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Manu Park – Petroglyphs of Pusharo

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Manu Park – Petroglyphs of Pusharo

Pusharo, 60 square meters of petroglyphs, in a single set of engravings located in the middle basin of the Palotoa River, district and province of Manu, Madre de Dios. According to some Machiguengas, the name would come from the term “pushari”, which means “sweet” in reference to the good climate of this area. Due to the high degree of abstraction of the graphics, it is to be assumed that these were the work of a culturally advanced Amazon society that inhabited the area thousands of years ago. Archaeologists still can not define the exact cultural affiliation of the authors, some hypotheses maintain that they were the ancestors of the Matsiguenkas or members of a different ethnic group that has disappeared leaving as the only palpable trace of its passage through the world this extraordinary rock work.

The Petroglyphs of Pusharo are a set of engravings in rock, they are precisely in the “Pongo de Meganto, Historical Cultural Zone – PNM”, on the banks of the Palotoa River that is a tributary of the Alto Madre de Dios, in the department of Madre of God, Peru; within the ancestral territory of the native community Palotoa – Teparo, Matsiguenka ethnic group, Arawak linguistic family, according to the investigations carried out the petroglyphs were recorded by the ancestors of the Matsiguenka ethnic group that had contact with the Incas.

The engravings can be found in three areas which have been categorized into A, B and C. The petroglyphs of sector A of Pusharo are characterized by their eminently geometric and abstract style; the few motifs classified as figurative are mainly anthropomorphic, in human head or mask forms, snakes, cat tracks and representations of the sun as well as some peculiar motifs composed of two elements: a T-shaped figure, contoured or simple, with a complex or simple appendage that emerges from the upper part, could be interpreted in a speculative manner as abstractions of anthropomorphic head or zoomorfas (jaguar) adorned with feather plumes. The engravings of sector B are absent the pronounced reliefs or double edges, predominating the rectilinear ones on the curvilinear ones; it presents rectangular depressions and as for the grooves of the engravings prevails the profile in V. In the sector “C” you can find few petroglyphs which have resisted the onslaught of the river, because they are higher, which are grooves thin and shallow, different from those of sectors “A” and “B”.

The petroglyphs of Pusharo are of great tourist interest for the engravings that can be found in the three walls of the river; at the same time by the mysticism and the interaction that takes place with the community of Palotoa – Teparo, which is the guardian community of the Pusharo petroglyphs. The walls “A” and “B” are in a good state of Conservation. The wall “C” is in a regular state due to the erosion of the stone caused by the water current of the Palotoa River.

On January 23, 2003, the Pusharo petroglyphs were recognized as Cultural Patrimony of the Nation by the National Institute of Culture through National Directorial Resolution No. 015 / INC; to date they have not undergone any modification. The Petroglyphs of Pusharo, as an archaeological site, represents a mixed heritage, of a cultural and natural nature, and contains a range of values ​​that, as a whole, give a particular meaning to the site; The main value is undoubtedly historical and symbolic because they represent the cultural legacy of Amazonian people who have disappeared and are a testimony of their perception
of the cosmos and its great capacity for abstraction.

CURRENT STATE OF PETROGLYPES OF PUSHARO:

It is in good condition; community Native of Palotoa – Teparo, the Ministry of Culture and the Manu National Park work together to maintain in good condition the area and the wall where they are located the petroglyphs.

The petroglyphs of Pusharo were discovered in the year 1921 by Father Vicente de Cenitagoya, who interpreted it as
A set of Gothic letters in Manu National Park.

 

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