THE MAGIC OF PRECOLUMBIAN GOLD

THE MAGIC OF PRECOLUMBIAN GOLD

The metalworking industry played a very important Role in determining the itinerary and settlement patterns of the Spanish Conquerors of Latin American. The information the Spaniards got from the Indians about the location of mineral deposits marked the direction of the voyages of discovery and conquest. In Colombia the desires of the Spaniards were stimulated by the treasures of the Muisca chiefs and High priest in the Sinú valley, and the gold armor of The Indian warriors from the South of Antioquia and The North of Caldas. They took the religious art of the Indians and reduced it to ingots that were sent to Europe. 

Among the native metal workers of South America, The settlers of today´s Colombian territory achieved the highest artistic expression. The techniques they used and their finely finished products gave them the reputation of the best goldsmiths in America. 

For the Indians, the gold they processed had, more than a commercial value, a deep magical religious significance and in many cases was the distinctive sign of political power and social status. 

MUISCA CULTURE 

For the Muisca society, for instance, gold was closely related to the cult of religion. The majority of objects found in the altiplano are offerings, little figures representing men, women and children, miniature ornaments and scenes from social and political life. During religious ceremonies, each piece offered symbolized the favor to be requested. These requests could be personal or communal, and were deposited in isolated, inaccessible places, but always through the local priest, mediator between the people and their gods. 

TAIRONA CULTURE 

The goldwork of Tairona artisans shows men and animals combined in one piece. Many of their pendants represent human figures with animal attributes: bat-men, jaguar-men and bird-men possible showing the desire of men to identify with these animals. It is also possible that they identified specific social groups with a mythical an ancestral relationship to certain animals. 

For today´s Kogis of the Sierra Nevada, descendants of the Tairona, gold is the symbolic potential of fertility, belonging to all members of society. The Sun, the masculine force par excellence, transmits its creative power to gold. 

SAN AGUSTIN CULTURE 

In San Agustin culture, gold working was also related to ceremonial cult. But different from the Muisca, San Agustin gold produced objects and jewels worn by the chiefs of the tribe when they exercised their authority in matters of life and death. By wearing artifacts of gold, they were transformed in deities, superior beings, living statues with all the might of religious power that commands, defends and guides the tribe. 

SINÚ CULTURE 

Part of the production of the Finzenú gold workers was destined for commerce. In this tribe gold played an important role in the ceremonial activities that helped maintain the social cohesion of the peoples of the different groups that made the tribe. Chiefs and priests dominated the ties between the sacred and the social, since in this society; the political, economic and religious powers were closely linked. For this reason they had the primary right to gold. 

THE METALWORKING INDUSTRY

It originated in the Magdalena and Cauca river valleys. The geological formation of these regions determined the existence of rich gold, copper, silver and platinum deposits. The pre-Columbian artisans worked all types of gold, from a pure twenty four carat to a very low-grade gold that has large copper contents, called tumbaga. The tumbaga alloy has special characteristics related to its melting point that are very important for certain types of work: pure gold melts at 1063 ºC, copper melts at 1083 ºC. The mixture of both metals lowers the melting temperature to 800 ºC, making it easier to reach, and thus, facilitating the manipulation of the metals. 

Pieces of pure copper were also common. It is interesting to consider that copper was very appreciated for its technological qualities and esthetic possibilities, since it permitted a variation of colors and tonalities, depending on its degree of fusion. 

GOLDWORKING TECHNIQUES 

One of the most interesting aspects of pre Columbian gold working is the study of the different techniques used by the aborigines to fashion the pieces that are proof of how advanced their technology was at the time of the conquest. Among these, the Lost Wax Method reached very advanced levels, and b because of it, it was possible to “mass produce”” innumerable le pieces similar to each other, like the beads of a necklace. Today´s jewelers still use this method successfully. 

To cast a piece using the melted wax method, a very fine clay model of the piece is prepared and mixed with powered charcoal, over which the design is drawn in all its details. When the design is completed, the model is covered with a very thin sheet of wax. 

On the wax, the finishing details are carved, like braids, hoops, etc. 

Once the wax has dried up, the entire design is “painted” with a covering of more clay and charcoal, leaving a small opening for the melted metal and another for the wax to drain out. When the metal has melted, it is poured into the first opening. The wax melts immediately and is “lost” through the opening made for that purpose. The metal which has entered the clay mold occupies the space left by the melted wax. The metal is then allowed to cool. 

After the metal has cooled down, the mold is broken, leaving the metal sheet that is then polished. The result is a perfect piece of jewelry. 

This technique permits to create the most delicate wax models, and because the outer casing has to be broken in order to extract the metal piece, each cast is an original creation. 

The intrinsic beauty of pre- Hispanic metal treasures is a reminder of the hundreds of years of efforts towards the perfection of metal working techniques.

Taken from  the text: READING ENGLISH IS FUN 9. UNIVERSIDAD DE CALDAS, Fondo Educativo Panamericano, 1996.