Late Classic Period.
8g. Barkbeaters
Tabular dense stone artifacts with numerous longitudinal parallel
incisions worked on one or both broad faces. On one variety (Classic
and Postclassic Periods), three of the four narrow sides have a broad
groove meant to receive a very pliable stick wound around it as a
handle. The other variety considered here has an integral stone handle
(Late Preclassic).
8h. Celts
These were originally mounted on wood handles for use as hatchets
or adzes. Made of very dense, fine-grained stone and are often highly
polished near the bit and sometimes over the entire body. Some examples
are made of jade or stone resembling jade.
9. Metal Artifacts
9a. Copper Celts
Mounted on wooden handles for use as hatchets or adzes. Long copper
celts with a rectangular cross section. May have a dark patina.
Postclassic Period.
9b. Copper Rings
Copper finger rings made with the lost wax technique. Documented
examples include filigree details or effigy heads. Terminal Classic and
Postclassic Periods.
9c. Copper Bells
Copper bells, plain or with effigies, usually made by the lost wax
technique. Postclassic Period.
9d. Tumbaga Artifacts
Tumbaga is an alloy of copper and gold. Artifacts made of Tumbaga
may present a mottled surface looking golden in parts. Tumbaga
artifacts documented for El Salvador include small animal figurines
made by the lost wax technique, and a small hammered sheet mask with
eyes and mouth cutouts. Late Classic Period.
Inapplicability of Notice and Delayed Effective Date
Because this amendment is being made in response to a bilateral
agreement entered into in furtherance of the foreign affairs interests
of the United States, pursuant to Sec. 553(a)(1) of the Administrative
Procedure Act, no notice of proposed rulemaking or public procedure is
necessary. For the same reason, a delayed effective date is both
impracticable and contrary to the public interest.
Regulatory Flexibility Act
Because no notice of proposed rulemaking is required, the
provisions of the Regulatory Flexibility Act (5 U.S.C. 601 et seq.) do
not apply. Accordingly, this final rule is not subject to the
regulatory analysis or other requirements of 5 U.S.C. 603 and 604.
Executive Order 12866
This amendment does not meet the criteria of a ``significant
regulatory action'' as described in E.O. 12866.
Drafting Information
The principal author of this document was Peter T. Lynch,
Regulations and Disclosure Law Branch, Office of Rules and Regulations,
U.S. Customs Service. However, personnel from other offices
participated in its development.
List of Subjects in 19 CFR Part 12
Customs duties and inspections, Imports, Cultural property.
Amendment to the Regulations
Accordingly, Part 12 of the Customs Regulations (19 CFR Part 12) is
amended as set forth below:
PART 12--[AMENDED]
1. The general authority is revised and specific authority citation
for Part 12, in part, continues to read as follows:
Authority: 5 U.S.C. 301, 19 U.S.C. 66, 1202 (General Note 20,
Harmonized Tariff Schedule of the United States (HTSUS)), 1624.
* * * * *
Sections 12.104-12.104i also issued under 19 U.S.C. 2612.
2. Paragraph (a) of Sec. 12.104g is added to read as follows:
Sec. 12.104g Specific items or categories designated by agreements or
emergency actions.
(a) The following is a list of agreements imposing import
restrictions on the described articles of cultural
[[Page 13361]] property of State Parties. The listed Treasury Decision
contains the Designated Listing with a complete description of specific
items or categories of archaeological or ethnological material
designated by the agreement as coming under the protection of the
Convention on Cultural Property Implementation Act. Import restrictions
listed below shall be effective for no more than five years beginning
on the date on which the agreement enters into force with respect to
the United States. This period may be extended for additional periods
of not more than five years if it is determined that the factors which
justified the initial agreement still pertain and no cause for
suspension of the agreement exists. Any such extension is indicated in
the listing.
------------------------------------------------------------------------
State party Cultural Property T.D. No.
------------------------------------------------------------------------
El Salvador..... Archaeological material representing T.D. 95-20
Prehispanic cultures of El Salvador.
------------------------------------------------------------------------
* * * * *
Sec. 12.104g [Amended]
3. Paragraph (b) of Sec. 12.104g is amended by removing, from the
listing of emergency import restrictions, the entry for El Salvador.
George J. Weise,
Commissioner of Customs.
Approved: March 7, 1995.
Dennis M. O'Connell,
Acting Deputy Assistant Secretary of the Treasury.
[FR Doc. 95-6122 Filed 3-9-95; 8:45 am]
BILLING CODE 4820-02-P